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  • Warning: Spoilers
    CRIME IN THE STREETS is so obviously a message picture that's it's almost painfully didactic in spots, a less-than-classic "Juvenile Delinquent" opus. The worst element is the social worker (James Whitmore_ who tries so desperately to change a clearly deeply disturbed, would-be psychopath Frankie (Cassavetes) with useless talk. It's that talk that nearly kills the movie. Very little happens for long stretches while characters discuss and argue at length. To his credit, Whitmore pulls off his thankless role as well as anyone probably could. Cassavetes has his moments too, but his method style is often distracting and he's clearly too old for the typical 1950s "Juvenile Delinquent" part, despite his boyish looks and short stature. Mark Rydell plays a coded gay part, relayed through stereotyped sweeping gestures, cigarette in hand. He's excited by Frankie's violent talk and volatile personality. The forgotten Virginia Gregg hurls herself into the role of Frankie's downtrodden mother. Immersed in misery and hopelessness, she's inert, and blind to the cause her son's real problem. It's not hard to guess what Frankie's problem is about, many years and many psycho-social films after this film was made. As Frankie's long-suffering little brother, Peter J. Votrian never hits a false note and he successfully carries a couple the film's emotive climaxes. This really is an actor's movie, and two other actors bring to life the film's strongest emotional scene. Will Kuluva, another forgotten talent from the period, gives genuine paternal feeling to his part. But it's Sal Mineo as Kuluva's son, "Baby" who gives the film's truest and most realized performance. Mineo was a real, instinctive, highly gifted actor. In spite of similarities to some of his other roles in this period, he puts a distinctive mark on "Baby" and the viewer is not likely to forget him. If only this film had more energy, more action perhaps, and less talk, it may have had greater impact.
  • bkoganbing17 October 2010
    Working on a painfully thin budget from Allied Artists, Don Siegel managed to fashion an urban tale of violence and juvenile delinquency in Crime In The Streets. The urban sets remind me a lot of Otto Preminger's The Man With A Golden Arm which came out a year before. And the delinquents aren't romanticized as they are in West Side Story.

    James Whitmore stars as a local social worker working out of a settlement house who keeps his ear to the ground for any rumblings of a rumble on the mean streets of his urban neighborhood. With two gangs, the Hornets and the Dukes, he's got his hands full.

    It's the Hornets here that concern the viewer of Crime In The Streets. They have a charismatic leader in young John Cassavetes who at 27 is way too old to be playing an 18 year old, but so did most of the kids look way too old in Glenn Ford's class in The Blackboard Jungle. Cassavetes is repeating his role from this same story made as television drama two years earlier. Also repeating are Mark Rydell as one of Cassavetes lieutenants who really isn't wrapped too tight and Will Kulava as Sal Mineo's father.

    When local citizen Malcolm Atterbury reports one of their peers for having a zip gun, Cassavetes sets in motion a plan to kill him. Mineo and Rydell are in on it. Whitmore gets wind of it and does what he can to stop it.

    Don Siegel gets good performances out of his ensemble cast. One player I failed to mention is Virginia Gregg who may have gotten her career role as the mother of Cassavetes and Peter Votrian. Cassavetes she feels is a lost cause, she's concerned about Votrian who idolizes his brother and might get into the gang culture. Gregg is great example of one who was probably a battered wife when she had a husband living in the place and one who is too shell shocked to deal with her rebellious son.

    Though it's dated Crime In The Streets is still entertaining and it's a good sociological treatise on juvenile delinquency.
  • For revenge and thrills, juvenile delinquent gang leader John Cassavetes (as Frank "Frankie" Dane) plots to kill a man. Nail-biting Sal Mineo (as Angelo "Baby" Gioia) will lure the man into an alley, open-mouthed Mark Rydell (as Lou Macklin) will hold him down, and Mr. Cassavetes will slice and dice him to death. Little brother Peter Votrian (as Richie Dane) overhears Cassavetes planning the murder, and tells concerned social worker James Whitmore (as Ben Wagner). But, try as he might, Mr. Whitmore is unable to reform Cassavetes before the scheduled stabbing.

