Customer Reviews

Street Scene [VHS]

5 star:		(5)
4 star:		(3)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

I bought this DVD as I'm a big fan of Sylvia Sidney and King Vidor. She looks wonderful, with a slightly different look from her more familiar late thirties incarnations. Vidor, on the other hand, is somewhat hampered by the constraints that were necessary in the early talkie period. When there is movement in the film it appears to have been shot silent (with added sound), otherwise the film is often rather static. Thus, although this film is similar in some respects to The Crowd, focussing on the lives of ordinary city dwellers, it cannot be said to be an advance in directoral terms. The story of the film is mature and adult, dealing with issues such as infidelity, prejudice and the damage of interfering gossip. There is not much glamour in this film and this makes it unusual for the period and certainly more serious. As with most early talkies, one of the problems with this film is the sound. At times one has to strain to hear the dialogue. The picture quality on the whole is fine, there are however some occassional jumps where a few frames have been lost. On the whole, this is a good example of an early talkie film and is well worth seeing. For Sylvia Sydney fans it is a must, even if she doesn't show up for nearly half an hour. Also for those obsessed with It's a Wonderful Life, it is worth noting the appearance of Belula Bondi (Jimmy Stewart's mother) in Street Scene. She looks much the same.

Gripping, realistic account of the lives of the inhabitants of New York tenements, during the Depression years, based upon the Pulitzer Prize winning play by Elmer Rice.

Long before the Neorrealistic Movement began in Italy, Samuel Goldwyn produced this great picture which depicts the miseries and hardships of a group of working class characters, directed with skill, intelligence and in a very "naturalistic" way, by master director King Vidor, who excelled in this kind of films, dealing with social issues ("The Big Parade" (1925), "The Crowd" (1928), "Hallelujah" (1929) and "Our Daily Bread" (1934)).

Sylvia Sidney is magnificent and displays great acting skill in the role of a working girl; she looks pretty, charming, "petite", naive, conveying all the frailty and helplessness her character requires. William Collier Jr. portrays convincingly an idealistic young jewish College-educated lad, who is in love with Sidney's character.

Beulah Bondi is great as well, as a gossipy, mean, bitter woman who's married to a drunken, no-good man. Estelle Taylor is efficient as the basically nice, doomed, adulterous mother of Sylvia Sidney's character. Also in a cast full of stage actors, character player John Qualen, interprets very well a Scandinavian immigrant who works as the janitor of the building in which the events take place.

Great landmark score by legendary composer Alfred Newman, which is reminiscent of George Gershwin's "Rhapsody in Blue". Great camerawork for a movie that was filmed during the first years of Sound Pictures, when films were usually stagey and static.

The transfer is far from perfect but, in my opinion, is decent, considering the age of the film.

In a New York slum street on a hot, sweltering summer night, an adulterous woman is shot by her husband. Based upon Edgar Rice's Pulitzer-Prize-winning play about the lives of people who live on one West Side Manhattan street proved to have national appeal to movie audiences back in 1931. King Vidor wisely kept eight members of the original cast to insure realism. As Rose, Sylvia Sidney is outstanding. Originally, Nancy Carroll was to have played her (Erin O'Brien-Moore did the part on Broadway), but she was committed to Paramount. Vidor, never afraid of realism, insisted on the magnificently steamy, gritty street scene sets. Alfred Newman's evocative score is timeless piece of motion picture compositon: it's esteemed to this day. Beulah Bondi made her film debut here, and went on to become one of the finest and most respected character actresses in films. In her eighties, she won an Emmy for her performance in an episode of THE WALTONS.

The stifling oppression of poverty and the tragedy born from it is the subject of this mature film from King Vidor. Based on Elmer Rice's Pulitzer Prize winning play this Samuel Goldwyn produced film starring a young Sylvia Sidney is full of insight and maturity.

Though the entire film takes place on the steps of a tenament in New York where getting out is only a deam, only the first 15 minutes or so give evidence of its stage origins. Director Vidor, always innovative, uses photographer George Barnes' camera and a fine early score from Alfred Newman to give the viewer a real feel for these lives being led in sometimes quiet, and sometimes not so quiet, desperation. Soon you are lost in their world and begin to understand that much of what happens is simply born of poverty and having nowhere else to turn.

Much of the film is dialog between these neigbors living in cramped and hot quarters. There are Jews and Germans and Irish, Rice's words and Vidor's direction letting their lives unfold through that street scene in front of their building during the summer heat. A fire hydrant may offer some relief to the small children in the street but it will take more than water for some.

At the center of everything is Mrs. Murrant (Estelle Taylor) and her daughter Rose (Sylvia Sidney). Taylor gives an excellent performance as a woman reaching out for any happiness she can find in the slums. Her husband and Rose's father provides food and shelter but is so caught up in his own unhappiness there is no love or tenderness left to give.

Only trying to get more from life than just looking after someone else will lead the lonely mother of Rose to the arms of the milk collector. Their looks and actions are not lost on the other women in the building, especially the snide Mrs. Jones. Neither is it lost on her son Willie's friends. When Rose's father begins to suspect, tragedy is not far behind.

Sylvia underplays her Rose with sincerity and maturity. She sees both sides and understands that it is their environment which is causing all this. She herself is loved by a young Jewish boy whose mother likes Rose but knows his focus on getting out falters whenever she is near. Rose will grow up in an instant, and her life and that of her brother Willie's will change forever.

