Dead End (USA 1937)

Dead End (1937, USA)

Directed by William Wyler, based on playwright Lillian Hellman's adaptation of the play by Sidney Kingsley

Cast: Sylvia Sidney (Drina), Joel McCrea (Dave), Humphrey Bogart ('Baby Face' Martin), Wendy Barrie (Kay), Claire Trevor

(Francey) and others.

Goldwyn entrusted William Wyler, who arrived from Europe, with the task of transferring the play “Dead End” to the screen, which was a great stage success. The piece by Sidney Kingsley was hugely popular on Broadway and London's West End London. “Dead End” is a naturalistic drama that shows the influence of the environment on the formation of character and the relationship between wealth inequality - and crime. The art action, set in a New York neighborhood, takes on the theme of social engagement against the background of the stratification of street culture with the world of luxury apartments. Goldwyn acquired the rights to the film for $165,000, winning the competition with other bidders. Because Sidney Howard — as the author — was unavailable for the film, Goldwyn wanted the play's adaptation to be handled by a prominent author — Lillian Hellman. The cast includes Sylvia Sidney as Drina, Joel McCrea as Dave Connell and Humphrey Bogart as “Baby Face” Martin. Goldwyn, preferring to work in controlled studio conditions instead of shooting outdoors, decided to build an extensive set design, even though Wyler cared about the authenticity of the photographs. Goldwyn's pursuit of aesthetic order conflicted with the director's vision. In the end, a compromise was reached in which Wyler exploited the artificiality of the film through European expressionist techniques, thus reflecting the theme of closure present in theatrical art. The Hellman adaptation introduced significant changes to Dave's character, portraying him as an American hero, abandoning the original image of a flawed philosopher. This change, accepted by Kingsley, made Dave an active and committed character, placing more emphasis on action than on internal distractions. Kay's character, on the other hand, arouses less sympathy, and her relationship with Dave is portrayed as less relevant. There is also a change in the character of Baby Face Martin, who becomes a man of nostalgia and regret — all in all, the charming personification of a 1930s gangster who finds himself at a dead end and unable to reconcile the past with the present. The film shifts the focus from economic inequality to character development, portraying the slum environment as a place that restricts individual freedom. Wyler's direction, combined with shots of the great cinematographer Toland (common to Wyler and Welles), creates a dark, depressing atmosphere, reflecting the changing attitudes of society towards gangsters in the New Deal era. The creation of Baby Face Martin - a gangster riddled with remorse - emphasizes the anachronism of the gangster figure in modern America, creates him on the model of a fascinating anti-hero. The film's “Dead End” is softer than theatrical because it reflects a cautious optimism about the prospect of Roosevelt's second term, which will soon be overshadowed by mounting political turmoil in Europe and another economic slowdown in the United States. Wyler - a leftist director - will make adjustments to his optimism in the next films.

Admission is free!

We present to you the timetable for the latest screenings: Academy of Forgotten Film Masterpieces — Theatre in Cinema

ACCESSIBILITY

You can read the information about the availability of the building on the WEBSITE

If you need more information or would like assistance, please contact the Accessibility Coordinator: dostepnosc@ddkweglin.pl