Boy of the Streets

A great deal more social commentary got into Boy Of The Street than you would normally find in a Monogram Production about the Lower East Side of New York. Jackie Cooper has the lead in this one and while it looks like a Bowery Boys movie it most certainly is not.

Jackie is a teen gang leader who idolizes his old man and his big talk about big deals he's cooking up with the political bosses of the area. Father is played by Guy Usher who is just waiting for his ship to come in rather than go to work. Mom is Marjorie Main who's had a reality check along time ago about her husband.

Several plot elements fit into Boy In The Street. Of course there is Jackie and his gang. Secondly there's a young girl played by Maureen Connor who has the snoops of the Children's Aid Society asking about her. The doctor who runs the neighborhood clinic and the new landlord of the building where they all live Bill Elliott and Kathleen Burke find a solution.

Lastly there is Jackie's wake up call when he finds that the big bosses downtown have his father down as just a tinhorn chiseler that bones get thrown to every now and then. That knowledge drives Jackie to work for gang leader Matty Fain with some bad consequences.

That is indeed Bill Elliott soon to be cowboy hero playing the doctor. And another part worth noting is George Cleveland who is actually a flunky to the flunky. He's the one I remember best from the film. And also to be noted is Robert Emmett O'Connor as the quintessential Irish- American beat cop, a type that has vanished forever.

Boy Of The Streets will be a pleasant surprise for you if you're expecting some of the lowbrow hijinks of The Bowery Boys.

... I swear there is a supporting actor among the street kids in this one that is a spitting image of Jerry Mathers of Leave It to Beaver Fame, but I digress.

This is one of Jackie Cooper's first post-pubescent roles. Cooper had to leave MGM after he was no longer the cute little kid. Because there is a name for the 30s child stars MGM kept around after puberty, and that name is Mickey Rooney. He is actually 15 here playing a boy, Chuck Brennan, who is 16-17 years old. He lives in a New York tenement, has his own loosely organized street gang that frequently has it out with a neighboring street gang, plays pranks on the police, and partakes in some light thievery and fist to cuffs. His mother (Marjorie Main) is worn down by life and by the broken promises of her husband, who claims he is a political operative but is actually just a poser. Nora is a well liked neighborhood teen girl whose mother has been sent to a sanitarium for tuberculosis treatment, and she is in danger of being picked up by the authorities and sent to what amounts to a work house for orphans. Complications and social problems related to generational poverty ensue.

If I had a finer graded rating system I would probably give this one a 5.5 rather than a 5/10. The script is plodding and the dialogue has all of the finesse of Ed Wood, but there are three good actors here - Jackie Cooper, Robert Emmett O'Connor playing a cop as he so often and so skillfully did, and Marjorie Main just as she was getting noticed and before she got picked up by MGM. Their performances save the film. This was the only filmed appearance of Maureen O'Conner who plays Nora. Unfortunately, Monogram seems to be unsuccessfully trying to make her into their own Deanna Durbin with her operatic screeching. I can't blame Ms. O'Conner - This was something all of the studios were trying to copy, usually with very limited success.

After years of being at M-G-M, Jackie Cooper was now a teen whose cuteness was no more though he did look pretty handsome growing up. Still, the studio no more wanted him, neither for awhile did the other major studios so for a while, he ended up at Monogram-a poverty row studio. This was his first movie for them. It has him portraying a member of a tough street gang who're playing phone pranks though he doesn't make the calls but an African-American member (Paul White) does. I'll stop there and just say Cooper wasn't too bad though the story seems to meander sometimes from his encouraging a girl teen (Maureen O'Connor) to audition for a nightclub singing job even though she's underage to a brief misunderstanding between a doctor (Gordon Elliot) and a society woman (Kathleen Burke) who's the new owner of the tenement building that seem to hint of some kind of romance though it's thankfully not carried through. Besides Cooper, the only other recognizable face here was that of Marjorie Main, who previously appeared in the play and film that inspired this one-Dead End, and who'd get more lasting fame as the Ma in the Ma and Pa Kettle films. In summary, Boy of the Streets was okay for what it was, nothing more.

In Michelle Vogel's 2006 book, "Marjorie Main: The Life and Films of Hollywood's 'Ma Kettle," the author lists BOY OF THE STREETS as one with: "Prints of this street kid drama seem to have disappeared, so the basic plot outline is all that exists today." BOY OF THE STREETS (Monogram, 1937), directed by William Nigh, is far from being a lost film, having turned up on cable television during its earliest years in the 1980s, to its availability on home video from Movies Unlimited, and finally its presentation on Turner Classic Movies where it premiered November 6, 2008. Jackie Cooper, former child star of such 1931 hits as THE CHAMP (MGM) and SKIPPY (Paramount), heads the cast not as a homeless teen living off the streets of New York but that of a tough high school drop out and gang leader living under the care of his parents in the city's poor district. To fill in the gap to what might have been described in the published tribute to Marjorie Main and her films, here's an analysis to this little known social drama.

