IMDb > Street Scene (1931)
Street Scene
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Street Scene (1931) More at IMDbPro »

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Overview

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Director:
Writers:
Elmer Rice (play)
Elmer Rice (adaptation)
Contact:
View company contact information for Street Scene on IMDbPro.
Release Date:
5 September 1931 (USA) See more »
Genre:
Plot:
Twenty-four hours elapse on the stoop of a Hell's Kitchen tenement as a microcosm of the American melting pot interacts with each other during a summer heatwave. Full summary » | Add synopsis »
Plot Keywords:
User Reviews:
Unforgettable slice of life from infancy of sound era See more (23 total) »

Cast

  (in credits order) (verified as complete)

Sylvia Sidney ... Rose Maurrant
William Collier Jr. ... Sam Kaplan

Estelle Taylor ... Mrs. Anna Maurrant

Beulah Bondi ... Emma Jones
David Landau ... Mr. Frank Maurrant
Matt McHugh ... Vincent Jones
Russell Hopton ... Steve Sankey
Greta Granstedt ... Mae Jones (as Greta Grandstedt)
Eleanor Wesselhoeft ... Marguerite 'Greta' Fiorentino
Allen Fox ... Dick McGann (as Allan Fox)
Nora Cecil ... Alice Simpson (welfare worker)
Margaret Robertson ... Minor Role
Walter James ... Marshal James Henry
Max Montor ... Abe Kaplan
Walter Miller ... Mr. Bert Easter (Rose's boss)
T.H. Manning ... George Jones
Conway Washburne ... Danny Buchanan

John Qualen ... Karl Olsen (as John M. Qualen)
Ann Kostant ... Shirley Kaplan
Adele Watson ... Olga Olsen
Lambert Rogers ... Willie Maurrant
George Humbert ... Filippo Fiorentino
Helen Lovett ... Laura Hildebrand
Richard Powell ... Officer Harry Murphy
Jane Mercer ... Minor Role
Monte Carter ... Minor Role (as Monti Carter)
Harry Wallace ... Fred Cullen
rest of cast listed alphabetically:
Samuel Bonello ... Iceman / Intern (uncredited)
Virginia Davis ... Mary Hildebrand (uncredited)
Florence Enright ... Minor Role (uncredited)
Wilbur Higby ... Man (uncredited)
Marcia Mae Jones ... Girl (uncredited)
Eric Mayne ... Neighbor (uncredited)
Louis Natheaux ... Easter (uncredited)
Buddy Roosevelt ... Neighbor (uncredited)
Howard Russell ... Dr. John Wilson (uncredited)
Kenneth Seiling ... Charles Hildebrand (uncredited)
Renee Shearing ... Nursemaid #1 (uncredited)
Dorothy Vernon ... Neighbor (uncredited)
Lawrence Wagner ... Man (uncredited)
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Directed by
King Vidor 
 
Writing credits
Elmer Rice (play)

Elmer Rice (adaptation)

Produced by
Samuel Goldwyn .... producer
 
Original Music by
Alfred Newman (uncredited)
 
Cinematography by
George Barnes 
Gregg Toland (uncredited)
 
Film Editing by
Hugh Bennett 
 
Casting by
Robert McIntyre (uncredited)
 
Set Decoration by
Richard Day (settings)
 
Second Unit Director or Assistant Director
H. Bruce Humberstone .... assistant director (uncredited)
 
Sound Department
Jack Noyes .... sound technician (as Charles Noyes)
 
Camera and Electrical Department
George Gordon Nogle .... second camera operator
Kenneth Alexander .... still photographer (uncredited)
Hal Carney .... assistant camera (uncredited)
Judson Curtiss .... assistant camera (uncredited)
Harvey Gould .... assistant camera (uncredited)
Stuart Thompson .... second camera operator (uncredited)
 
Music Department
Alfred Newman .... musical director
Ray Heindorf .... orchestrator (uncredited)
 
Other crew
Samuel Goldwyn .... presenter
Robert McIntyre .... production assistant (uncredited)
 
Crew verified as complete


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Additional Details

Also Known As:
Runtime:
80 min
Country:
Language:
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Mono (Western Electric Sound System)
Certification:
USA:Approved (PCA #1321-R, 29 August 1935 for re-release)

Did You Know?

Trivia:
As the police are escorting Frank Maurrant (David Landau) toward the paddy wagon, in the crowd that is following them a man stumbles and falls causing two more people to fall on him.See more »
Quotes:
Emma Jones:The trouble with a bath is by the time you're through you're just as hot!See more »
Soundtrack:
The Farmer in the DellSee more »

FAQ

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16 out of 19 people found the following review useful.
Unforgettable slice of life from infancy of sound era, 7 June 2002
Author: bmacv from Western New York

King Vidor's Street Scene, from the infancy of the sound era, may be cinema's quintessential slice of life. Drawn from the 1929 Pulitzer Prize-winning drama by Elmer Rice – so many movies from the earliest 1930s were little more than filmed stage plays – Street Scene surmounts the limitations of its time and its material to achieve the status of a minor milestone in movie history. It's dated, occasionally clumsy, but unforgettable.

Street Scene's microcosm is a brownstone in a Manhattan tenement block during a scorching heat wave. The residents, in their various comings and goings, loiter on its front stoop to catch a stray zephyr and exchange some gossip. The gossip-in-chief is Beulah Bondi, a dried-up streel griping that she doesn't have a `dry stitch' on her (Vidor permits himself a cheeky shot of her, shot from below and behind, when she furtively unsticks her house dress from her, well, person).

Incidental players include a henpecked young husband whose wife is about to go into labor; an elderly Jew spouting socialist rant; his son, a non-violent college man with a crush on a gentile girl; cheerful Italians and dour Scandinavians; pinched and bitter social workers; gasbags, mashers and inebriates.

After reviling the weather with immemorial cliches, the characters turn wickedly to their chief topic: the milkman's suspicious visits to a married woman upstairs. (Her daughter, the central character in the drama -- Sylvia Sidney -- makes a later entrance but will ring down the curtain.) Meanwhile, the characters carry on city life in a rough-and-tumble of casually aimed racist barbs, sanctimonious judgementalism, and general acceptance of the notion that one's neighbors' lives are the reality television of the day, to be viewed with gusto. The potent cocktail of slander and humidity will have fatal results.

Vidor employs his talents adroitly. The movie's first `act' stays stubbornly crouched on that stoop, but gradually Vidor opens up his stage in a series of tilts and pans so that the brownstone becomes but one cell in a bustling urban organism. (Technically, it's precocious, and the story's dramatic `climax' arrives in a montage that may elicit smiles but still remains impressive.) Surviving current attitudes about political correctness and convincing `realism' (that most elusive of artifices), Street Scene endures as haunting, human experiment – among the finest of the first `talkies.'

Note: Rice's play was later to become the libretto to Kurt Weill's Broadway `opera' Street Scene.

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