Delitto nella strada

"Crime In the Streets" tells the story of growing up in the slums, and what some young people will do to get out, or just to have a few kicks to help them forget their dead-end lives. This film's non-existent budget actually helps to add to the realism, with sets that are bleak and cheap-looking. Back alleys never looked so lurid and dangerous as they do in this sadly forgotten film. "Crime In the Streets" features some wonderful performances, especially Sal Mineo, who doesn't have enough scenes, but when he is on camera, the magic is there. Anyone who is familiar with Mineo's work knows what I'm talking about. The scene between Sal and his father is unforgettable. The actress who plays Frankie Dane's mother also gives an amazing, dramatic performance as the over-worked waitress, abandoned with two sons, all living in a dismal tenement apartment. John Cassevetes is waaaaay too old to play the 18 year old delinquent, though his performance is fine. It is depressing to witness how badly people treat each other in this film, and it is particularly disturbing to see Frankie abuse his little brother. He really treats this child savagely, hitting him, threatening him, and holding knives to his throat. I also should mention the fantastic jazz score featured, that compliments the dark, shadowy images and the taught drama unfolding on the screen. "Crime In the Streets" is almost impossible to find as there has never been an official video or DVD release. My copy is a bootleg DVD, and the quality is good enough. This and other early Sal Mineo films deserve to be re-discovered, but I don't imagine this one being re-issued any time soon. This is probably one of the best in the 50's 'JD' category.

I just saw this movie at the Don S. film festival at Film Forum, and this movie was surprisingly better than I could have expected. While it is a little preachy at times, the performances by Cassevetes and Mineo are mind-blowing in how touching and nuanced they are at such a young age.

From the beginning it is clear that this film was made on a small set in Hollywood, but you quickly forget about this and can easily become wrapped up in the story - an almost reverse Crime and Punishment parable. Cassevetes and Mineo overcome an of the actors' deficiencies even though most of the other performances such as the mother, Mineo's father, are also superb (the only truly cornball performances come from the preachy social worker, the sappy little brother and a couple of the stereotyped gang members).

The director does an amazing job of making this small slum world feel so small (the set is probably half a city block in size on the set) and tense.

Film Forum displayed Scorcese's personal copy, which was unfortunately quite damaged. Hopefully, the studio which owns this film will reprint a clean 35 mm copy or print a restored DVD. For fans of the "youth gone wild" genre or simple of Cassevetes, this movie is a true waiting-to-be rediscovered gem

A social worker tries to tame a street gang. Cassavetes is pretty good in his second film credit, although he was a bit old at 26 to be playing a teen. Rydell is quite creepy in his film debut as a psychotic gang member who can't conceal his glee at the thought of committing murder. Rydell, like Cassavetes, went on to become a director. His second film role would not come until 1973 in Robert Altman's "The Long Goodbye," when he played another frightening character. Mineo plays a character not unlike the one had just played in "Rebel Without a Cause." In his follow-up to "Invasion of the Body Snatchers," Siegel creates a gritty atmosphere but stresses the melodramatics.

Social worker Ben Wagner (James Whitmore) tries to reach tough gang member Frankie Dane (a typically intense John Cassavetes) who is planning a revenge killing. The film, directed by Don Siegal, was based on a teleplay, and the theatrical release retains a limited (almost claustrophobic), stagy look which fits the 'dead-end' feel of the story. Street gangs in large American cities have changed a lot since the 1950s and modern audiences may view the Hornets and the Dukes to be about as menacing as West Side Story's Sharks and Jets, but much of the story remains relevant. Cassavetes is very good (although at 27, he's not a very convincing teenager), as is Sal Mineo (who was actually a teenager when the film was made) as his young buddy Angelo "Baby" Gioia. The story is solid and script very good (if you can get past the dated slang, daddy-o), which is unsurprising as the original teleplay was written by Reginald Rose, who earlier in the decade penned the iconic courtroom drama '12 Angry Men'. Films about youth culture (good or bad) often don't age well and 'Crime in the Streets' is no exception, but it is still a well-made and entertaining retro-drama.

The film reminds me of one of those powerhouse Studio One TV plays of the early '50's. And that's a key problem. The movie comes across as a filmed stage play as though the format hasn't changed at all. I expect TV playwrite Reginald Rose had a lot to do with that approach, while ace action director Don Siegel simply followed out the script in uninvolved fashion.

In short, the screenplay is way too talky, under-produced, and poorly staged. Never once, for example, did I forget that the street scene was mounted on a sound stage, with all kinds of traffic noises at the same time cars seldom pass on the roadway. Also, the few sets are so unrelentingly dreary and without a shred of adornment, you might think the deficiency is in the people rather than the conditions. After all, a shred or two would be more realistic, even in a slum. So, why rub our nose in it.

Then too, the screenplay repeats about every delinquency cliché of the day—alienation, no father, poverty, to cite a few. Now, there is some truth in these clichés, as there is in most clichés. The trouble is the script simply parades them in unoriginal fashion leaving the impression of having seen it all before. Worse, that intense actor John Cassavetes is given little to do but brood and posture and look 27 instead of the supposed 18. And what's with dressing him in a yuppie v-neck sweater that looks like it belongs on a Harvard freshman.

Nonetheless, it is an accomplished cast with some colorful characterizations. Mineo's excellent as the reluctant delinquent, Gregg fairly oozes bread-winner exhaustion, and little Votrian can look pathetic on cue. At the same time, Rydell's sadistic grin suggests needed malevolence, while Whitmore's social worker is happily no miracle man. Clearly, this is an earnest effort whose heart is in the right place. Still and all, the positives are too few to outweigh the stagy negatives. In short, there're good reasons this obscurity is not included among the delinquency classics of the day.