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Street Sisters

  • 1974
  • R
  • 1h 27m
IMDb RATING
3.1/10
216
YOUR RATING
Street Sisters (1974)
Drama

A young woman quickly realizes that prostitution is a harsh reality.A young woman quickly realizes that prostitution is a harsh reality.A young woman quickly realizes that prostitution is a harsh reality.

  • Director
    • Arthur Roberson
  • Writer
    • Arthur Roberson
  • Stars
    • Durey Mason
    • Sandra Alexandra
    • Jeff Burton
  • See production info at IMDbPro
  • IMDb RATING
    3.1/10
    216
    YOUR RATING
    • Director
      • Arthur Roberson
    • Writer
      • Arthur Roberson
    • Stars
      • Durey Mason
      • Sandra Alexandra
      • Jeff Burton
    • 20User reviews
    • 5Critic reviews
  • See production info at IMDbPro
  • See production info at IMDbPro
  • Photos5

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    Top cast17

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    Durey Mason
    • Older Boy
    Sandra Alexandra
    • Painted Woman
    Jeff Burton
    Jeff Burton
    • Grandpa
    Kathryn Jackson
    • Grandma
    Teddy Quinn
    Teddy Quinn
    • Young Boy
    Gioya Roberson
    • Young Girl
    Mary Reed
    • Older Girl
    Alan Bass
    • Truck Driver
    Edna Sasselli
    • Store Lady
    Sandra Wiggins
    • Peaches
    Donald Blades
    • Storeman
    Stevie Freeman
    • Storeman's Wife
    Roger Gwinn
    • Bartender
    Jason Hughes
    • Bar Trick
    Gary Gibson
    • Trick at Door
    Jerry Redmond
    • Country Teacher
    Robert Angus
    • Car Driver
    • (as Bob Angus)
    • Director
      • Arthur Roberson
    • Writer
      • Arthur Roberson
    • All cast & crew
    • Production, box office & more at IMDbPro

    User reviews20

    3.1216
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    Featured reviews

    Gangsteroctopus

    ultra-obscure oddity

    Just when I think I've seen every unnoticed example of the 'blaxploitation' genre...along comes this quirky, sincere little film from 1972. It more rightly fits, perhaps, into the sub-genre of African-American themed films set in the Great Depression, like "Book of Numbers" and "Thomasine and Bushrod". The actress who plays the main character's mother bears a rather striking resemblance to Josephine Baker. The film's stage origins often stick out and the fact that all the dialogue was post-synched doesn't help to alleviate a general sense of technical stiffness. Still, it's an interesting story about the son of a light-skinned prostitute (improbably played by an actor who's far too fair-skinned, blonde and blue-eyed) caught between the clash of white and black cultures. The video version I watched (on Edde) was actually a pretty good looking print (apart from a few bad stretches on the soundtrack), moderately letterboxed even. If you can find this and are a fan of the genre, check it out.
    4stevenfallonnyc

    Horrible but interesting blaxploitation

    Make no mistake, "Street Sisters" (which I saw as "The Black Hooker") is a bad film. However, it does have enough bad elements to keep you curious enough (maybe) to sit through the whole thing.

    One interesting thing is that the film is set in the 30's and 40's, with most of the actors still looking like they are from the 70's of course, especially hair-wise. The plot - a very attractive black hooker has a white son in "a bad way" (meaning from a john), wants nothing to do with her son, so she keeps the son on her parent's farm where grandma and grandpa raise him. Grandpa is a preacher but a pervert and a mean dude, grandma is very nice but she has an undisclosed bad past. The kid makes friends with a young black girl (why he shockingly pushes her from behind as she is running in a small brook who knows) and then all of a sudden it's the 40's, and the kid and his girlfriend are teens.

    His girlfriend has a certain encounter with grandpa, prompting the son to leave home, and go find his hooker mom. He wants a relationship with her, but she still wants nothing to do with him. He goes off on his own and has a few "adventures." The last 15 minutes of this film gets real strange. The color tone of the film change for a little while and things get a little psychedelic. Some weird things happen and it all ends very suddenly and strangely.

    The film is bad. There are plenty of odd close-ups and poor camera angles. Despite being set in the 30s and 40s, the music is still 70's porno funky. Makes you think maybe the film is indeed set in the 70's after all, but the few vehicles you actually see are all 30's cars. yeah right! There are some sequences where nothing happens at all, except to fill in the time with some utterly meaningless conversation between characters.

    There is even one long and brutal beat down of one of mom's johns by a couple of guys (her pimp and his muscle?) that makes you wonder, what does this have to do with anything? There are early indications that the film will be about the white boy struggling to live in the "black world" due to his family and upbringing, but that's never touched upon after all. Mom though, as attractive and sexy as she is, is very much an unlikable selfish bitch to such a degree, the viewer can never feel anything for her at all.

    This is definitely an interesting viewing experience but it isn't something you will want to watch again more than once most likely.
    spropes

    the lowdown

    When I worked with L.A. County, I knew Art Roberson fairly well, tho I have no idea of his current status or whereabouts. We were both social workers in the ghetto (really) in the 1970s. My impression was that being a social worker was his day job, that being a movie maker was his primary ambition...so what else is new?

    The movie, some interiors of which were shot at the legendary Joe Jost's in Long Beach, premiered for friends and associates at Warner Bros. screening room in Burbank. At the end of the showing, it was greeted by dead silence, replacing excitement or applause.

