Depression-era poverty, slums and crime provide the themes for DEAD END, Sam Goldwyn's film production of the popular Sidney Kingsley play. Well meaning and once considered hardhitting, this celebrated social drama now seems rather mawkish and quaint. The message is not just that these
impoverished surroundings can be a cradle for crime but that good folks may also be brought up on these mean streets.
After ten years of pursuing a criminal career, escalating from robbery to murder, Bogart returns to his old New York City neighborhood. Disguised by extensive plastic surgery, he wants to see his mother (Main) and his old girlfriend (Trevor) while avoiding a nation...