    The excellent script for "Crime in the Streets" was written by Reginald Rose, and had previously been seen as a live installment ABC-TV's "The Elgin Hour" (a dramatic anthology series). Television in the 1950s became fertile ground for great performances, and Whitmore's last attempt to reach Cassavetes, on the fire escape, is certainly high drama. The entire production is wonderfully acted; and, while Cassavetes is clearly far too old for the part, at least he gets a chance to repeat his role for film.

    Mineo gives the "Hornets" some youth appeal, and shows off his ability to react to other actors. Rydell, who became quite a successful director, is interesting. The lesser roles are fine. And, seeming to come out of left field, young Votrian is startlingly good. The specially designed outdoor set gives it a surreal quality, and director Don Siegel manages it beautifully. The plot is almost Shakespearian, and with the addition of music, you could imagine a certain "West Side Story" being born...

    ********* Crime in the Streets (6/10/56) Don Siegel, Reginald Rose ~ John Cassavetes, James Whitmore, Sal Mineo, Peter Votrian
  • "Crime In the Streets" tells the story of growing up in the slums, and what some young people will do to get out, or just to have a few kicks to help them forget their dead-end lives. This film's non-existent budget actually helps to add to the realism, with sets that are bleak and cheap-looking. Back alleys never looked so lurid and dangerous as they do in this sadly forgotten film. "Crime In the Streets" features some wonderful performances, especially Sal Mineo, who doesn't have enough scenes, but when he is on camera, the magic is there. Anyone who is familiar with Mineo's work knows what I'm talking about. The scene between Sal and his father is unforgettable. The actress who plays Frankie Dane's mother also gives an amazing, dramatic performance as the over-worked waitress, abandoned with two sons, all living in a dismal tenement apartment. John Cassevetes is waaaaay too old to play the 18 year old delinquent, though his performance is fine. It is depressing to witness how badly people treat each other in this film, and it is particularly disturbing to see Frankie abuse his little brother. He really treats this child savagely, hitting him, threatening him, and holding knives to his throat. I also should mention the fantastic jazz score featured, that compliments the dark, shadowy images and the taught drama unfolding on the screen. "Crime In the Streets" is almost impossible to find as there has never been an official video or DVD release. My copy is a bootleg DVD, and the quality is good enough. This and other early Sal Mineo films deserve to be re-discovered, but I don't imagine this one being re-issued any time soon. This is probably one of the best in the 50's 'JD' category.
  • kenjha30 December 2011
    A social worker tries to tame a street gang. Cassavetes is pretty good in his second film credit, although he was a bit old at 26 to be playing a teen. Rydell is quite creepy in his film debut as a psychotic gang member who can't conceal his glee at the thought of committing murder. Rydell, like Cassavetes, went on to become a director. His second film role would not come until 1973 in Robert Altman's "The Long Goodbye," when he played another frightening character. Mineo plays a character not unlike the one had just played in "Rebel Without a Cause." In his follow-up to "Invasion of the Body Snatchers," Siegel creates a gritty atmosphere but stresses the melodramatics.
  • I just saw this movie at the Don S. film festival at Film Forum, and this movie was surprisingly better than I could have expected. While it is a little preachy at times, the performances by Cassevetes and Mineo are mind-blowing in how touching and nuanced they are at such a young age.

    From the beginning it is clear that this film was made on a small set in Hollywood, but you quickly forget about this and can easily become wrapped up in the story - an almost reverse Crime and Punishment parable. Cassevetes and Mineo overcome an of the actors' deficiencies even though most of the other performances such as the mother, Mineo's father, are also superb (the only truly cornball performances come from the preachy social worker, the sappy little brother and a couple of the stereotyped gang members).

    The director does an amazing job of making this small slum world feel so small (the set is probably half a city block in size on the set) and tense.

    Film Forum displayed Scorcese's personal copy, which was unfortunately quite damaged. Hopefully, the studio which owns this film will reprint a clean 35 mm copy or print a restored DVD. For fans of the "youth gone wild" genre or simple of Cassevetes, this movie is a true waiting-to-be rediscovered gem
  • The film reminds me of one of those powerhouse Studio One TV plays of the early '50's. And that's a key problem. The movie comes across as a filmed stage play as though the format hasn't changed at all. I expect TV playwrite Reginald Rose had a lot to do with that approach, while ace action director Don Siegel simply followed out the script in uninvolved fashion.