The opening scene introduces kids gathered together in masks and costumes celebrating Halloween on the streets of New York's 9th Avenue district. The peaceful evening is soon disrupted by a series of prank phone calls leading the police and firemen arriving to what's turned out to be false alarms. In due time, Chuck Brennan (Jackie Cooper) and his gang are caught and sent to night court, with the desk sergeant to dismiss the case. O'Rourke (Robert Emmett O'Connor), the good natured cop raised in that district, believes all the boys need is a chance in life. While Chuck idolizes his father (Guy Usher), his long suffering mother, Mary (Marjorie Main) hides the fact that her husband, who hasn't worked in ten years, is nothing but a no good loafer. In spite of Brennan's goal forming a union for soda jerks, nothing really comes of it. Living in the same building is Nora (Maureen O'Connor), a sweet Irish girl whose mother has been sent by ambulance to the hospital for treatment of tuberculous. To help Nora, Chuck arranges for her to earn a living singing at Pete's Grotto, but soon loses the job because she's under age. With no place to go, the Brennans look after Nora rather than having her taken away by the Children's Aide Society. In an effort to support himself, Chuck learns the awful truth about his father acting as stooge or "Yes Man" to a local businessman (Fred Kelsey) rather than attending to business appointments. Losing his chance in joining the Navy, Chuck teams up with Blackie (Matty Fain), a racketeer who steers this rebellious teen to the wrong direction.

Also participating in the story is Julie Stone (Kathleen Burke), a rich girl who, after inheriting the building called "rat traps," not only gets her first hand view of poverty life, but teams up with Doctor Allan (Gordon Elliott) in an attempt to help make a difference for the tenement people.

Basically patterned upon the success of Sidney Kingsley's 1935 play and Samuel Goldwyn's 1937 motion picture, DEAD END (1937), each featuring Marjorie Main as the slum mother to a racketeer, BOY OF THE STREETS is simply routine melodrama. Main's performance here bears little difference from her role in DEAD END, from her uncombed pull-back hair to second-hand clothing, though lipstick and little make-up take away from the realism of her portrayal. The only time the familiar Main persona shines through is when she pretends to be Nora's mother in order to mislead the investigating social workers.

Nora, enacted by O'Connor, in her motion picture debut, provides much of the vocalization to such tunes as "Did Your Mother Come from Ireland?" (by Michael Carr and Jack Kennedy); "Carelessly," (by Charles and Nick Kenny); "Those Foolish Things Remind Me of You" and "Sweet Low, Sweet Chariot." Although resembling that of Universal's ever popular Deanna Durbin by way of singing and mannerism, no further O'Connor films were made by Monogram or any other studio.

With Jackie Cooper being the only familiar face in the group of kids, Paul White, the black member of his gang who later risks his life to save another, stands out with his secondary role. Predating Monogram's own "East Side Kids" series (1940-1945) featuring Leo Gorcey, Huntz Hall and Bobby Jordan by way of screenplay and dramatic situations, BOY OF THE STREETS, though never spawned any sequels of its own, did provide Cooper in similar boy of the streets theme with Monogram's GANGSTER'S BOY (1938) and STREETS OF NEW YORK (1939), yet nothing compared to the "East Side Kids" nor Leo Gorcey's charisma as leader of the pack.

Slightly longer than the usual 60 to 70 minute programmers, BOY OF THE STREETS, at 77 minutes, looks more like a Universal product than Monogram. In spite of certain situations depicted in the screenplay not fully resolved, and a chance to see Marjorie Main early in her career, the film makes a satisfactory Depression-era theme time capsule. (**1/2)

Monogram, a Distinctive Low Budget Studio Shows Here it Could Make a Movie that Looked Like a Major Studio. In This Social Depression Era Drama Jackie Cooper Falling from the Grace of Big Budget Successes is Still Able to Make the Central Character Believable, Charming, and Effective.

An Exceptional Performance from Ma Kettle Star (Marjorie Main) Add to the Ambiance of the Downtrodden People Residing in the Slums. There are Rival Teen Gangs Spitting at Each Other and Engaging in Fisticuffs, and a Mob Element that Shoots Anything in Sight.

Overall, it is a Good Peek at the Low Life Environs and the Movie Delivers a Good Story with an Upbeat Ending. The Script is Above Average and Characters All Ring True. For a Positive Spin on Life in the Undergrowth, the Ending May be a Bit too Quick and Hokey, but Provides a Dream, from the Dream Factory of 1930's B-Movie Hollywood.