7.2/10
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7 user 13 critic

Sidewalk Stories (1989)

R | | Comedy | January 1990 (USA)
Nearly silent comedy filmed in black and white follows a street artist (Charles Lane), who rescues a baby after her father was murdered. The artist then sets off to find the mother, but has... See full summary »

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Cast

Credited cast:
...
Rest of cast listed alphabetically:
Tom Alpern ...
Bookseller
Nicole Alysia ...
Edwin Anthony ...
Penny Pincher #1
...
Doorman / Street Cop
Jeff Bates ...
Police Officer #2
Angel Cappellino ...
Bully's Mother
Jeffrey Carpentier ...
Homeless Native American
John Carr ...
S.O.B. Man
Vince Castelano ...
Child Customer #3
Jimmy Clohessy ...
Precinct Cop #2
...
Alley Tough #1
Tanya Cunningham ...
Girlfriend
Deena Engle ...
Park Mother #1
...
Bag Lady
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Storyline

Nearly silent comedy filmed in black and white follows a street artist (Charles Lane), who rescues a baby after her father was murdered. The artist then sets off to find the mother, but has to first learn how to care for the child. Ultimately he ends up in a horse drawn chase of the murderers. Written by John Sacksteder <jsackste@bellsouth.net>

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Genres:

Comedy

Certificate:

R | See all certifications »
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Release Date:

January 1990 (USA)  »

Also Known As:

Mesék a járdán  »

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Box Office

Gross USA:

$131,433
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Aspect Ratio:

1.85 : 1
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Did You Know?

Goofs

Director/actor Charles Lane giving directions to the other actors in the film. See more »

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User Reviews

 
a brave attempt, but with mixed results
3 January 2011 | by See all my reviews

It takes a lot of nerve to update a classic silent comedy, and do it again as a silent film, but that's the idea behind this Reagan-era remake of the 1921 Chaplin comedy 'The Kid'. Writer/producer/director Charles Lane himself takes the Little Tramp role, playing a homeless New York City street artist who reluctantly adopts an abandoned toddler (in real life Lane's own daughter). Both have big shoes to fill, Lane most of all because, unlike Chaplin, he isn't exactly a creative genius, and his attempts at visual comedy are never more than mildly amusing, at best.

But silence is golden, and more to the point for a struggling independent filmmaker, it can be economical as well. By muting the voices on screen Lane succeeds in muting the harsh impact of poverty, bringing some charm to what could have been a merely depressing backdrop. So why introduce the panhandler's begging voices in the final scene, when their faces alone would have been eloquent enough? It amounts to thematic overkill in an otherwise engaging novelty (if not much else), with a likable underdog as its director and star.


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