There are some quietly powerful scenes in this talky but rewarding drama. Rose attempting to cross the street while a young newsboy tries to get her to purchase his last paper, not knowing the sensational headline touches her personally, is quite moving. It is still a powerful scene as an ambulance pulls away from Rose, taking with it her youth in these slums.

There is a rich and mature ending with Vidor's camera following Rose toward the unknown, the New York skyline of the time offering hope perhaps, for a future born from tragedy. What has begun as a somewhat dated early talkie has become a moving and touching film of real substance.

King Vidor has been neglected when the subject of great directors comes up, possibly due to the fact that some of his best work, most notably "The Stranger's Return," is not available. "Street Scene" is one of his best and, while slightly dated, is well worth a look for film buffs.

Every so often heat becomes more than just a stifling rise in temperature designed to raise both a sweat and the tempers of the cast. Sometimes, heat acts as a metaphor to suggest the turmoil that often accompanies that heat rise. In STREET SCENE, director King Vidor took the Pulitzer Prize play by Elmer Rice and used Rice's own adaption to present a steamy day in a New York City tenement. A youthful Sylvia Sidney in one of her first starring roles shows the sloe-eyed sadness that came to mark her future screen persona. Sidney is Rose, a young girl who faces the double trauma of knowing that her mother has been carrying on an affair because her brute of a father radiates all the familial and paternal warmth of a vicious rat. Further complicating her life is her growing attraction for Sam (William Collier), a neighboring boy who suffers ostracism because of his Jewishness. The affair, the prejudice, the heat interact to produce an explosive climax that even today is remarkable in its jarring intensity. The technology of sound was in its infancy in 1931. Much of the dialogue and background auditory effects grate joltingly on the senses, which considering the frayed tempers exacerbated by the heat, is not necessarily a bad thing. STREET SCENE is the kind of unsettling film that makes you forget that film and sound technology need not be advanced for a superior script, fine acting, and first-rate directing to make you realize that you have just seen a gem of a film.

There is just one scene for the entirety of the film - the front of a brownstone tenement in New York City during the summer. However, residents and visitors come and go, making conversation and sometimes vicious gossip to pass the time on the steps of the building. The drama and the conversation mainly revolves around the Maurrant family. Anna Maurrant has been having at least a close relationship and perhaps an affair with the married milkman. We never really see exactly what is going on between them. Anna's husband, Frank, a man who is basically angry at the whole world, thinks that in the depression the fact that he holds down a job should make him husband of the year in the eyes of his wife, and that his barking orders at her should be good enough company for her. The couple has a grown daughter, Rose (Sylvia Sidney), whose married boss is leaning hard on her to let him become her "sugar daddy" and set her up in her own apartment. The couple also has a son who is well on his way to becoming a juvenile delinquent. Beulah Bondi really steals the show as a middle-aged housewife who is the building's gossiper-in-chief. She doesn't have a kind word to say about anyone and thinks she knows how every household should be run. She doesn't seem to notice that her own Mama's boy son is a proficient bully and well on his way to becoming a gangster.

Sam, the son of a Jewish couple in the building, is somewhat sweet on Rose, as she is on him. Her father outright objects to any relationship based on his own prejudice. The Jewish couple has similar objections, although they try to use the reason that any girlfriend will interfere with Sam's ambitions to become a lawyer.

Then there is the woman and two children who are about to be evicted because the husband has run off and they cannot pay the rent. In one particular scene that is relevant to social attitudes towards the poor today, a welfare worker shows up and chastises the woman when she learns that she has taken the children to the movies - she has spent a whopping 75 cents. When one of the neighbors mentions that he gave the woman some money because it made him feel good and made the woman feel good, the welfare worker replies he shouldn't do that because it is bad for the woman's character.

The whole thing builds slowly and artfully. Everyone knows something violent is going to happen here, the question is who will be the perpetrator and who the victim. There are any number of disgruntled, desperate, and angry people with an axe to grind.

The whole movie is just a very well done slice-of-life film that shows that the residents may come and go, but the situations for whatever occupants that live there will remain the same. They will remain people one paycheck away from eviction, and possibly one revelation or argument away from violence. Highly recommended if you can find a copy.

My "Street Scene" DVD purchase has poor picture quality. I realize it is a very old movie. However, when I taped "Street Scene" on my DVR last year on TCM, it was much clearer. Too bad I deleted it then. Also, the DVD case label was not professionally done. I will keep the DVD because I really want "Street Scene". If and when it is on TV again, I will tape it on my DVR.

rare and excellent film. Seems out of print now, which is a shame. Shipeed rapidly and in good shape.

This is just like the opera, only they don't sing which was a dissapointment. I played Willie Maurrant in Boston. I'm glad I watched this video because I didn't know they even HAD one!

It is just like the opera, (If you've seen it you might know what it is about) but if you don't Frank Maurrant goes away on some buissness when Mrs. Maurrant calls her secret lover the milkman Mr. Sankey. When Mr. Maurrant comes home he finds trhe two and Sankey and Mrs. Maurrant die. Their daughter Rose Maurrant is sad and can't bare it any more and leaves New York with her brother Willie.