    In short, the screenplay is way too talky, under-produced, and poorly staged. Never once, for example, did I forget that the street scene was mounted on a sound stage, with all kinds of traffic noises at the same time cars seldom pass on the roadway. Also, the few sets are so unrelentingly dreary and without a shred of adornment, you might think the deficiency is in the people rather than the conditions. After all, a shred or two would be more realistic, even in a slum. So, why rub our nose in it.

    Then too, the screenplay repeats about every delinquency cliché of the day—alienation, no father, poverty, to cite a few. Now, there is some truth in these clichés, as there is in most clichés. The trouble is the script simply parades them in unoriginal fashion leaving the impression of having seen it all before. Worse, that intense actor John Cassavetes is given little to do but brood and posture and look 27 instead of the supposed 18. And what's with dressing him in a yuppie v-neck sweater that looks like it belongs on a Harvard freshman.

    Nonetheless, it is an accomplished cast with some colorful characterizations. Mineo's excellent as the reluctant delinquent, Gregg fairly oozes bread-winner exhaustion, and little Votrian can look pathetic on cue. At the same time, Rydell's sadistic grin suggests needed malevolence, while Whitmore's social worker is happily no miracle man. Clearly, this is an earnest effort whose heart is in the right place. Still and all, the positives are too few to outweigh the stagy negatives. In short, there're good reasons this obscurity is not included among the delinquency classics of the day.
  • Crime in the Streets is directed by Don Siegel and written by Reginald Rose. It stars John Cassavetes, James Whitmore, Sal Mineo, Mark Rydell, Virginia Gregg, Peter J. Votrian, Will Kuluva and Malcolm Atterbury. Music is scored by Franz Waxman and cinematography by Sam Leavitt.

    Social worker Ben Wagner (Whitmore) tries to help local slum gang, The Hornets, especially their troubled leader Frankie Dane (Cassavetes).

    When your body hits that sidewalk nobody will even turn around to look at yah.

    Decent "juve delinquent" lecture movie, Crime in the Streets boasts some mightily impressive performances and closes on a (expected) piece of dramatic worth, but the screenplay is staid and pic is claustrophobic for all the wrong reasons. There's a cramped cheapness to the production that doesn't suit the narrative and you can feel Siegel straining with every sinew to light a tinderbox with a damp match.

    However, Cassavetes' intense firecracker performance is worth the time of any classic era film fan, and with Whitmore doing good and controlled earnest and Gregg (sadly underused) tugging away at the maternal heart strings, it still comes out in credit. There's a bonus, too, in the form of Waxman's blending of stabby jazz shards with momentum building percussion, it's quality, even if ultimately it deserves a better movie. 6/10
  • I don't want to elaborate too much on what's already been said, but 1956's "Crime in the Streets" becomes claustrophobic very quickly because of the shabby, back-lot "New York street" that screams artificial 1930s Hollywood set a la "Dead End" and "Scarface." Since this is an Allied Artists film, I'm guessing it was shot at the old Monogram Studios on Sunset Boulevard in East Hollywood, which was shabby even in the 1930s. Perhaps Don Siegel was looking for claustrophobia and delapidation to enhance the atmosphere, but more likely they were simply a product of a low budget. (After all, Siegel had already used the real-life streets of Hollywood and the nearby town of Sierra Madre to great effect a year earlier in "Invasion of the Body Snatchers.") Though no source material is given for "Crime in the Streets" except for the original teleplay, it owes quite a lot to Hal Ellson and other social workers-turned-writers who cranked out top-selling novels in the late '40s and early '50s, such as "Duke" and "The Golden Spike," that explored the tribulations of growing up in poor, urban, ethnic American neighborhoods. Also unacknowledged is Clyde McPhatter and the Drifters' rhythm and blues hit, "Such a Night," which provided Mark Rydell's character (clearly the movie's most interesting) with the "ba-dooby-dobby-doo" riff that became a jazz motif when the boys were awaiting their big crime in the alley.
  • rmax3048239 August 2010
    Warning: Spoilers
    The script is by Reginald Rose who went on to write the original "Twelve Angry Men", a superb piece of formulaic writing, directed by Sidney Lumet, centering on the members of the jury in a murder case. Don Siegel directed "Crime in the Streets". He was to become a master of brutal crime thrillers. John Cassavetes is the lead and James Whitmore and Sal Mineo are in support. The score is by Hollywood pro Franz Waxman. Even Sam Pekinpah gets a screen credit, though under an altered name.

