Rejection of ambient sound depends quite a bit on the the nature and direction of the sound. A hypercardioid or supercardioid can have a longer reach if the back of the capsule faces away from any sound, like in a big space, you can point the back up in the air. In a small studio that also works if you point it at the soundproofing. There's a million things that affect what the mic picks up, rumble hissing, etc, they all have different characteristics. Best thing is always to try first. I don't see a lot of 50s in the field, but that doesn't mean it is or isn't the right mic for you. Theoretically, the 416 should reach farther than the 50, but I still prefer the Schoeps MK41 to either.

I prefer the sound of the Schoeps to the Sanken--actually, I prefer the MKH41 to almost any mic. If I don't need the reach, the MKH40 is warmer, but you really can't go far wrong with the 41. But sometimes you really need a shotgun, of course.
I will say that I see a lot of 41s in all sorts of places, but that doesn't mean it's great, it's just used a lot. But there could be a reason it is used a lot. It has surprising good reach for a supercardioid. It really depends on what you are recording and what you want the final sound to be. Most of the stuff I see is kind of dry and scrapey sounding, but that is a sort of standard, some clients expect that. For almost any kind of music the 41 is superb. For interviews I tend to prefer a fatter sound, but if ambient noise is an issue, that's the overriding factor. I've also regretted using the 40 instead of the 41 a few times, it is a bit more tricky to place.

The MKH40 is the best. If you need a narrower pattern go with the Schoeps 41.