One day, I accompanied a friend who wanted to show it planned to buy a house because he wanted my opinion about it. Convinced that the observation must go beyond housing to consider the environment, I took tremendous surprise when, in the midst of this humble neighborhood of steep streets and cracked, with wet and poorly constructed housing, and with difficult access for any vehicle on a plateau emerged, terribly conspicuous, an imposing mansion, flashy and full of comforts. It was not hard to imagine what kind of person could occur to such an idea, but the scenery was more bizarre and distasteful.
Seeing the movie by William Wyler "DEAD END", I find that it was not unusual that I witnessed that day. We, then, in the New York of the 30s (20th century), where some rich, attracted by the picturesque landscape of the river with its monumental bridges, opted to build their luxurious homes in the midst of extreme poverty and contrast housing. Of course, integration does not exist. They guard their homes with armed guards, demanding the constant presence of the authorities and look with complete indifference to those who are not like them.
The poor, meanwhile, are accustomed to learning their disdain and even to mock it. And occasionally, someone charged, somehow, the stingy attitude with which they treat their fellow men. It is found here a bunch of mischievous boys who skirts the crime, and between them and the sudden presence of "Baby Face" Martin, the new gangster appeared in the neighborhood, things will have a strong significance throughout a whole day.
With an uplifting script, written by Lillian Hellman (second of four collaborations that would occur between them) based on a play by Sidney Kingsley, director William Wyler lucidly recreates that atmosphere of balance and full of contrasts where the most ominous is bright, perhaps the gradual discovery of his own life, is taking the tanning Martin. Humphrey Bogart makes a secondary role effectively protagonist and his character is of greater significance and penetration throughout the film.Joel McCrea, as the man who beat her mischievous teens to become a professional candle for peace in the neighborhood, weighs much less at the deep nuances with which he recreates silk dress gangster who now finds that "flourished" at the expense of the dearest.
Attention is also drawn to the gang, represented by a group of young actors who first became known in theatrical representation, which caused such an impact with this film, which began to be called the "Dead End Kids", and as a group appear more then six films with notable success.
If you want to witness the deplorable social contradictions that still face in our society, this is the kind of movie you can not miss.
Seeing the movie by William Wyler "DEAD END", I find that it was not unusual that I witnessed that day. We, then, in the New York of the 30s (20th century), where some rich, attracted by the picturesque landscape of the river with its monumental bridges, opted to build their luxurious homes in the midst of extreme poverty and contrast housing. Of course, integration does not exist. They guard their homes with armed guards, demanding the constant presence of the authorities and look with complete indifference to those who are not like them.
The poor, meanwhile, are accustomed to learning their disdain and even to mock it. And occasionally, someone charged, somehow, the stingy attitude with which they treat their fellow men. It is found here a bunch of mischievous boys who skirts the crime, and between them and the sudden presence of "Baby Face" Martin, the new gangster appeared in the neighborhood, things will have a strong significance throughout a whole day.
With an uplifting script, written by Lillian Hellman (second of four collaborations that would occur between them) based on a play by Sidney Kingsley, director William Wyler lucidly recreates that atmosphere of balance and full of contrasts where the most ominous is bright, perhaps the gradual discovery of his own life, is taking the tanning Martin. Humphrey Bogart makes a secondary role effectively protagonist and his character is of greater significance and penetration throughout the film.Joel McCrea, as the man who beat her mischievous teens to become a professional candle for peace in the neighborhood, weighs much less at the deep nuances with which he recreates silk dress gangster who now finds that "flourished" at the expense of the dearest.
Attention is also drawn to the gang, represented by a group of young actors who first became known in theatrical representation, which caused such an impact with this film, which began to be called the "Dead End Kids", and as a group appear more then six films with notable success.
If you want to witness the deplorable social contradictions that still face in our society, this is the kind of movie you can not miss.