    Yet everything about this story of a gang of 1950s delinquents seems mediocre -- dated, talky, preachy, and overdone.

    The director of Rose's "Twelve Angry Men" set the story in a closed jury room and never tried opening it up. The sense of heat and claustrophobia increased with time -- possibly because the director, Lumet, actually had the walls moved closer together, making the room literally smaller. Here we are only too painfully aware that we're looking at a studio set that's maybe thirty yards long. There's nothing wrong with that in itself, as Lumet's film showed, not to mention "A Streetcar Named Desire." But in those instances the sense of uncomfortable closeness, of sweaty crowding, was thematically related to the story. Claustrophobia is about the last thing we think of when we imagine the streets of a city, even in the more decrepit neighborhoods.

    And in "Twelve Angry Men," Rose laid out a taut story line. A kid's life was put at risk in the opening scene. The conversations that followed were ABOUT something, and even when they were about nothing more important than the weather they managed to capture the interactional styles of ordinary working-class people as well as a feeling for place -- New York City on a hot summer day.

    There's no such feeling for location here. No reference to places or streets, no regional dialects. It could be taking place anywhere and it feels a little barren because of that. Actually a couple of important characters were from New York but you'd never know it. Pekinpah is credited as "dialog coach," but what Pekinpah, a native of California's central valley, would know about dialects is left to our imagination.

    There are a couple of good performances. James Whitmore is always reliable, and John Cassavetes gets to bring his method intensity to the part of a half-crazed delinquent. Virginia Gregg, as Cassavetes' mother, is fine, but then hers is a well-written role. Sal Mineo has a genuine following. I realize that. But his charm almost completely eludes me. I hate to say it but he always reminded me of a thin, pitiful, blubbering child. Nothing in any of his performances ever really shook that impression.

    The topic is terribly dated too. Almost all sociology departments used to offer classes in juvenile delinquency but the topic has disappeared from the curriculum. I don't know why. Of course, the fact that a subject is time-bound doesn't necessarily mean it has to be poorly done or that it's irrelevant. I mean, "Moby Dick" is about whaling.

    Anyway, the film isn't terrible. I just found it uninteresting.
  • Lechuguilla9 November 2014
    There's very little action in this film. Set mostly on one grungy New York City street, the story revolves around a group of teenage hoodlums, members of the "Hornets" street gang. Their leader is Frankie (John Cassavetes), a super-angry dude who lives with his whiny mom and little brother in a cheap, squalid apartment overlooking the street. These guys, about 12 of them, talk tough. But that's mostly all it is ... talk.

    The story could easily be seen as a stage play. Three or four studio sets with cheap production design and controlled lighting could function as a backdrop for the performers. That's exactly the way the film comes across. Dialogue is important since there's so much of it. In this movie, the dialogue is acceptable, though a tad melodramatic. There's lots of expressed anger, angst, and whining. And an adult social worker and the father of one of the gang members dish out lots of paternalistic advice to Frankie and his buddies.

    High-contrast B&W lighting is probably the best element of the film. It conveys a noir atmosphere. The lighting, combined with the prod design, sets, and costumes, conveys a dreary, depressing tone. Background music is unremarkable. Casting is acceptable. Acting is well above average. As Frankie's mom, Virginia Gregg gives an especially nice performance.

