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I like the storyline of this show,it attract me so much

Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

True to its essence, the characters remain on the same line and manage to entertain the viewer, each highlighting their own distinctive qualities or touches.

It’s sentimental, ridiculously long and only occasionally funny

The contrast between rich and poor is the backdrop of William Wyler's excellent social-commentary/crime-drama "Dead End", as luxurious apartment buildings, in which there seems to be non-stop parties, look down (figuratively and literally) on the struggling inhabitants of the east-side slums. The story follows the exploits of group of street kids (The Dead End Kids – the birth of a franchise that, as "The Bowery Boys" survived into the late '50s), a young couple (McCrea and Sidney) who dream of getting out, and a gangster (Bogart) who did make it out but felt the need to return and reconnect with his family and old girlfriend (Clair Trevor). The cast is uniformly excellent, especially Bogart and Marjorie Main, his mother (a long way from the Kettle farm), the script tight, the cinematography imaginative and effective, and the story compelling. Standout moments include Main's confrontation with her son, the odyssey of Wendy Barrie's wealthy socialite character into the tenement to find McCrea, and Bogart's meeting with his ex-girlfriend, now a syphilitic prostitute. The movie is about as harsh and bleak as post-code Hollywood would permit. McCrea's years of college hasn't gotten him out of the slums, Sidney's endless toil and sacrifice for her brother doesn't keep him from reform school, yet Bogart's murderous criminality has made him rich. Ironically, the hope at the end for McCrea and Sidney comes not from their hard work but from the reward that McCrea will get for shooting Bogart. The only one to have 'gotten out' is Wendy Barrie, who as a wealthy man's mistress begs comparison with Claire Trevor's prostitute.

The art direction and the cinematography in this film is exceptional, you can tell from the opening scenes.William Wyler shows a New York of the depression where the poor live like rats in the slums and the rich are encroaching towards the river with their fancier houses. An early version of gentrification.In Dead End we see the rich and poor, the law abiding and the gangsters all mingling together and trying to survive. Nobody seems to like the cops and the local rascals, the dead end kids are passing the time and making a nuisance of themselves.Humphrey Bogart makes a cameo as a wanted hoodlum who has had plastic surgery and come to see his mother. However I found his scenes to be just ordinary and I expected more from him. The Dead End Kids were just irritating, they all needed to be herded to reform school.The film has sadly aged and the script came across as rather preachy and antiquated.

The element that prevented my enjoying this film wholeheartedly was the sound; in 1937 they had yet to perfect the sound department and provide 'natural' sound which includes 'atmos' the normal background noise that you would expect to hear especially in a movie like this where 90% of the action occurs in the street. Though set in the street it was clearly shot in a studio and the mic was in a soundproof booth so that what we hear is 'clean' sound which is, of course, unnatural. Screenwriter Lilian Hellman has 'opened out' the Broadway play as little as possible so that no imagination is required to visualise the story on stage. Probably the stage version of Street Scene was very similar. Wyler retains the theatricality by having the disparate characters come together in an area no larger that a Broadway stage and exaggerate the social divisions. The drawback in this approach is that the characters don't seem quite real and give the impression that they are playing solitaire just out of camera range while waiting for their cue to move to stage centre, say their lines and exit. Having said that there are several fine performances to admire and it remains watchable close on eighty years later.

Cinema has always had an uneasy relationship with the theatre. By their nature stage plays tend to have very long scenes and base everything around dialogue, and there is something in the power of having real life players there in front of you that makes this workable. But there is also something about the very specific visual form of cinema that makes straight adaptations of stage plays potentially very boring.The way in which this can be overcome, other than completely restructuring the source text, is by ensuring that the picture keeps moving and keeps storytelling on a visual level. You see, perhaps the most important difference between stage and screen, is that in the theatre every audience member sees things from a slightly different angle or distance – there is no universal perspective, and theatre directors have to ensure that everything is clear whichever seat it's seen from. But in the pictures everyone sees the exact same image at any given moment, and a screen director must find the best camera placements and shot arrangements. Fortunately for Dead End, this screen director William Wyler was among the best and most inventive users of space on screen. For starters, look at how the shots of the rich folks contrast with those of the poor ones. In the former, the camera mostly keeps an aloof distance, and everything is picked out in crisp white. In the latter, the camera is closer to the action, and the image is filled with mottled shades of grey.The other very important thing in adapting stage plays to screen, is to ensure the performances are presented as well as possible, in order to give cinema audiences a taste of that same atmosphere and presence they would feel in front of a stage. Wyler also happens to be especially good at this. In particular he is bold enough to focus us on just one facet of a performance, sometimes keeping a character with their back to the camera and not showing us their face, forcing us to focus more on their posture, or the reaction of the opposite person. He also keeps the entrances of characters in keeping with their nature – for example having Humphrey Bogart smoothly slide into the frame, or craftily appear in the background as other figures move aside.And the performances pay off big time. This was still a period in which an actor like Bogart was unlikely to be anything but a villain, but his appearance here surely raised his profile considerably and put him one step closer to those heroic leads. He adds some incredibly subtle yet effective touches – for example, when Joel McCrea gives him the cigarette, look at how he pauses before grudgingly lowering his head to accept the lighted match, as if this tiny stretch is some extreme display of generosity on Bogart's part. Joel McCrea is one of those actors (like, say, Gary Cooper or Van Heflin) who doesn't look like he ought to be a good actor – he looks like he ought to be an absolute hunk of wood – but he isn't. This is probably his finest performance. It's also the best I have seen from Sylvia Sidney. And of course there are those kids, every one of them a character.The strange thing to consider about the acting in Dead End, is that all the performances are essentially one-dimensional – but in the best possible sense. Bogart is continually a mean and moody presence, moving and speaking slowly, submerging his feelings under a veneer of hard-hearted masculinity. In so doing he fulfils his character's placement as the symbolic archetypal gangster figure. Sylvia Sidney is the eternal independent working class lass, while McCrea is the honest, level-headed working man, and even when he turns to violence it seems not so much character development but merely the natural result of his principled persona in extreme circumstances. Claire Trevor, in her portrayal of the prostitute-moll, has the very opposite tone to the measured performances of Bogart and McCrea, all venom and fragile emotion. Of such things many a Best Supporting Actress nomination is made.The odds were perhaps stacked in the filmmakers' favour with Dead End, it being a very engaging and punchy play that lends itself well to the cinematic medium. Of particular appeal is the way it begins as a kind of plot-less social study, but gradually a story emerges as the character's lives become interwoven. Still, it is the superb efforts of Wyler and his cast that really bring this one to life.