One day in the lives of several tenants in a poor New York City neighborhood.
Reaction & Thoughts:
Producer Samuel Goldwyn’s Street Scene is a moving and often harrowing portrait of a disenfranchised community — this early sound movie still packs quite a wallop.
Elmer Rice adapted his 1929 Broadway play of the same name. The film preserves the play’s structure: the entire movie takes place in one large set, a street in front of a brownstone building. Except for one short sequence, the camera never leaves this gigantic set designed by Oscar-winning Art-Director Richard Day (Dodsworth).
Street Scene was shot by two of my favorite cameramen, celebrated cinematographers Gregg Toland (Wuthering Heights and The Little Foxes) and George Barnes (Rebecca and Spellbound), in a rather dynamic manner. The simple yet ingenious camera set ups prove that a film can be interesting without going anywhere — we never go inside the apartments but the film is very cinematic.
Street Scene follows a group of city dwellers during a 24-hour period. Each character is given a specific purpose in the narrative and all the subplots are so interesting that you immediately get immersed in the personal troubles of these ordinary people.
The story has a plethora of characters and I was pleasantly surprised to see that all these characters are clearly drawn, down to the smallest ones — they are all believable characters, each encrusted with relatable emotions. The movie eventually narrows its focus to a troubled family that will become a symbol of hopelessness.
Director King Vidor (The Big Parade) keeps it real — it’s all done in the most unglamorous possible manner. In addition, because it was made prior to the installation of The Hays Code, Street Scene deals with many social problems in a frank manner. In typical Pre-Code fashion, there is a candidness here that’s very appealing.
The cast is overloaded with talent. The film has an array of wonderful performances. From Sylvia Sidney’s (Fury) disillusioned working girl and William Collier’s (Little Caesar) timid college student to Beulah Bondi’s (It’s a Wonderful Life) malicious gossiper and Estelle Taylor’s (Cimarron) adulterous wife, they are all first-rate. Sidney is the nominal leading lady, but it’s really a great group effort.
Conclusions & Final Thoughts:
Street Scene is very similar to another Samuel Goldwyn production, the 1937 classic Dead End (Sidney starred in both movies). The two films explore how disenfranchisement damages communities. But unlike Dead End, Street Scene benefits from being made before the Motion Picture Production Code; it’s a hard-hitting drama with raw energy. Highly recommended! B&W, 86 minutes, Not Rated.