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Crime in the Streets
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Directed by Don Siegel
Frankie Dane (John Cassavetes) is the leader of the hornets, a local street gang that has had its share of rumbles and other trouble with the police. When one of his members is fingered to the police by a neighbor (Malcolm Atterbury) for having a gun, Frankie vows revenge, and when the same man humiliates him in public, he decides it's got to be murder. But only two members of the Hornets, mentally unstable Lou Macklin (Mark Rydell) and would-be full-fledged member "Baby" (Sal Mineo), are willing to go along, and even one of them is shaky -- the rest of the gang draws a line at killing. Social worker Ben Wagner (James Whitmore), who runs the local youth center, has been trying to reach out to the members of the Hornets and sees that something is splitting Frankie and a couple of the others off from the main gang, and is concerned enough to find out what it might be -- especially when Frankie's younger brother, a really nice kid named Richie (Peter J. Votrian), tells him that he thinks Frankie's planning to kill someone. He tries getting help from Frankie's mother (Virginia Gregg), who's too tired from her job to do much more than keep Richie from becoming like his brother, and Mr. Gioia (Will Kuluva), "Baby"'s father, who doesn't understand what went wrong between him and his son. A three-way battle of wills ensues as Frankie tries to hold his plan together and resist Wagner's efforts to intercede -- in the end, several lives are at risk, as Frankie ends up with his knife at the throat of his own brother, fully ready to use it. ~ Bruce Eder, All Movie Guide
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Review by All Movie Guide
All Movie Guide
lost interest.
Don Siegel's Crime in the Streets was adapted for the screen by Reginald Rose, who'd originally written it for a presentation of The Elgin Hour on television in 1955. John Cassavetes, Mark Rydell, and Will Kuluva played the same roles in the small-screen version -- which was directed by Sidney Lumet and featured Glenda Farrell as Mrs. Dane, a young Van Dyke Parks as Richie, Ivan Cury as "Baby," and Robert Preston as Ben Wagner. The feature-film script feels padded out a bit, though Siegel does his best to keep the camera moving and the images -- most of them violent -- flowing out at a good clip, so that visually it's never dull. In the end, he, cinematographer Sam Leavitt, editor Richard Meyer, and composer Franz Waxman (working a surprisingly raw, modernistic mode, not far removed from what Leonard Bernstein did in On the Waterfront) make almost more of this than Rose's script will carry. The performances by Cassavetes and company are still fascinating to watch, even if the script and the sensibilities behind it have dated somewhat in the ensuing half century, and Siegel's overall handling of the material makes it one of the better and more enduring dramas about urban delinquency, as he underplays the script's preachiness in favor of some more enduring images and conflicts contained within its structure. The trick for modern viewers may be to find an intact version of the movie -- the 2006 theatrical showing at New York's Film Forum, in its Don Siegel retrospective, utilized a worn if serviceable TV print. ~ Bruce Eder, All Movie Guide
 

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