    I think the viewers realized that the director had blown a pretty good chance to do something worthwhile after all his work, investment and attention to this film.

    Originally entitled something like "Don't Leave Go My Hand" (or maybe

    "Don't Let Go My Hand"), it was supposed to sensitively portray the horrible life of a neglected (or abused, I don't recall which) black child, the son of a...you guessed it...black hooker!

    But that original intent didn't play, so the title was changed to "Black Hooker," presumably to piggyback on the blaxploitation movement at the time.

    As sort of a metaphor for that all-too-sensitive evening's experience, after the showing, as the cars were wending out of the Warner Bros. lot, I clearly recall the car of a black viewer rear-ending the car of a white viewer who had stopped short at a traffic light...an embarrassing wreck.
    chrisjhouse

    An original blaxploitation flick

    Blaxsploitation cinema of the 70's is littered with the same old tiresome genres: Martials Arts, Gangster movies and Drug Smuggling. So it's refreshing to come across a movie that tries to shake the boundaries and try something new. Granted Arthur Robinson's 'Sister, Sister' aka Black Hooker and Don't Leave Go My Hand, suffers somewhat dramatically from amateur directing, but overall the movie delivers its story well enough for the audience to appreciate the intentions it sets out to achieve.

    The story follows the early years of a young white boy, abandoned by his mother; A high class African-American hooker from the city, to be brought up by her grandparents in the poor black regions in the countryside. The denial of her son, is illustrated through her disgust at his white skin, blonde hair and blue eyes, a child born a bastard to a drunken white man and a prostitute. The child however, alien to a world of racial bigotry, wants only the love of his estranged mother. After losing his childhood sweetheart and first love to his preacher grandfather at the age of 16, he decides to leave home for the city in search of his mother, only to finally find her and be greeted with stone cold denial, and contempt. A lifetime of rejection and hardship is too much to bare for the son... How will he cope?

    A fairly thought provoking story which undeniably sets out to challenge the social and ethnic class structures that were so divided in working class America in the 70's. Which I feel the current IMDb rating does not give it credit for. There's no pretending that this movie is anything particularly special, but it does manage to string together a plausible narrative, which offers somewhat more than the usual pimp/blow/fist fighter we're so used to with blaxploitation.

    The strength of this movie comes from the performance of the leading actress Sandra Alexandra who plays the working girl mother. Besides Alexandra's performance, the rest of the cast is nothing out of the ordinary, but the ideals this movie is trying to flagstone, speak louder than the actions actually portrayed on the screen.
    2ofumalow

    Please love me mama! You filthy tramp!

    A very white, blond, blue-eyed, hippie-haired boy who looks kinda like 70s Joseph Bottoms is improbably born a trick baby to a hateful African-American prostitute/flapper (the initial period seems to be the 1920s) who leaves him to be raised by his loving grandma and hostile preacher grandpa on the farm while she carries on her evil ways in the Big City. As an adult, the Boy (none of these characters get names, emphasizing their archetypal melodrama nature) falls in love with a local black girl, whom out of the blue his pious grandpa decides to seduce. So our hero runs away. Further tragedies lead to a violent finale.

    Based on the director's stage play--which must have seen even cornier onstage--this isn't at all the 70s blaxploitation piece it was rather desperately marketed as, but a crude inspirational drama like those of Oscar Micheaux (as a prior poster noted). If not for the infrequent, rather gratuitous, very badly shot sexploitative scene, it would be something you'd expect to see in a church basement of the era.

    The low-budget film-making is really erratic, ditto the acting, both running a gamut from the nearly professional to the completely hapless. Unsurprisingly, this was the first/last film endeavor for its writer-director and much of the cast. It's got that very 70s thing of soundtracked soul songs that clumsily comment on the action. By no stretch of the imagination is this a good movie, nor is it a camp classic despite some dialogue howlers. Still, it's worth a look for people (like me) who find any one-off oddity from the era interesting.

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    Storyline

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    Did you know

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    • Trivia
      Jeff Burton's last feature film
    • Quotes

      Grandpa: Don't you run from me, boy. Don't you ever in your life run from me. Your mama don't care nothing about you, boy. Boy, your mama don't love you. You was got wrong and you was had wrong.

      Young Boy: Please love me, grandpa!

      Grandma: [addressing her husband] Now you just hush up, you old coot. Just hush up that kind of talk to this poor innocent baby. Just ain't no use talking like that to this poor child.

    • Alternate versions
      The film originally released with a with a "PG" rating as 'Don't leave go my hand' and under-performed so several sex scenes with body doubles were added to it into an "R" rated film called Black Hooker.
    • Soundtracks
      Don't Leave Go My Hand
      Lyrics by Ruth Talmadge

      Music by Art Freeman (uncredited)

      Sung by Hosea Cobb

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    FAQ

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    Details

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    • Release date
      • November 1974 (United States)
    • Country of origin
      • United States
    • Language
      • English
    • Also known as
      • Black Hooker
    • Filming locations
      • Agoura, California, USA
    • Production company
      • Movie Company
    • See more company credits at IMDbPro

    Tech specs

    Edit
    • Runtime
      • 1 hour, 27 minutes
    • Color
      • Color
    • Sound mix
      • Mono
    • Aspect ratio
      • 1.85 : 1

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