Palcoscenico nella strada

In a hot summer afternoon in New York, Emma Jones (Beulah Bondi) gossips with other neighbors of her residential building about the affair of Mrs. Anna Maurrant (Estelle Taylor) and the milkman Steve Sankey (Russell Hopton). When the rude Mr. Frank Maurrant (David Landau) arrives, they change the subject. Meanwhile, their teenage daughter Rose Maurrant (Sylvia Sidney) is sexually harassed by her boss Mr. Bert Easter (Walter Miller); however, she likes her Jewish neighbor Sam (William Collier Jr.) that has a crush on her. On the next morning, Frank tells that is traveling to Stanford on business. Mrs. Maurrant meets the gentle Sankey in her apartment, but out of the blue Frank comes back home in an announced tragedy.

"Street Scene" is an unknown early sound movie directed by King Vidor based on a play of Elmer Rice that explores the new technology to the maximum. The awesome story of gossips, small talks, adultery and murders in a hot day in New York has witty and feral dialogs associated to excellent performances and magnificent camera work. My vote is eight.

Title (Brazil): "No Turbilhão da Metrópole" ("In the Whirlpool of the Metropolis")

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. This is not a film about people living in outright poverty. As a whole,they are one rung above being poor with the safer position of being outright middle class just out of reach. 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 conversation 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 a journeyman 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 ax to grind.

The whole movie is just a very well done depression era 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 poverty, and possibly one revelation or argument away from violence. Highly recommended if you can find a copy.

Even though this is a filmed version of a stage play, it never seems like a "filmed play," thanks to the fluid camera work and the excellent direction of King Vidor. The film is vibrant throughout and, at about an hour and 18 minutes, for me wasn't long enough. It never seems quaint or clunky, the way a lot of movies from this era do. Sylvia Sidney is the best known person in the cast but there are a few familiar faces among the supporting cast, such as Beulah Bondi and John Qualen. All are excellent. Highly recommended for the serious viewer interested in seeing filmed American literature.

King Vidor's film adaptation of Edgar Rice's Pulitzer Prize winning play about the denizens of a tenement on New York's West Side is a gracefully crafted well paced story balanced by an abundance of humor and sadness. As lives intersect in front of the stoop we are presented a cross section of the great melting pot with accents and biases in place arguing politics, dispensing philosophy, bragging, fueling stereotypes ,gossiping and complaining about the heat.

In less skillful and ambitious hands Street Scene might have made for a more than passable filmed stage play by working in the confines of a studio sound stage but Vidor takes it to the streets in more than one scene giving the film a more gritty and realistic feel as well as using the expanse for symbolic purpose. He also eschews back projection by cleverly erecting a set off of an actual city street to provide realistic backdrop. His camera movement is breathtaking and powerful without being self indulgent as his signature crane shots unveil the neighborhood to establish time place and elevate drama. Working in a limited space he keeps things fresh and energized by changing angles and using natural transition by tracking characters into other conversations. His languorous but deliberate pace befitting a summer in the city heat wave that leads up to the stunningly edited climactic scene is perfectly measured for maximum effect. Alfred Newman's score as well as the ambient music of children playing and singing in two separate scenes of dark irony seamlessly contribute to the films mood. While a general gloominess pervades and bigotries are ungoverned the stoop is the scene of great joy and humor much of it dark.

The cast of various ethnic types run from comic to ugly as they freely spout superstitions, bravado, rumor, bigotry and revolution. Some have dreams but most are filled with cynicism. Beulah Bondi as busy body Emma Jones is a sidewalk Cassandra with nothing good to say about anything or anyone. Sad eyed Sylvia Sidney gives a heartfelt performance as the daughter in the tragic Maurant family. Pulled from all sides she struggles to keep her family together while fending off the the seduction efforts of her boss who dangles a place of her own in front of her.

Street Scene is a microcosm in part of the immigrant experience in America during the first half of the last century and though some of the characterizations may be broad it retains an important historical significance. But it is King Vidor's master class( greatly assisted by the lensing of Barnes and Toland) in cinema grammar that awes and makes Street Scene a superb work of the early sound era.

STREET SCENE (United Artists, 1931), produced by Samuel Goldwyn, directed by King Vidor, is a remarkable film in many ways. This screen adaptation to Elmer Rice's Pulitzer Prize winning 1929 stage play, realistically focuses on a group of people of different ethnic backgrounds who gather together on the front steps of their tenement brownstone apartment building on the west side of Manhattan during a summer heat wave in mid July.