    It's not a bad movie. But I prefer more action and changes in scenery, and less talk. If the viewer likes stage plays with some good acting, "Crime In The Streets" is a pretty good 1950s juvenile delinquency film.
  • Not among Siegel's finest , but in any case not a bad attempt at all. In this first stage of his career Siegel worked as a kind of hired hand on numerous low budget films .In some cases he was forced to work with very standard material, nonetheless in some others Siegel worked with some of the finest scripts ever created such as the Invasion of the Body Snatchers or The Killers. No worries whatsoever, if the basis are not that solid here ,Siegel had what it takes to left his mark and didn't need a super script to come out with an amazing films ,as he proved with the Line up or Private Hell 36.

    Sadly foundations here are not that solid , indeed these are much much weaker . He was probably charged with the task of making a teenage movie in the vein of the Blackboard Jungle ,same as he was probably assigned to do in Riot in Block cell 11 .

    In both cases he managed to succeed though working under disadvantageous circumstances: low budget , unoriginal plots with a moralistic tone which allows to see the what would be the end from minute one . Crime in the streets also had some clichés about juvenile delinquency.

    But Siegel overcame aany inconveniences to provide a more than decent outcome . Characters are solid and well constructed, Cassavettes is very convincing as the leader of the gang and action flows smoothly , helped by the sense of realism that the director gives to the film, so overall not bad at all
  • Warning: Spoilers
    The sociology of all sociological films is this 1956 excellent view of urban life, filled with social problems and the rise of gangs and ensuing violence. It's an absolutely wonderful film.

    John Cassavetes, as Frankie, the boy craving attention, is just fabulous here and Sal Mineo, always good, especially when he is a follower and conflicted, is hesitant in going along with Frankie's plans to rub out an elderly man who blew the whistle on their friend. Peter Votrian, who plays their accomplice, is terrific. He is absolutely demented and actually enjoys what the trio plan to do.

    James Whitmore is the social worker here who knows that Frankie and the guys are up to no good.

    There is a wonderful performance by Virginia Gregg as Frankie's exhausted, over-worked waitress mother, who knows that she can't control him but pleads with him. You'd remember Ms. Gregg the year before as the nurse in "Ill Cry Tomorrow." She gave Susan Hayward her first drink in the film. Ditto for the gentleman who played the Italian father of Mineo.

    The film, though extremely liberally slanted, provides an excellent view of urban decay and the rise of juvenile delinquency as a result. The ending in itself is ****.

    A wonderful picture.
  • Warning: Spoilers
    **SPOILERS** After having a nighttime rumble by the docks with rival street gang the Dukes the butt kicking Hornets put them to flight and capture one of their gang members who they signal out for special treatment. Eariler in the week Hornet member Lenny the "Lip" was worked over by the Duke's when he entered their turf and got his nose broken for doing it. Now Lenny and his boys were going to do the same thing to the captured Duke street gang member.

    It was too bad for Lenny that concerned citizen Mr. Mcallister caught him in the act of pulling a zip-gun and reported Lenny to the police. With Lenny under arrest and facing at least a year behind bars for the violation of the NY State Sullivan Law, carrying a gun without a permit, the Hornets gang leader Frankie "Touchy" Dane is as mad as a hornet at Mr. Mcallister and plans to off him when the opportunity presents itself to him. Together with his two fellow gang members Angelo "Baby" Gioia and Lou "Crazy Louie" Macklin Frankie plans to do in Mr. Mcallister the very next evening when he comes home from his weekly bowling game. The trouble with Frankie's crackpot plan is that he has a habit of opening his big mouth in public and by doing that lets the cat out of the bag in what he together with Baby Angelo and Crazy Louie are planning to do! And this comes to the attention of neighborhood social worker Ben Wagner through Frankie's kid brother Richie who overheard his plan and wants to keep him from carrying it out. As well as, if he succeeds, prevent his big brother Frankie from ending up being strapped into Sing Sing's electric chair!

