Dead End


Crime / Drama

Rotten Tomatoes Critics - Certified Fresh 91%
Rotten Tomatoes Audience - Upright 76%
IMDb Rating 7.3 10 5,946


Downloaded times
August 4, 2020



Claire Trevor as The Countess
Esther Howard as Diner Waitress
Humphrey Bogart as Harry Morgan
Sylvia Sidney as Drina
720p.WEB 1080p.WEB
843.17 MB
English 2.0
23.976 fps
93 min
P/S N/A / N/A
1.53 GB
English 2.0
23.976 fps
93 min
P/S N/A / N/A

Movie Reviews

Reviewed by rmax304823 6 / 10 / 10

Dead End Kids, Awake! You Have Nothing to Lose But Your Franchise.

Man, does this come across as a staged play. That's not all bad. The set is complicated but functional and, like most stage sets, looks highly "lived in." Yes, we can believe the Dead End Kids built a fire in an ash can and roasted some stolen potatoes on the ends of sticks. At least on this tiny dock we can. Act One: The characters are introduced. A handful of rough, coarse kids who steal, lie, hate the cops, sneer at the rich kid, dive off the dock into the East River where they all catch Chinese liver flukes and die, scar each other's cheeks with "da mock of da squealah" when somebody rats on somebody else, wear beanies, break windows, smash furniture, and help old ladies across the street. Then there is Sylvia Sydney as a striking factory worker, trying to make ends meet while supporting the younger brother who is one of the gang. There is Joel MacRea as an unemployed architect sprung from the loins of these tenements. Humphrey Bogart shortly appears, but he's more properly part of Act II. He's "Baby Face Martin," a brutal gangster ("seven guys -- you could be da eighth"), who's returned to his origins for a look at the old joint and to meet his Ma and his girl friend Francey, neither of whom he's seen in ten years while on the lam. Bogart is barely out of his Duke Mantee phase. This time he carries only one elbow cocked, instead of both. Well, Ma isn't particularly glad to see him. Ma (Marjorie Main) slaps his face and says, "Yew dirty dog, yewww," in what must be the most mannered performance of the year, or maybe the whole decade. "I killed a guy for lookin' at me da way you're lookin' at me now," Baby Face tells his Mom angrily. Francey, his ex-girl, turns out to be a whore and tries to bum a couple more dollars off him. Bogart loses first his illusions and then his life in a shoot out with MacRea. End of Act II. Act III is, let's say, anticlimactic, what with Bogie gone and all. The last act should wrap up any loose ends but there really aren't any to wrap up except that one of the Boys has impulsively cut a judge's brother and the victim, while understanding, feels it best for the kid to be sent to a reform school where (so believes the judge's brother) he might be taught a trade and make an honest living. Will it happen? Not a chance. Half the gang have already been in and out of the same reform school. As the half-grown knife wielder is led away by the cops, one of the gang counsels him to look up Smokey, he'll take care of ya. What a lot of anger in this screenplay (Sidney Kingsley and Lillian Hellman). The identified enemy, however, is not the rich, who are portrayed as no more than indifferent and naive, but not stupid or cruel. And the tenement dwellers and their kids are hardly saints. The Dead End Kids exit at the end singing brightly, "If I Had the Wings of an Angel," after one of their members is hauled off to the slams. Nope, the evildoer here is not an individual, not even a social class. It's the system itself. The system is never identified by name, but "capitalism" would be a good guess. This was the 1930s and the Great Depression was considered one of capitalism's more brutal manifestations by the socially engaged. I wonder what Kingsley and Hellman would have to say about the current proposal to eliminate the estate tax? Those bumps you just felt were from the writers rolling over a bit in their graves.

Reviewed by Nazi_Fighter_David 10 / 10 / 10

The film turned out to be Bogart's most significant film since "The Petrified Forest."

It offers a vivid portrait of people caught up in a continual fight to somehow satisfy themselves despite the oppressive environment that seemed to quiet their every attempt… Joel McCrea is a frustrated architect who dreams of tearing down the slums and Sylvia Sidney portrays a shopgirl struggling for identity and meaning in her life, a life made even more complicated by having to look after her brother (Billy Halop). The boy idolizes the decadent Bogart, an excessive admiration shared by the rest of the Dead End Kids, here recreating their original Broadway roles with noisy good humor… Opposing these idealists is their real threat, Bogart, an assassin named Baby Face Martin… Bogart is impolitely rejected by a mother (Marjorie Main) who hates him and an ex-girl friend (Claire Trevor) who leaves him bitter and disillusioned when he discovers that she has become a hooker… Rebuked by those he had been sentimental enough to want to visit, he rapidly reverts to represent beforehand and plans a kidnapping in order to rescue something from the consumed affair… "Dead End" remains one of Bogart's best films, where the actor proves that he is capable of handling difficult material with considerable skill

Reviewed by drystyx 10 / 10 / 10

When gangster films made sense and were well written

It's unfortunate that now morons write gangster films in which all they do is try to "outsadist" everyone else's comic book bad guy. This film showed so much not just about gangsters, but how they fit into the world, and how other characters fit it. Joel McCrea is a trained architect who makes small change as a painter in the run down tenement. The Dead End Kids are varied characters themselves, with the nerdy voiced Gorcey, the later stooge Huntz Hall, and the likable Jordan, for example. And Bogie is the main gangster. We only see two gangsters for most of the film, and it moves at such a great pace that we forget it is only a meager setting, basically a city block. Bogie's bad guy would shine today. He goes back to his old neighborhood to see his mother and ex girlfriend, and their reactions, and his, are totally believable. This film is so well written, that modern gangster film writers are put to shame. No wonder they try to hide this film. There is so much in this film, that it is hard to say more without writing an essay, but it is exciting, dramatic, and adventurous all at once. All the actors, and all the crew, shine.

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