Fashioned from an admixture of several cinematic genres, this hybrid Monogram Pictures melodrama is perhaps most distinguished for its naturalistic deployment of key players, in particular the lead, Jackie Cooper, and talented child actor Martin Spellman. A remarkably mature (16 year old!) Cooper performs as Jimmy Keenan, owner/operator of a busy New York City corner newsstand while supervising a diverse collection of rambunctious newsboys, including the very young "Gimpy" Smith (Spellman) whose abrasive veneer fails to cover his juvenile vulnerability, all while Keenan is attending night school, his purpose to become an attorney, while adopting as his own the ethical principles of his idol, Abraham Lincoln (the film's original title was ABRAHAM LINCOLN OF NINTH STREET). Although Jimmy faces a violent foe in Spike Moore (David Durand) who intends to arrogate by force his street corner business, and is additionally burdened with the unsavoury reputation earned by Keenan's gangster brother Tap (Dick Purcell), he rejects all offers of assistance, instead facing up to Spike and his confederates while looking after his youthful employees along with elderly "Pop" O'Toole (George Cleveland), who lives in a room next to Jimmy's within the basement of the old house wherein the Keenan brothers had been raised. Artless in his resolution to do only what is morally correct, Jimmy nevertheless finds that it is increasingly difficult to pardon the sociopathic behaviour of Tap and of Moore, so that in time he, Gimpy, and the other newsboys warmly welcome the kindness offered by Judge Carroll (George Irving) and his daughter Anne (Marjorie Reynolds) as the film moves towards a poignant conclusion. The supporting cast is composed for its largest part of very competent players, while Cooper neatly forsakes all opportunities to emote, instead creating a noteworthy performance for one so young by playing the part of an older man, in clear contrast to later cinematic norms that determine actors will fill roles that are below their actual ages. The melodrama is capably directed without affectation by old hand William Nigh, and Harry Neumann does all one might desire as cinematographer for a production that, as with virtually all Monogram pictures, is granted only sparse funding. Newly reissued upon an Alpha Video DVD that is not remastered, the film's general quality of both visual and audio reproduction is good, with few skips. However, heavy cutting, particularly for the final scenes, becomes corruptive for such an episodic scenario as has this work. In spite of that, the piece is now available in a format that is as well constituted as can be expected and will provide a viewer an opportunity to enjoy some strongly realistic, well-photographed sequences.