    Following the success of troubled teenage movies like "The Blackboard Jungle" and "Rebel Without a Cause" the previous year it was a given that they'll be followed with a film like "Crime in the Streets" that actually preceded, on TV, both of them. Even though he was a bit old, at age 27, to play an 18 year old John Cassavetes was very convincing as the misguided and troubled Frankie Dane. A person who hated being touched, even by his mother, but loved to touch, with brass knuckles tire irons and switchblades, those who get in his way. There's also the sensitive and confused Angelo Baby Giola played by 16 year old Sal Mineo. Baby is torn between his pop who owns the neighborhood malt shop & candy store, in him wanting Baby to make something of himself, and his membership in Frankie's gang the Hornets which is a one way ticket to the state penitentiary. Trying to please both his dad and Frankie cause Baby to suffer from deep guilt problems. But when it comes to do in Mr. Macllister the poor kid reaches his breaking point!

    ***SPOILERS*** As for Crazy Louie, played by Mark Rydell, he's by far the craziest of the bunch in having no morals at all in murdering someone which even the not so stable Frankie, who planned Mr. Macllister's murder, later has second thought about! The real heroes in the movie is Frankie's kid brother Richie, Peter J. Votrian, and social worker Ben Wagner, James Whitmore, who in the end put Frankie straight in seeing that his hatred for the world at large, in putting him in the mess that he finds himself in, was more of his own making and one one else's! And it was Frankie and Frankie alone who by becoming a normal and sensitive person in him being able to feel the pain of others, instead of inflicting pain on them, that will help him overcome his very severe and dangerous inferiority complex!
  • This is best viewed as a filmed Stage Play because that is basically what it is. There is very little Movie pretensions and is delivered as an Actor's vehicle. It is a talky treatise on Juvenile Delinquency that starts out with a Rumble but then (un)settles in for a peek behind the cement curtain of dingy apartments and dirty streets, one Parent Families and smelly surroundings.

    A strong cast and Direction with an ambiance that is stifling and unsanitary (in the Kitchen, the 10 year old little Brother says..."I caught a roach, you want to see"). That is basically what we are witnessing. Human roaches scurrying around in this filth trying to survive. Sometimes it is so gritty that audiences may feel uncomfortable watching.

    The dialog has verisimilitude and the Film feels authentic beneath the facade, but as Movie Entertainment it could have opened up a bit, but the limited budget and Studio bound sets were not accommodating. Overall it is worth seeing as an artifact of the time, an era that was starting to pay some attention, if not enough, to the plight of underprivileged Youth in underdeveloped neighborhoods, and understaffed and overworked broken "homes".
  • Warning: Spoilers
    This movie is one of a very popular genre in the 1950s--the angry and disaffected teen film. Some of them (such as "Rebel Without a Cause" and "The Blackboard Jungle") were very good. Some were downright awful (they made a bazillion B-films using this theme such as "Beatniks" and "Teenage Crime Wave"). Many, like "Crime in the Streets", fall in between. And, like most of these films, the 'teens' in this film are mostly actors in their twenties and even thirties, though a few (Sal Mineo) were actually teens.

    John Cassavetes plays the nominal leader of a gang of incredibly clean-cut looking punks. They begin the film with a rumble with a rival gang and terrorize the neighborhood. One of the neighbors (the familiar-faced Malcolm Atterbury) calls the police when he sees them in action, as Cassavetes takes it very personally--and plans on getting revenge. In the meantime, an incredibly earnest social worker (James Whitmore) comes on VERY strong and tries to point the guys in the right direction before it's too late. Will niceness or evil prevail?

