"The Dark End of the Street" is a "problem" drama, which starts promisingly in capturing a modern urban milieu and convincing street characters. Unfortunately, writer-director Jan Egleson quickly loses his handle on the narrative and the picture drifts away.
Set and shot in Cambridge, Mass., the story concerns a young couple: Donna (Laura Harrington) and Billy (Henry Tomaszewski) working at mundane jobs and hanging out with the crowd at a nearby housing project at night. One night they're up on the project roof when a Black friend accidentally falls to the ground. They cover up the incident, fearing Billy will be collared by the police. When the brother of Donna's girlfriend Marlene (who happens to be Black) is arrested in the incident and the boy dies in the hospital of his injuries, Donna is put on the spot.
Egleson does not stick to this developing story, but instead largely writes Billy out of the film to focus on Donna and her home life. By going off on a tangent, he leaves the central conflicts and problems up in the air, confounding the viewer's interest. Conclusion has Donna admitting the incident and regaining the friendship of Marlene, with the other character and the story's racial angle in limbo.
Forced to carry the picture almost single-handed, Laura Harrington, a teenager, is up to the task and provides the energy often lacking in Egleson's aloof direction. Henry Tomaszewski as Billy is stymied by an underwritten role, while the supporting cast must only play straight to Harrington.
Filmmaker's realistic bent is aided by effective location photography and lighting. Sound is okay, though Egleson has allowed cast to throw away lines (in direct sound format) at will. Best prospects are in regional showings and campus dates.
My review was written in June 1981 after a Manhattan screening.
Set and shot in Cambridge, Mass., the story concerns a young couple: Donna (Laura Harrington) and Billy (Henry Tomaszewski) working at mundane jobs and hanging out with the crowd at a nearby housing project at night. One night they're up on the project roof when a Black friend accidentally falls to the ground. They cover up the incident, fearing Billy will be collared by the police. When the brother of Donna's girlfriend Marlene (who happens to be Black) is arrested in the incident and the boy dies in the hospital of his injuries, Donna is put on the spot.
Egleson does not stick to this developing story, but instead largely writes Billy out of the film to focus on Donna and her home life. By going off on a tangent, he leaves the central conflicts and problems up in the air, confounding the viewer's interest. Conclusion has Donna admitting the incident and regaining the friendship of Marlene, with the other character and the story's racial angle in limbo.
Forced to carry the picture almost single-handed, Laura Harrington, a teenager, is up to the task and provides the energy often lacking in Egleson's aloof direction. Henry Tomaszewski as Billy is stymied by an underwritten role, while the supporting cast must only play straight to Harrington.
Filmmaker's realistic bent is aided by effective location photography and lighting. Sound is okay, though Egleson has allowed cast to throw away lines (in direct sound format) at will. Best prospects are in regional showings and campus dates.
My review was written in June 1981 after a Manhattan screening.