STREET SCENE
(La calle)
(USA, 1931) [B/N, 80 m.].
Género: Drama urbano / PreCode.
IMDb
Ficha técnica.
Dirección: King Vidor.
Argumento: Elmer Rice (teatro).
Guión: Elmer Rice.
Fotografía: George Barnes, Gregg Toland (no acreditado) (B&W).
Música: Alfred Newman (no acreditado).
Producción: Samuel Goldwyn.
Productora: The Samuel Goldwyn Company (for) / Feature Productions.
Sinopsis: Basada en el Premio Pullitzer, 'Street Scene' es un estudio de la vida diaria de la gente. (FILMAFFINITY)
-------------------------------------
Conmovedor y realista narración sobre la vida de los habitantes de un edificio en un barrio pobre y la desesperación de los jóvenes por salir de él. tratando de evitar los conflictos que provocan el adulterio o las relaciones clandestinas. Los diferentes enfrentamientos cambiarán la vida de sus protagonistas para siempre. Consistente retrato de una realidad social con la impecable dirección de King Vidor. Basada en el Premio Pullitzer, "Street Scene" de Elmer Rice. (Cineol)
- STREET SCENE (1931, King Vidor), Cinema de Perra Gorda.
AMG SYNOPSIS: Elmer Rice's Pulitzer Prize-winning play Street Scene was purchased for the screen by producer Samuel Goldwyn in 1931. The entire story takes place on the street in front of a foreboding old New York brownstone, between one evening and the next afternoon. The individual fates of eight neighboring Manhattan families intertwine during this brief stretch of time. Special emphasis is given the Maurrant family: the philandering mother (Estelle Taylor), the drink-sodden husband (David Landau) and long-suffering daughter Rose (Sylvia Sidney). When the husband catches the wife "in the act" with bill-collector Russell Hopton, the resulting tragedy is not shown, but reflecting in the wildly varying reactions of neighbors and passersby. Though resisting the temptation to "open up" the play, director King Vidor nonetheless injects his cinematic know-how into the proceedings, by utilizing an entirely different camera setup or angle for each individual "take." The cast of Street Scene includes several carry-overs from the Broadway original, including David Landau, Max Montor, Matt McHugh (brother of Frank), John Qualen, George Humbert, Tom H. Manning, and Anna Konstant (Sidebar: Shirley Kaplan, the role played by Ms. Konstant, was portrayed in the London production of Street Scene by Greer Garson). Unavailable for TV for many years due to legal tangles, Street Scene was freed up for the small screen when it lapsed into public domain in the early 1980s. -- Hal Erickson
"Street Scene" (United Artists, 1931), produced by Samuel Goldwyn and directed by King Vidor, is a remarkable film in many ways. This screen adaptation to Elmer Rice's Pulitzer Prize winning 1929 stage play, realistically focuses on a group of people of different ethnic backgrounds who gather together on the front steps of their tenement brownstone apartment building on the west side of Manhattan during a summer heat wave in mid July. The plot, which is set during a 24 hour period, takes a look on various residents before centering its attention on the Maurrant family. Anna Maurrant (Estelle Taylor)is a housewife and mother who has become so bored with her present existance that she carries on an affair with a married man named Steve Sankey (Russell Hopton) while her stern and unsentimental husband, Frank (David Landau) heads off for work. This illicit affair is known to many in the neighborhood, especially when one of the area residents happens to be a gossip named Emma Jones (Beulah Bondi). In spite of their knowledge about Mrs. Maurrant, Frank does have his suspicions, as well as their grown daughter, Rose (Sylvia Sidney), a working girl who is loved by Sam Kaplan (William Collier Jr.), a young Jewish law student who also lives in the same building. Like Rose, Sam longs to move away from the slums and into a better neighborhood. Although Sam has strong ambitions, his weakness happens to be that he is a coward, and is reminded of it constantly by Vincent (Matt McHugh), a heavy-set bully and Mrs. Jones's "Momma's Boy." After about an hour or so of realistic dialogue ranging from a few racial slurs from Vincent Jones to Sam, and arguments due to differences of opinion, that American was discovered by Lief Erickson instead of Christopher Columbus, the street scene, as the title indicates, occurs when Frank Maurrant returns from work unexpectedly to notice the shades of his bedroom window being pulled down. Realizing what is happening, he runs upstairs to catch his wife in the act. This is the one scene in the movie where the suspense really builds up with tension.
