writers_reign This is as good an example as any of how you can get a cast to die for, a first-rate screenwriter adapting a best-selling novel and a first-rank director and still wind up with something that's ho hum at best. Lt's talk about that cast; James Mason in his fourth Hollywood movie following a rise to the top in England, Barbara Stanwyck, at the peak of her game, Van Heflin rapidly establishing himself as a leading man after making his name on Broadway in The Philadelphia Story, Ava Gardner, showing she could turn in a half- decent acting job despite being drop-dead gorgeous, Cyd Charisse, not yet the great dancer but a more than competent ingenue, Gale Sondegaard, in a rare sympathetic role but unconvincing only as someone old enough to be Stanwyck's mother and William Conrad still fluctuating between heavy and hero. Put all these against a lush New York background and decide whether we're talking melodrama or crime thriller. That, unfortunately, is a choice ducked by all hands but it's still worth watching for that standout cast.

tomsview What a cast. I can enjoy this movie for that reason alone, and the stars really strut their stuff.The film is set in New York just after WW2. Jessie and Brandon Bourne (Barbara Stanwick and James Mason) a couple whose marriage has been jolted by his adulterous affair with Isabel Lorrison (Ava Gardner), try to put it behind them and move forward.However Brandon has a tendency to hang around the Del Rio nightclub where he meets young model, Rosa Senta (Cyd Charisse). Unfortunately, it's just at that moment that Isabel Lorrison arrives back on the scene and back into Brandon's life, despite his attempts to stay true to Jessie.At a party, Jessie meets Rosa's boyfriend, Mark Dwyer (Van Heflin), an intelligence operative and ex-cop turned novelist who has just returned from Europe. After a lot of musical chairs reshuffling of relationships, Rosa becomes the only one unseated while Jessie and Mark become an item, and Brandon can't help his attraction to Isabel. He explains to Jessie that his attraction is like a drunk who knows liquor will wreck him, but can't stop himself.When a murder takes place, Mark Dwyer's instincts as an ex-policeman take over. He actually walks into the murder scene and virtually runs the investigation – I guess that's why crime scene tape was invented to stop things like that happening – the case is solved but a lot of relationships change before the end.Although the story is pretty crazy, and would give any modern soapy a run for its money, "East Side, West Side" has a literate script with touches of wit, giving the stars plenty to work with. With that said though, Barbara Stanwick plays a role that she could put on like a dress straight from her wardrobe – she plays it well, but of course she did have plenty of practice.James Mason, he of the mellifluous voice, was always a scene-stealer, and smooth-talking cads like Brandon were his forte. On the other hand, Van Heflin was at his best as the honest, understanding, tower of strength. Whenever he played bad, it was so against type that Academy Awards weren't out of the question à la "Johnny Eager".Although their characters are different, the presence in the same film of both Ava Gardner and Cyd Charisse, two of the most beautiful women ever in movies, seems like overkill. On television shows like "MasterChef" and "Top Chef", when a contestant overdoes the spices, the dish can end up with just too many flavours, and that's what I felt when Ava and Cyd face each other in the same scene – you hardly know which way to look."East Side, West Side" has that indefinable MGM gloss plus a distinctive Miklos Rozsa score, but the stars make this movie; to paraphrase Norma Desmond in "Sunset Boulevard", "They had faces then".

dougdoepke Louis Mayer's MGM had a certain philosophy about high-class soap opera—load the script with stars, glamour, and sophistication, and the story won't matter much because audiences pay attention first to what they see and only secondarily to what they hear. Okay, so I fell for the powerhouse cast. But not even the luscious Gardner or Charisse was enough to compensate for this over-written, over-long "will she leave him or won't she" turkey. It's one talky static scene after another with a desultory murder thrown in. I should have known trouble awaited the other side of that smarmy prologue about New York being "my town".Too bad that Director Le Roy walks through the staging, while Mason appears interested only when dialoging with Sondergaard. At the same time, stuck in a drab, colorless role is the normally gritty Stanwyck. I kept waiting for her long-suffering wife to show some typical Stanwyck fire, but she remains pulse-challenged throughout. Apparently, the normally low- key Heflin sensed the boredom since his high-spirited good guy threatens at times to go over the top. Then too, his instant attraction to Stanwyck over the appealing Charisse remains as much a mystery as the murder itself. I guess it's left to Nancy Davis (Reagan) to hit the right dramatic note and deliver the movie's message— It's true, despite the conflicts over men, women can be friends. With these 1940's sophisticated types, I guess that's a message worth delivering.There are two points of interest. It's clear that Gardner's femme fatale has a sexual hold over Mason's chronic philanderer, rather explicit for the time. But the tension is undercut by Mason's lack of conflicting emotion when confronted with her raw appeal. It's almost like director LeRoy wants to imply the lack of character instead of showing it. Second is the movie's high point that comes out of nowhere. That's when muscular blonde Beverly Michaels all but decks Heflin in the front seat of a car. Their spirited tussle is more riveting and energetic than the rest of the film combined.True, Mayer's astute philosophy got me in the door, plus I enjoyed scoping out Gardner and Charisse, but I'd like my proverbial money back, anyway.

MartinHafer The film begins with James Mason at a nightclub trying to make time with a young lady (Cyd Charisse). Charisse isn't and realizes he's a married man. Oddly, despite this, Mason is NOT interested in a fast woman who also enters the scene. It seems that Ava Gardner had, in the past, had an affair with Mason--and he wanted nothing to do with her again--as she was clingy.You then find out that Mason's sad wife is Barbara Stanwyck and she knows about this previous fling with Gardner. She is desperately hoping to get on with their lives--and is scared when Gardner approaches her to announce she's going to steal Mason! Stanwyck acts brave--but it's obvious she's shaken.A short time after this showdown, Stanwyck learns that Gardner is dead and the viewer is uncertain who did it. Stanwyck, you know, didn't do it. But, Mason might have. Or, perhaps some third party did the deed. The only thing you know for sure is that Gardner's character had it coming!! Fortunately, Heflin just so happens to be a retired cop. And so, while he's VERY interested in Stanwyck, he also has a chance to help out by figuring out who committed the crime.This film has a terrific cast--Barbara Stanwyck, Van Helfin, James Mason and Ava Gardner. And, with the material they were given, the actors did a fine job--particularly Miss Gardner who played a wonderfully evil part. The problem, however, is that the film rarely seems believable and the writing, as another reviewer stated, was rather 'pedestrian'. Surely with so much acting talent you'd think they'd be able to come up with THIS! One of the worst problems with the film is the character played by Stanwyck. It was a very thankless role--a woman whose husband has cheated on her yet cannot let the rat go. Viewers are inclined to be a bit annoyed by her needy character--especially when, otherwise, she is supposed to be strong and intelligent. Another problem is the relationship between Heflin and Stanwyck. While you could see them fall in love and this makes for a very interesting twist (the injured wife finding love herself with another man), it all happened way too fast. They just met and then there was an instant attraction--something that rarely happens in real life and which cannot be understood by the viewer based on their meeting. It was simply too rushed and as a result, difficult to believe. All in all, it should have been a lot better and the film is a stylish but not especially inspired soaper.If you do watch this, there is only one standout scene in the film. Watch Heflin in the car with the blonde. The scene is great...and really brutal---and very reminiscent of film noir. I just wish the rest of the film had been that tough and unflinching. Also, keep an eye out for William Conrad as a cop. He looks a lot like his days as 'Cannon' but with a bit more hair--and that same wonderful voice!