Though director Anthony Mann later made a name for himself with a string of Westerns pairing him with James Stewart, it’s just as easy to enjoy him for some of the diverting crime pictures he helped craft. Everything from Raw Deal (1948) to T-Men (1947), He Walked by Night (1948), and of course this little number.
Another simple pleasure gleaned from Side Street is the second teaming of the two young starlets Farley Granger and Cathy O’Donnell who made such an impression together in Nicholas Ray’s sensitive drama They Drive By Night (1948)
We begin this particular picture with a flyover of New York City and the “Voice of God” narration comes off as another installment of The Naked City (1947) because it too takes to the streets, shot on location in the city of a thousand stories with thousands more waiting to happen.
There’s something engrossing in this style of storytelling which takes interest in several seemingly unextraordinary, unconnected individuals and then over the course of less than an hour and a half slowly ties together all the threads of their lives into one cohesive narrative.
There are some calling cards of crime pictures including sleazy extortion, a body fished out of the East River, and the police who are working the beats of the case and trying to keep the frenzy of journalists at bay. Paul Kelly and Charles McGraw head up the police procedural angle.
But the man we come to know the best is unassuming postman Joe Norson (Granger), who becomes extra jumpy after unwittingly stealing thousands of dollars when he thought he only swiped a few bucks to buy his wife a mink coat. He’s just a poor, small, unimportant little man in the scheme of things. An “Average Joe” if you pardon the expression. He’s not supposed to be embroiled in such a story. It’s a bigger can of worms than he could ever imagine and there are consequences.
Other people of interest are wealthy businessmen, crooked lawyers, cabbies, bar owners, bank tellers, journalists, cops on the verge of retirement, nightclub singers, and at least a few ex-cons, all the usual standard bearers.
Joe’s wife is in the latest stages of her pregnancy and shortly her baby is on the way but her husband has made up a fanciful story about a new out-of-town job that’s loaded him with cash. Of course, she has no idea what’s going on and nor does he. He asks a near stranger, the man who runs the local bar to hold the cash for him. He says it’s a nightgown for his wife.
But Joe’s not a criminal. His guilty conscience is too much for him so he goes back to the office to plead with them to let him return the money. Of course, they have as much right to it as he does. What follows is a cat and mouse chase across the city. First, some thugs tail Joe looking for the $30,000. Then, Joe and ex-convict George Garsell look for the bar owner who has all but disappeared and conveniently the money’s gone too.
As the police are also involved, they want both men, believing they are complicit in different murders that have been committed. Joe has just enough time with his wife to explain his predicament. Still, he got himself into this mess and he holds the belief that he is the only one who can make it right.
What follows is a culmination of all the events thus far as all the character arcs begin to bump up against each other. Namely, Joe, a local nightclub singer (Jean Hagen), and the last man that Joe wanted to see, Garsell himself.
Side Street closes out with a lively car chase near The Third Avenue El that predates many of the revered classics from Bullitt (1968) to The French Connection (1971) years later. The full weight of the title’s meaning, subsequently makes itself increasingly clear as squads of police cars look to close in on the criminal’s getaway taxi. Of course, what makes it compelling is the fact that Joe is right in the thick of it all to the very last avenue…with a loaded gun pointed at his head. Thankfully there are no speed bumps in this one.