Light on action, "Street Scene" moves along very quickly with the help of numerous camera angles. Aside from its plot development of numerous characters, every one of them, down to the last extra, makes his presence count. With the storyline being limited to only the front portion of the building, viewers never get to see the inside of the apartment. There is a tracking scene in which the camera captures an eyeview look of each individual tenant doing his or her daily routines from separate windows, something that might have impressed director Alfred Hitchcock for his 1954 classic of "Rear Window." Director Vidor does break away from his limitations in also giving the avid movie viewer a eyeview of Manhattan of 1931, ranging from the elevated train, a glimpse of the Chrysler Building and other tenement buildings. The opening sequence, underscored by Max Steiner's now classic "New York City Theme," is priceless, ranging from children cooling themselves off from the summer heat as they get splashed on with water from a hose connected to a fire hydrant; an alley cat licking a block of ice; a family dog stretched out on the sidewalk to cool off; and a brief look at those now antique fans. The second act of the story, which takes place the following morning, goes a bit further with local boys picking up stacks of newspapers to be delivered; and a man waking up from a good night's sleep on the fire escape, and heading back in his apartment carrying his pillow and sheets through his open window, among others. There is also a noted scene in which Willie (Lambert Rogers), the younger member of the Maurrant family, is skating down the street and pauses to yell up the window to his mother to throw him a dime to buy an ice cream cone. She then takes the dime, wraps it around tissue paper and rubber band, then tosses it down directly to him. Those who recall such childhood memories, particularly in New York City, will definitely relate to these little detailed scenes, and those who are too young to ever have know such an existance, can see how times have changed and what life was like before air conditioning, television sets with numerous cable channels, and present day home computers did to keep all residents cooped up indoors, unaware of what's going on around them. Worse yet, not knowing who their next door neighbor is. Some things, though, will never change. Aside from there always being at least one local gossip to carry on tales in every neighborhood, a street could always be very quiet and peaceful during the day, but whenever there is a commotion, such as a two car accident, a pedestrian getting struck by a passing vehicle, or a murder following the sounds of gun shots, there is ALWAYS a guarantee that the empty streets will be filled with a crowd of curious people in a matter of minutes, highlighted by the loud sounds of police and ambulance sirens, which King Vidor expertly depicts in this photoplay.
Seen in the supporting cast are Greta Grandtedt, Max Mantor, John Qualen, George Humbert, Allan Fox, and a child actress Marcia Mae Jones, famous for her co-starring performance opposite Shirley Temple in "Heidi" (20th Century-Fox, 1937), recognizable in her small role as Mary Hildebrand, one of the neighborhood children. In fact, many of the supporting players appearing in "Street Scene" reprised their roles from the stage version, especially that of Beulah Bondi, making her screen debut. She is excellent actress here playing a nasty character who nearly walks away with the film. Sylvia Sidney, with few movie credits to her name at the time, and a native New Yorker, makes a lasting impression with her role as Rose. She gets top-billing but doesn't get to make her first appearance until 23 minutes from the start of the story. It's a pity that so few of her movies are available for viewing on TV today, particularly since she appeared in many in the 1930s, mostly at her home studio at Paramount. It's been said that Sidney replaced Nancy Carroll, another Paramount alumni and Samuel Goldwyn's original choice, for the role of Rose. Goldwyn would get to use Sidney once more in another drama depicting New York City life in the tenements, a screen adaptation to Sidney Kingsley's 1935 play, "Dead End" (1937).
"Street Scene" is an excellent movie in storytelling that never lets go of its audience. In spite of its age, it's still timely. One element that shows King Vidor's style of sending out his messages to his viewers without the use of dialogue is his use of closeups on facial expressions of several people. They don't say anything, but we have ideas of what they are thinking, particularly the Frank Maurrant character, and the Sam Kaplan character in the climatic scene when his eyes open wide when he notices Mr. Maurrant walking down the street to return home only to suddenly look up the second story window with the shades drawn, and again looking directly at Mr. Maurrant, who looks directly at the young man, with his eyes slowly moving towards his bedroom window. A lot said without the use of dialogue. These and many other scenes are what makes "Street Scene" so remarkable, even today. Instances such as this could happen anywhere, not just New York. It can also occur anytime. But a movie such as this cannot be remade today or ever without the same impact used by Vidor. It's a wonder why this movie did not get a single Academy Award nomination in 1931.
------------------------------------------------------------------------------------------------------
Datos técnicos:
Código: Seleccionar todo
Street Scene (1931, Vidor, DVD) [Grand-Rip].avi
Tamaño....: 700 MB (or 717,068 KB or 734,277,632 bytes)
------------------ Video ------------------
Codec.....: XviD
Duración..: 01:18:32 (112,979 fr)
Resolución: 448x336 (1.33:1) [=4:3]
Bitrate...: 1129 kb/s
FPS.......: 23.976
------------------ Audio ------------------
Codec.....: 0x0055(MP3) ID'd as MPEG-1 Layer 3
Bitrate...: 110 kb/s (55/ch, stereo) VBR LAME3.90
Street Scene (1931, Vidor, DVD) (Grand-Rip).avi 
Audio español sincronizado, gracias a theycame2001 y James Mason.
Street Scene. 1931. Doblaje clasico by Theycame2001 and James Mason.mp3 Subtítulos en español, gracias a Alonquijano.
Street scene (King Vidor, 1931). Subtítulos españoles, descarga directa.
Subtítulos corregidos: castellano.
Traducción de Alonquijano, corregida por lawrence.
lawrence escribió:Gracias a todos los implicados. Gran trabajazo. Me he permitido poner algunas comas en los subtítulos, espero que no os importe (que no es lo mismo "No, me gusta" que "No me gusta", o "No es para mí, padre," que "No es para mi padre" je, je) No ha sido una corrección exhaustiva pero sí un poco por encima.
------------------------------------------------------------------------------------------------------
saludos y a disfrutarla
--> esto se le escapó al funcionario de turno de la Hays Office 
] Maureen O'Sullivan en las primeras pelis de Tarzán-Weissmuller...).