    The biggest problem I had with this film wasn't the fault of any of the people who made this film. It was released as part of a DVD collection of film noir movies--and this is clearly NOT film noir. While there are a few qualities similar to noir, a teenage delinquent film with a crusading social worker sounds nothing like noir! Another problem, though minor, is that the film has been done too many times before and the writing is a bit too pat. It comes off as a bit fake as a result. BUT, the film still has something to offer--John Cassavetes strong performance. While never as famous as James Dean, Dennis Hopper or other actors who specialized in these sort of roles, I think he was better here than these more well-known actors. He IS the film and helps to make up for the writing deficiencies (particularly Whitmore's character who just comes on a bit too strong at times--though he did have some good scenes--especially towards the end). There are a few other nice performances in the film as well (such as Will Kuluva, Mark Rydell, Virginia Gregg and Atterbury)--and this help the film to rise above the mediocrity of most delinquent teen films. Not great but worth seeing simply for the acting.
  • Social worker Ben Wagner (James Whitmore) tries to reach tough gang member Frankie Dane (a typically intense John Cassavetes) who is planning a revenge killing. The film, directed by Don Siegal, was based on a teleplay, and the theatrical release retains a limited (almost claustrophobic), stagy look which fits the 'dead-end' feel of the story. Street gangs in large American cities have changed a lot since the 1950s and modern audiences may view the Hornets and the Dukes to be about as menacing as West Side Story's Sharks and Jets, but much of the story remains relevant. Cassavetes is very good (although at 27, he's not a very convincing teenager), as is Sal Mineo (who was actually a teenager when the film was made) as his young buddy Angelo "Baby" Gioia. The story is solid and script very good (if you can get past the dated slang, daddy-o), which is unsurprising as the original teleplay was written by Reginald Rose, who earlier in the decade penned the iconic courtroom drama '12 Angry Men'. Films about youth culture (good or bad) often don't age well and 'Crime in the Streets' is no exception, but it is still a well-made and entertaining retro-drama.
  • Rlipt820 June 2020
    Warning: Spoilers
    I saw this movie when it first came out in the theater at the Midway Theater on Queens Blvd in Forest Hills. My Father and I sat in the Theater and watched if from beginning to end. At the time I was fighting with my younger brother all the time and it was really bad.

    When the actor Peter Votrian playing Ritchie Dane broke down crying telling Frankie John Cassavetes that he loved him, my Father broke down crying in the movies. I never saw my Father cry and he hated to see my brother and me fight all the time.

    That moment in the movie changed everything for us and it was poignant and moving and for that I shall always remember this movie fondly.
  • sol-6 November 2017
    Discovering that a disenfranchised local youth is planning a revenge murder, an altruistic social worker desperately tries to prevent the crime without police intervention in this juvenile delinquency drama directed by Don Siegel. The film is not particularly subtle with its agenda as lead actor James Whitmore bluntly states such truisms as "you can't tell a kid to be good" and as all parents find themselves exasperated by their kids in the most melodramatic manner possible. Will Kuluva is especially over-the-top as Sal Mineo's father who tries to get through to the boy by telling him that he wants to kiss him (!) while on the side telling Whitmore that he "has to hit" Mineo since it is all that the boy understands. The film features a phenomenal early turn by John Cassavetes though as the youth planning the murder with lots of subtle nuances whenever he listens to Whitmore lecture and as he plays on the fears of his friends. The real star of the show though is Siegel's directing work. Fresh from 'Invasion of the Body Snatchers', Siegel shoots the film with a myriad of intense close-ups as his young cast emote. The film also opens with a deathly intense pre-credits scene as good as anything Siegel ever directed. This is an odd movie: one hand, it is distractingly didactic; on the other hand, it looks so great and Cassavetes is so solid that is nevertheless involving.
  • Spartacus Super Bowl says let the performances draw you into this dramatic world. You can probably find fault with the scenario, but just accept the story as what's going on. Director Don Siegel draws out and controls convincing performances from all the major players, and the pacing is dynamic.

    The contrast in styles between John Cassavetes and James Whitmore perfectly captures the generational difference between their characters. Cassavetes is volatile and enigmatic, in a new and emergent style, while Whitmore brings all the authority of a seasoned character actor with leading-man capability to a role with some depth. The result, with the support of a strong cast of movie and TV regulars, and especially the conflicted emotional center in Sal Mineo, is compelling drama in the style of the Golden Age of TV Drama.

