This American city film noir, directed by Otto Preminger and featuring a screenplay by Ben Hecht, draws its story from William L. Stuart’s novel "Night Cry." Joseph LaShelle handled the cinematography during filming in New York City, and the cast includes Dana Andrews, Gene Tierney, Gary Merrill, Bert Freed, Tom Tully, and Karl Malden, with supporting roles played by Ruth Donnelly, Craig Stevens, and Neville Brand. Mark Dixon (Andrews), a police officer in New York, frequently clashes with his superiors because of his aggressive methods when dealing with suspects. Following an incident involving Ken Paine (Stevens), Dixon makes an unethical decision and tries to set up Tommy Scalise (Merrill). However, the plan goes wrong; not only does Dixon develop feelings for Paine’s wife, Morgan Taylor-Paine (Tierney), but he also finds himself entangled in a complicated investigation where Morgan's father, Jiggs (Tully), is wrongly accused of a crime that Dixon committed. "Where The Sidewalk Ends" marked Otto Preminger’s last film noir project for 20th Century Fox in the nineteen-forties. Working as a director for hire at the time, Preminger reunited with Dana Andrews, Gene Tierney, Joseph LaShelle, Ben Hecht, and art director Lyle Wheeler—the same team behind the acclaimed "Laura" from 1944. While comparisons between the two films are easy to make given their shared creators and genre, they ultimately prove to be quite different. Some critics have unfairly judged “Sidewalk” based on how highly regarded “Laura” is. "Sidewalk" feels more raw, more violent, and notably darker—the protagonist is a troubled and burdened police officer—and it’s unmistakably big-city noir, a stark contrast to the more polished world of "Laura." There's considerable quality present in this film. Preminger skillfully controls the story's pace and makes Dixon a sympathetic character, fully doing justice to Hecht’s strong and tightly written script that unfolds within a setting of police stations, cafes, apartments, and underworld locations. The visuals are perfectly captured with LaShelle’s understated (almost gritty) photography. The acting is also excellent; Tierney is captivating throughout, her beauty complementing Andrews' emotionally complex portrayal. It’s arguably one of Andrews’ finest performances, as Dixon carries the weight of his father's criminal past. In a twisted narrative twist, Dixon essentially ends up investigating himself, complicated by a budding romance and echoes of patricide—a character in need of depth. Andrews delivers a layered performance that establishes one of noir’s best policeman protagonists. The supporting cast is also effective, especially Malden, Merrill, and Brand, the latter being a tough guy actor who isn't William Bendix! If there are shortcomings to be found, the ending feels somewhat conventional for Hollywood, and some plot points stretch credibility. However, these issues don’t detract from the film’s overall impact. Join Dixon on that sidewalk and discover what awaits him—and you—after Preminger leads you on a dark journey. 8/10

Source on TMDB