The Big Street

The Big Street (1942)

Packed with great actors, major and minor, in a fast fast whirlwind

First of all, Agnes Moorehead and Ray Collins played the previous year in another raging movie of some fame (Citizen Kane, yup), and here they are loaded up against a dozen other great character actors, plus a couple big names. Headlining is the well known Henry Fonda, still young, but fresh off of a couple great films, Grapes of Wrath (1940), and The Young Mr. Lincoln (1939). But in a kind of startling role for those who know Lucille Ball as a brilliant and goofy t.v. comedian a decade later, we have her here as a big-eyed femme fatale, or would-be femme fatale until fate takes a turn.

You might think this one is a screwball comedy the way it starts, but keep watching-- there is violence and trauma soon enough, and the movie takes a turn that Fonda is worthy of. There is a Frank Capra feel-good element amidst the hardship, but it is full of verve, and all these odd characters who really are (were and are) what New York is at its best. The director Irving Reis (with photographer Russell Metty) keeps the scenes snappy, and sometimes moves from a closeup of a face to a background quickly, to let a character make a dramatic point. There are lots of movie tricks, quick fades from scene to scene to show the passing of time, and some tacky back projection, and it really goes along with the fairy tale narrative.

And there really is an unbelievable ending, which you have to take with the whole flavor of the movie, a kind of sincerity/fantasy mixture.

This interesting story failed to make it big with audiences in its initial release, but is actually a noteworthy picture, nonetheless. This unlikely story has Henry Fonda as Little Pinks, a shy, timid busboy, who's obsessed with Lucille Ball's self-absorbed, mean-spirited torch singer. Despite her poor treatment of him, he continues to worship her. During an argument with her louse of a boyfriend, he (the boyfriend) pushes her down a flight of stairs. Paralyzed and desperate, Gloria moves in with Pinks. The wheelchair-bound diva alienates everyone around her with her anger and venomous commentary. But Pinks doesn't let it bother him. Instead the "odd couple" go on an unusual roadtrip together. He pushes her in her wheelchair all the way to Miami - pretty dumb, really !

Ball is excellent, and in top form. It's great to see her in such an unusual role (see also 1947's "Lured"). Fonda is great, too, as the innocent and smitten young man. And the rest of the cast is good; especially, the always fabulous Agnes Moorehead. Despite a good story and an excellent cast, the plot limps along at points, and the shoddy production value is unignorable. Plus, the whole "Let's push Lucy to Florida in her wheelchair" thing is utterly nuts! However, the final scene is an unforgettable melodramatic moment that is fascinating just for the fact that Ball is the center of it. It makes it worth sitting through the many drawbacks of this film just to see the ending scene.

Anyone who has the slightest desire to learn more about the incredible talent of Lucille Ball and Henry Fonda owes it to themselves to see this marvelous movie. Over the years, these two stars built up such powerful images of themselves as star characters, and most of the public came to know them as a result of the cumulative impressions which they made on our individual consciousness. Your strong impression of Lucille Ball is as a comedian, correct? You seldom if ever think of her as a dramatic actress. Can you imagine Lucille Ball playing a role of a vain self-centered and arrogant harridan who seems to live for the sole purpose of tormenting the lowly busboy who is her one true friend in all the world? Few people can imagine Lucy in such a role, but if you watch this movie, you will see it happen. It is also totally believable because, even though Lucy worked primarily as a comedian, she was a great dramatic actress when she chose to accept a role of that type. As for Henry Fonda, who could even conceive of casting this great actor as a busboy? It was early in his career and he is playing a role of the type that he would never have to play again, but he pulls it off. You wonder at times why he is taking so much abuse from this woman. But the answer is incredibly simple. He deeply loves the woman, and his love comes shining through. If you want to see two great stars at work in the early days of their careers, check out this movie.

The comments about the Fonda character having 'no reason' to take the abusive and selfishness of the Ball character makes me wonder if this person ever loved anyone unconditionally. There are many people in this world that take worse than the verbal abuse from the person they love and stay with them their whole lives.

The Ball character was very well done and I don't think I remember Ball being a character like that after this movie. I don't like Lucille Ball as a comedienne, its too bad that she wasn't able to continue as a dramatic actress she would have done well.

But the movie is all about love conquering the selfish...wish it was that way all the time.

Broadway busboy Henry Fonda (as Agustus "Little Pinks" Pinkerton) idolizes self-centered lounge singer Lucille Ball (as Gloria "Your Highness" Lyons). When Ms. Ball falls on hard times, Mr. Fonda gets to lend a helping hand. The pair move to Florida, but tragedy follows… Although "Guys and Dolls" (1955) remains most representative, "The Big Street" captures the spirit of writer Damon Runyon's characters better than most Hollywood efforts, probably because Mr. Runyon produced.

They weren't the author's first choice for the leads, but Fonda's innocent charmer and Ball's selfish tragedienne are exemplary characterizations. Ball is especially noteworthy, as she did not receive many opportunities to play against type, and places herself squarely on par with the more successful "Golden Age:" actresses of the 1930s and 1940s; she is startling. Director Irving Reis coordinates his fine cast and crew very well, making camera angles and movement seem uncommonly fresh.

******** The Big Street (8/13/42) Damon Runyon : Irving Reis ~ Lucille Ball, Henry Fonda, Agnes Moorehead, Eugene Palette