Dead End Page #3

Synopsis: The Dead End Kids are introduced in their intricate East Side slum, overlooked by the apartments of the rich. Their antics, some funny, some vicious, alternate with subplots: unemployed architect Dave is torn between Drina, sweet but equally poor, and Kay, a rich man's mistress; gangster Baby Face Martin returns to his old neighborhood and finds that nobody is glad to see him. Then violent crime, both juvenile and adult, impacts the neighborhood and its people.
Director(s): William Wyler
Production: MGM
 
IMDB:
7.4
Rotten Tomatoes:
89%
APPROVED
Year:
1937
93 min
484 Views


He learns fast.

Remember the time

I moved around here?

I was wearin' white socks

and wouldn't curse.

You guys thought I was a sissy.

- Except me, Tommy.

- Yeah, except you.

Everybody else

I had to beat the pants off of first.

Yep, fellas.

It all comes from learning.

Give me three and make 'em good.

- I'll take two.

- Five.

For years we been telling him

he can't take five.

Five he keeps sayin'.

- Four.

- You can only take three.

Gimme one.

I'm takin' two.

- Hiya, guys.

- Hiya, Tommy.

- Whatcha playin' for?

- We're just owin' today.

Deal me in the next hand, huh?

- Okay, Ange, what do you do?

- I blow.

- Blow me.

- What do you guys want?

- Get the...

- Get out.

Go on.

Get outta here.

That crazy brother o' mine.

Anybody see the rich kid?

Don't worry,

we been on the lookout for him.

Hey, T.B., feel that bump.

Just feel it.

- Me old man give it to me.

- For what?

For nothin'. Just like that.

For nothin'.

- So he comes in drunk.

- Hey.

- You're not coming up?

- Jean, I can't.

You can't, you can't.

You mean you don't want to.

That's what you mean, isn't it?

Isn't it?

Yes. That's what I do mean.

Yeah, lady.

I guess he ain't comin' up.

Hey, Blondie, wouldn't I do instead?

Go stick your head in a spittoon.

So like I was tellin' you.

So he comes in sopping,

so he coulda been sponged.

And he starts beating me old lady.

- What's so funny about that?

- So nothing's funny...

...'cause then he picks up a chair

to wallop me with.

What'd you do then?

So I grabs a kitchen knife.

That big.

And I says, "Touch me, you rat,

and I give you this. "

Yeah, so what's he do?

So he falls on the floor

and goes to sleep and snores.

Like that.

Right on the floor

he goes to sleep.

You find Francey?

Well, where is she?

She ain't comin' over right away because

you said not to give her your name,

so she's comin' over

when she gets out of bed.

'Course, she don't know it's you.

She seemed kinda busy,

your Francey.

- What're you talkin' about, clown?

- Nothin'.

Hey, who's the leader of this gang?

- Me. Who wants to know?

- We're from up the block.

- Yeah? Well, fly back there.

- You tell him.

- You wanna fight our gang?

- Okay.

- Okay, fellas?

- Sure.

- Certainly.

- Saturday, four o'clock?

- Okay. Saturday, four o'clock.

- Okay.

No bottles or rocks,

just bare knucks and sticks.

- Flat sticks. No bats, okay?

- Okay.

Hey, come on back here a second.

- Look, fellas.

- Take it easy, Moe.

The mark of the squealer.

Good one, too.

Go on, beat it.

Beat it, wise guy.

Shine, mister?

Okay.

- What's the mark?

- Don't you know nothing?

The mark of the squealer.

It's what you get when you squeal.

Just keep it in mind.

Yeah. Just keep it in mind.

- So your fight's at four o'clock.

- Yeah.

Yes, sir.

We'll be there right on the minute.

That's the wrong way.

Get there early, earlier than you said.

Then they won't be ready for ya.

- Yeah?

- Yeah.

And get yourself some

old electric bulbs and throw 'em.

Then you throw

a couple of milk bottles, see?

When some of the other kids

get hurt, then you charge 'em,

but not before, see?

Can't. We made up no milk bottles,

only bare knucks and sticks.

You made up. Listen, kid,

when you fight, the idea is to win.

It don't matter how.

And in gang fightin',

you take out the tough guys first.

A stocking full of sand

and rocks is good for that.

And if that don't work, a knife will.

No knives.

Gee, that ain't fair 'cause we...

Ain't fair, huh? Fancy talk.

Suppose some other kid

pulls a knife on you?

Then I pulls one on him.

Like...

Lend me.

Like this.

- Like this.

- Come on. Quit it.

See that?

Pot shot!

Boy, what a pip!

I know. You flick.

- You do it this way.

- Tommy, put that knife down.

- Pretty good, huh?

- Teaching him tricks, are you?

You were always good at that.

Mind your business. I mean it.

I don't like you around here,

so don't stay too long.

See your old lady and get out quick.

Hey, you got a visitor.

Your swell girl.

She just went in looking for you.

- What are you talking about?

- Talkin' about your girl.