The plot, set during a 24 hour period, takes a look on various residents before centering its attention on the Maurrant family. Anna Maurrant (Estelle Taylor), a housewife and mother, has become so bored with her present existence that she carries on an affair with a married man, Steve Sankey (Russell Hopton) while her stern and unsentimental husband, Frank (David Landau) heads off for work. This illicit affair is known by many, thanks to the neighborhood gossip, Emma Jones (Beulah Bondi). Regardless of their knowledge, Frank does have his suspicions, as does their grown daughter, Rose (Sylvia Sidney). Rose is a working girl loved by Sam Kaplan (William Collier Jr.), a Jewish law student living in the same building. Like Rose, Sam longs on moving away to a better life. Although he has strong ambitions, his weakness is being a coward, especially when constantly bullied by Vincent (Matt McHugh), a heavy-set "Momma's Boy." After about an hour or so of realistic dialog, the street scene, as the title indicates, occurs when Frank Maurrant returns home unexpectedly to find the shades of his bedroom window being pulled down.

Light on action, STREET SCENE moves along very swiftly through numerous camera angles. Aside from its plot development of numerous characters, every one of them, down to the last extra, makes his presence count. With the storyline being limited to only the front portion of the building, the inside of the apartment is never shown. Vidor does break away from his limitations in giving the avid movie viewer a eye-view of Manhattan of 1931, ranging from the elevated train, a glimpse of the Chrysler Building and other tenement buildings. The opening sequence, underscored by Alfred Newman's now classic "New York City Theme," is priceless, ranging from children cooling themselves off from the summer heat as they get splashed on with water from a hose connected to a fire hydrant; an alley cat licking a block of ice; a family dog stretched out on the sidewalk to cool off; and a brief look at those now antique fans. The second act of the story, which takes place the following morning, goes a bit further with local boys picking up stacks of newspapers to be delivered; and a man waking up from a good night's sleep on the fire escape, and heading back in his apartment carrying his pillow and sheets through his open window, among others. There is also a noted scene in which Willie (Lambert Rogers), the younger member of the Maurrant family, skating down the street, pausing, yelling up the window to his mother to throw him a dime to buy an ice cream cone. The dime is then wrapped in tissue paper and rubber band and tossed directly to him. Those who recall such childhood memories of New York will definitely relate to these little detailed scenes. Some things, though, never change, notably how a quiet street stirs up a huge crowd whenever an incident occurs as expertly depicted in this photo-play.

Seen in the supporting cast are Greta Grandtedt, Max Mantor, John Qualen, George Humbert, Allan Fox, and Marcia Mae Jones, recognizable in her small role as Mary Hildebrand, one of the neighborhood children. In fact, many of the supporting players appearing in STREET SCENE reprized their roles from the stage version, especially that of Beulah Bondi, making her screen debut. Always an excellent performer, her nasty character nearly steals the film. Sylvia Sidney, with few movie credits to her name at the time, and a native New Yorker, makes a lasting impression with her role as Rose.

STREET SCENE is an excellent theme in storytelling that never lets go of its audience. In spite of its age, it's still timely. One element that shows King Vidor's style of sending out his messages to his viewers without the use of dialog is the use of closeups and facial expressions on several people. They don't say anything, but what they're thinking is passed across its audience. These and many other scenes are what makes STREET SCENE so remarkable, even today. Instances such as those depicted are those that could happen anytime, anywhere, not only in New York, but a movie such as this cannot be remade today or ever without the same impact as it did back in 1931. It's a wonder why STREET SCENE did not earn a single Academy Award nomination.

STREET SCENE, available on video and DVD, had been distributed by numerous public domain companies using reissue prints that substitute Samuel Goldwyn's opening with Associate Artists Productions Presents. Other than its occasional TV showings that have turned up on local public broadcasting stations after the midnight hours, STREET SCENE, occasionally plays Turner Classic Movies. Contrary to its host Robert Osborne in saying in his analysis of STREET SCENE making its TCM premiere on the evening of June 30, 2002, at 8 p.m., someone at the program department failed to indicate to him of its earlier air-date, June 6, 2002, at 7:30 a.m. Regardless, thanks to TCM for ever presenting this rare find, due to it being one of the very few from the early 1930s, that can still be seen and appreciated over and over again. (****)