Joaquim da Silva Fontes, Significação e Estabilidade do Género no ...

Figure 61. Where the Sidewalk Ends Figure 62. Where the Sidewalk Ends
particular scenes, the viewer can see the skilled cinematography and film direction of
Where the Sidewalk Ends, and its visual treatment of themes such as the psychological
pressure of guilt and liberation.
Where the Sidewalk Ends was the last of Otto Preminger’s studio pictures at Fox.
Along with Laura and Fallen Angel, the film constitutes an important noir trilogy of
Preminger as auteur. When watching his films, apart from a remarkable, fluid mise-enscène
and singular camerawork, his consistency in maintaining the moral ambiguity of his
characters is notable. In fact, the characters displayed in these three films all have a
primary struggle within themselves; Preminger’s crowded mise-en-scènes (see figs 61 and
62) are filled with incredible tension. In this way, Preminger has a rather unique way of
highlighting interpersonal dynamics with scenes that intensify the characters’ aggressive
relationships with one another. This in fact constitutes his personal hallmark, an approach
of detachment and neutrality towards his characters and above all with his audience. In an
article called “Why Preminger?” published in the magazine Movie in November 1962, the
answer to this question, when analysing Preminger as an auteur, is essentially revealed in
his directorial attitude:
His aim is to present characters, actions and issues clearly and without prejudice.
This objectivity is a mark of his respect for his characters and, particularly, for his
audience. He presupposes an intelligence active enough to allow the spectator to
make connections, comparisons and judgements (...) His films are about ways of
reaching decisions – on facts and on courses of action (...) Fluidity (of
development, not indecision) distinguishes Preminger’s visual style as it
distinguishes his narrative method and his moral attitude. (Wood 1962:18)
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