    Crime in the Streets was, in fact, originally presented on television, directed by Sidney Lumet, and was written by Reginald Rose (who wrote 12 Angry Men, among others). The film version might seem a little stagey as a result of this genesis, but the performances make it worthwhile.
  • Cassavetes, acting again. he did mostly television, up until now. turns out, he could do it all! writing and directing. James Whitmore and Sal Mineo, who died way too young. Two rival gangs, the dukes and the hornets, get into it in NYC... think west side story, which was made a couple years later. here, the social worker McAllister tries to help, and only makes things worse. he slaps Frankie (Cassavetes), which makes him more angry. and then puts the pressure on Angie Goia, in front of his father. not good! it's a little hokey, with everyone wearing prim and proper clothes, and being so polite. but we get the idear.... gangs are bad. and violent. anything can happen. rough and gritty scenes of the city. this highlighted the younger rough crowds; up to now, the old, black and white films showed the syndicate, the older age mob crowds; now, we're looking at the teens and twenty-somethings as the thugs on the streets. we know there's going to be a show-down at some point. Directed by Don Siegel, who also did Dirty Harry and Escape From Alcatraz. it's pretty good. early teen-age-angst. convincing show by Cassavetes.
  • It's New York City. The neighborhood has gone to hell as gangs of youths beat up on each other. Frankie Dane (John Cassavetes) leads the Hornets. Local Mr. McAllister talks to the police and gets Lenny arrested. Frankie vows revenge while social worker Ben Wagner (James Whitmore) tries to save him.

    Cassavetes is in his mid 20's while playing an 18 year old. He looks too old and is already graduated to a gangster. Along with the stage set and play aesthetics, there is an artificiality to the film. Despite that, Cassavetes delivers a good energy in his character with more brutality than an afterschool special. All in all, this is interesting for Cassavetes fans.
  • Decent film which more or less predicted the senseless violence to come in future generations. Shoestring budget makes the sets look cheap and fake, but the overall acting performances makeup for it. Some overboard acting and stereotyping, but an entertaining enough film.
  • Warning: Spoilers
    From the moment you see street thugs (John Cassavettes, Mark Rydell and Sal Mineo to mention a few), you can feel the anger pouring from the streets and onto the screen. They all have different issues, but it all boils down to the same thing-they hate everything about their lives, their families and their community. Cassavettes, who was a bit older than the late teen's he's supposed to be (he was 26), is the angriest of them all, although there are a few others who seem to be gleefully happy to cause the tension they do. When Cassavettes and his gang are caught in a fight with their rivals, a fed-up neighbor (Malcolm Atterbury) goes to the police, which results in the arrest of one of their pals. Later, the man slaps Cassavettes, and that causes him to begin to plot the man's murder. James Whitmore, as the local social worker determined to help the boys as much as he can, is like a substitute father figure, and even though they won't admit it, the young men respect him. When it comes apparent that Cassavettes is planning revenge, it's up to Whitmore to step in before it's too late.

    These kids aren't living the middle class life of the rebels without a cause of that 1955 James Dean/Sal Mineo/Natalie Wood classic. They are poor, fairly uneducated, and with little or no hope of making it out of their situations. Cassavettes' mother (Virginia Gregg) is a tired waitress who neglected him after giving birth to his much younger half-brother (a wonderful Peter J. Votrian) who hasn't been corrupted yet but is scared of his dangerous sibling whom he adores. Mineo is the baby-faced youngest member of the gang who is desperate for acceptance. One key scene has Mineo in a confrontation with his worried father (Will Kuluva) who actually acts more like an overprotective mother in his display of love for his son. Soap vet Denise Alexander plays Mineo's sister who is tired of the violence and also tries to get through to Cassavettes.

    This film gives a really mean looking portrayal of the life of these kids. Just a year after "Rebel Without a Cause" and "The Blackboard Jungle", teen gang films were catching on, but few of them really were anything more than exploitation films. This is not one of those, but a serious look at a problem that still exists today. Cassavettes and Whitmore give the most intense performances. My only real issue with the film was the sterilized ending which doesn't really complete the story, but takes it into a new direction the audience doesn't get to see.
  • Don Siegel directed this socially aware drama that stars James Whitmore as a local social worker doing his best to educate and dissuade the youth to not turn to a life of crime, and join a gang. There are two gangs to contend with, the Dukes & the Hornets, but it is the Hornets that concern him most since their leader(played by John Cassavetes) is bent on punishing the neighbor who identified one of his gang to the police for carrying a gun. Sal Mineo and Mark Rydell play followers of his, who get entangled in the revenge plot that Whitmore desperately tries to prevent, before lives are lost or futures ruined. Good direction and cast, but film is too preachy and obvious to succeed.
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