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Street Scene Photos

Movie Info

Adapted from a Pulitzer Prize-winning play, this slice-of-life tale captures one day on a residential Manhattan street. Brownstone neighbors gather on a sweltering summer evening to swap the latest gossip about the philandering Mrs. Maurrant (Estelle Taylor) and her alcoholic husband (David Landau). The Maurrants' daughter, Rose (Sylvia Sidney), who longs to escape her seedy existence, must deal with her parents' sins when her father learns of his wife's infidelity.

Cast & Crew

Sylvia Sidney
Rose Maurrant
Beulah Bondi
Emma Jones
Estelle Taylor
Mrs. Anna Maurrant
Max Montor
Abe Kaplan
David Landau
Mr. Frank Maurrant
Matt McHugh
Vincent Jones
Russell Hopton
Steve Sankey
Tom H. Manning
George Jones
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Critic Reviews for Street Scene

All Critics (7) | Top Critics (1) | Fresh (7)

Audience Reviews for Street Scene

  • Sep 06, 2018
    Wearing its heart on its sleeve, this slice-of-life (whose message is the question "why can't we all just get along?"), set in front of a New York apartment building in a poor neighborhood, is about social justice and hangs it's coat on one family where the husband both ignores his wife and derides her. The production shoots for the stars and aims for the heart, though the effort hasn't aged well. Still, its a quality effort. Bealah Bondi, trusty character actress, carries the thing as the well-meaning neighbor you love to hate.
    Kevin M. W Super Reviewer
  • Jul 01, 2012
    Tensions run high in a multi-ethnic neighborhood during a New York heatwave. It sounds like the plot of Spike Lee's "Do The Right Thing" yet this was filmed some sixty years prior. As well as Lee, it appears to have had a major influence on Woody Allen. If you've seen "Manhattan" (and if you haven't, stop reading and go watch it) several sequences will be familiar. The opening and middle montages of New York at sundown and sunset with their Gershwin-esque score by Alfred Newman bear more than a passing resemblance to Allen's great opening. Likewise the movie's final scene, involving a rebuttal of a lover by a young girl who is a lot more mature than he had thought. It's adapted by the writer Elmer Rice from his Pulitzer winning stage play and in the hands of an average director of the time it would probably be no more than a filmed play. Vidor is not average thankfully and this is a beautiful film in the visual sense. His camera is constantly on the move, probing the nooks and crannies of a very convincing set. He finds inventive angles which reveal subtle information such as the low shot which reveals the outwardly prim and proper Bondi adjusting her underwear out of sight of the neighbours she disrespects. Had this been made after the introduction of the code it would have been a very different film. Characters throw racial insults around casually and the local good-time girl flaunts her bra-less cleavage in a manner which must have provoked outrage at the time. Thanks to the pre-code dialogue, the movie has aged extremely well. The New York Times complained at the time that the dialogue was "spoken without sufficient pause". This of course was made a good decade before Hawks and Sturges would turn quickfire banter into an artform. The realistic language seems however to enable the actors to relax into their parts and the performances are so natural it feels like it was made thirty years later. Sidney is particularly good and looks fantastic. I actually came across this purely by mistake while searching for another of Sidney's movies, "City Streets". You can view the movie in it's entirety on Youtube and I thoroughly suggest you do.
    The Movie W Super Reviewer

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