She just went in

looking for you, I guess.

She sure wasn't lookin' for me.

Quit it. Quit it, can't you?

That coughing's driving me crazy.

All day and all night.

All the time it goes.

- Where you goin' now?

- Where do you think?

To earn some dough

so I can pay the rent to hear you cough.

Well, do you think you'll know me

now that you've seen me?

Excuse me, lady.

That's twice in a row.

You're a dog.

- How do you do it?

- Boy!

Hey, look, I've got a hair.

- Baby, that's some hair.

- Oh, that's a beauty.

- Akeys akeys haffies?

- What for?

Come on, I said akeys.

I said haffies.

What for? I won 'em,

but before I won 'em

I lent 'em to T.B. so he could play.

Come on, haffies

or I'll kick you in the slats.

Hey, Tommy, do I gotta give him?

Nah. He didn't have

his fingers crossed.

- I'll choose you.

- You think I'm some dope?

Yeah. A dope what smells on ice.

Stand up to him, Milty.

Stand up to him.

What's the matter?

You want to fight?

- Yeah!

- You do?

- Yeah.

- Well, join the army.

You crumb.

Atta boy, Milty.

- Hey, Angel.

- What?

I'll swap you something

for the knife.

- You ain't got nothin' to swap.

- Well, loan it to me.

No, I need it.

Honest, I need it.

Look, Angel,

I'll give you eleven cents for it.

Sure. It only cost ten.

I don't care. Here, Tommy.

- You mean you're giving it to me?

- Yeah. You can keep it.

Gee, thanks, Milty.

That's swell. Thanks.

- That's nothing.

- Thanks a lot.

I'll wait here.

Well, go on.

Boy, oh boy, oh boy.

Gee, that's a nice watch you got there.

What time is it?

A minute and a quarter past

half past four.

T.B.

I got T.B.

Come on, fellas,

I got something great to show you.

Okay, okay.

- You wanna come see?

- No, he can't see.

Why not?

He's a good kid.

This is only for the gang.

Only for the gang.

What is it?

Gee, I can't tell you, but,

boy, it's something great.

- Will you get the lead outta your pants?

- Hurry up.

Too bad they won't let you see it.

Boy, you never saw

anything like that before.

- I don't care anyhow.

- It'll only take you a minute.

Hey, fellas, let him

come and see, will you?

He's okay, no kiddin'.

- Well, all right. Let him come.

- Come on.

- Come on.

- Well, I don't know.

- All right.

- Wait, wait. I'm coming.

I've got a club here.

Mom. Mom.

How are you, Mom? It's me.

It's me. I only had my face fixed.

You no-good tramp.

Mom, ain't you glad to see me?

That's how glad I am.

You dog.

You dirty yellow dog, you.

Mom, what kind of talk is that?

Don't call me Mom.

You ain't no son of mine.

What do you want from me now?

Nothin'.

Then get out of here...

before I crack your face again!

Get out of here.

I killed a guy for lookin' at me

the way you are now.

Yeah...

you're a killer all right.

You're a murderer.

You're a butcher, sure.

Why don't you

leave me forget you?

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Lillian Hellman

Lillian Florence Hellman (June 20, 1905 – June 30, 1984) was an American dramatist and screenwriter known for her success as a playwright on Broadway, as well as her left-wing sympathies and political activism. She was blacklisted after her appearance before the House Committee on Un-American Activities (HUAC) at the height of the anti-communist campaigns of 1947–52. Although she continued to work on Broadway in the 1950s, her blacklisting by the American film industry caused a drop in her income. Many praised Hellman for refusing to answer questions by HUAC, but others believed, despite her denial, that she had belonged to the Communist Party. As a playwright, Hellman had many successes on Broadway, including Watch on the Rhine, The Autumn Garden, Toys in the Attic, Another Part of the Forest, The Children's Hour and The Little Foxes. She adapted her semi-autobiographical play The Little Foxes into a screenplay, which starred Bette Davis and received an Academy Award nomination in 1942. Hellman was romantically involved with fellow writer and political activist Dashiell Hammett, author of the classic detective novels The Maltese Falcon and The Thin Man, who also was blacklisted for 10 years until his death in 1961. The couple never married. Hellman's accuracy was challenged after she brought a libel suit against Mary McCarthy. In 1979, on The Dick Cavett Show, McCarthy said that "every word she writes is a lie, including 'and' and 'the'." During the libel suit, investigators found errors in Hellman's popular memoirs such as Pentimento. They said that the "Julia" section of Pentimento, which had been the basis for the Oscar-winning 1977 movie of the same name, was actually based on the life of Muriel Gardiner. Martha Gellhorn, one of the most prominent war correspondents of the twentieth century, as well as Ernest Hemingway's third wife, said that Hellman's remembrances of Hemingway and the Spanish Civil War were wrong. McCarthy, Gellhorn and others accused Hellman of lying about her membership in the Communist Party and being an unrepentant Stalinist. more…

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Submitted on August 05, 2018

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