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RKO's first musical. Forget Frankie Vallie and the Four Seasons, this is Freddie and the Four Seasons. Freddie (Betty Compson) is a down-on-her-luck Hungarian violinist whose talent and beauty is admired by no less than the Prince of Hungary. Taken in by the Four Seasons after being found starving and at the prey of less scrupulous men, Freddie keeps house for the boys, and leads them to success.
Variety (July 17, 1929)
Date of Release: 21 August 1929
Studio: RKO
Director: Wesley Ruggles
Screenplay: Jane Murfin
Music: Sidney Clare and Oscar Levant
Choreographer: Pearl Eaton
Leading Actors: Betty Compson, John Harron, Ned Sparks, Jack Oakie, Guy Buccola, Joseph Cawthorn, Ivan Lebedeff, Eddie Kane, Doris Eaton and the Radio Pictures Beauty Chorus, Raymond Maurel and the Cimini Male Chorus, Gus Arnheim and His Cocoanut Grove Ambassadors
Street Girl was the first film of newly formed Radio Pictures, a subsidiary of the Radio Corporation of America (RCA). Street Girl is listed in the AFI Catalogue as “romance with songs” despite being continually referenced in the trade magazines as an “all-singing, all-dancing, all-talking musical.”
RKO’s coordinated advertising efforts are evident, with plenty of full-page ads and write ups in the trade magazines.
Studio: RKO
Director: Wesley Ruggles
Screenplay: Jane Murfin
Music: Sidney Clare and Oscar Levant
Choreographer: Pearl Eaton
Leading Actors: Betty Compson, John Harron, Ned Sparks, Jack Oakie, Guy Buccola, Joseph Cawthorn, Ivan Lebedeff, Eddie Kane, Doris Eaton and the Radio Pictures Beauty Chorus, Raymond Maurel and the Cimini Male Chorus, Gus Arnheim and His Cocoanut Grove Ambassadors
Street Girl was the first film of newly formed Radio Pictures, a subsidiary of the Radio Corporation of America (RCA). Street Girl is listed in the AFI Catalogue as “romance with songs” despite being continually referenced in the trade magazines as an “all-singing, all-dancing, all-talking musical.”
RKO’s coordinated advertising efforts are evident, with plenty of full-page ads and write ups in the trade magazines.
Film Daily (Aug 1, 1929)
A regular light-hearted column in the Film Daily (July 30, 1929) reported that “The Noo Yawk deboo is at the Globe tonight. Looks like a verra auspicious premiere, too…” The Street Girl opening was indeed a large affair, with RCA and industry executives in attendance. Motion Picture News (Aug 10, 1929) even ran an article about Joseph I. Schnitzer, President of RKO, making a transatlantic telephone call to report on the opening with other RKO execs who were in Paris on business.
Street Girl opened to excellent houses, and it was one of the top grossing films to play at the Globe Theatre in 1929. The film played exceedingly well around the country, playing to sell out houses.
The critics also enjoyed Street Girl. Most found the story to be a little thin, but praised the film for its entertainment values, excellent performances, and strong direction by Wesley Ruggles. After starting out as an actor, Ruggles went on to become a prolific director, proving himself able in a variety of genres – notably musicals, romances, and westerns. He directed over 80 films over the course of his thirty year career including Honey (1930), Cimarron (1931), I’m No Angel (1933), Sing You Sinners (1938), and Somewhere I’ll Find You (1942).
Street Girl opened to excellent houses, and it was one of the top grossing films to play at the Globe Theatre in 1929. The film played exceedingly well around the country, playing to sell out houses.
The critics also enjoyed Street Girl. Most found the story to be a little thin, but praised the film for its entertainment values, excellent performances, and strong direction by Wesley Ruggles. After starting out as an actor, Ruggles went on to become a prolific director, proving himself able in a variety of genres – notably musicals, romances, and westerns. He directed over 80 films over the course of his thirty year career including Honey (1930), Cimarron (1931), I’m No Angel (1933), Sing You Sinners (1938), and Somewhere I’ll Find You (1942).
Picture Play, Nov 1929
Unusually the critics almost always gave name recognition to the female screenwriter, Jane Murfin, complimenting her dialogue writing. Murfin started out as an actor and, along with her writing partner and lifelong friend Jane Cowel, became a well-regarded playwright in New York. Early in their writing career, and to their later regret, Murfin and Cowl wrote under a male pseudonym, Allan Langon Martin.
In the early years of film, Murfin moved west and remained in Hollywood for over twenty years. According to the Women Film Pioneers Project, Murfin was incredibly business savvy and retained the rights to her stage plays, and later negotiated to retain the television rights too. Murfin was a founding member of the Screenwriters’ Guild, and wrote its original rules and guidelines. Some of her 60+ film credits include Street Girl (1929), Smilin’ Through (1932), Little Women (1933), Roberta (1935), The Women (1939), and Pride and Prejudice (1940). Fascinating biographies can be found here and here.
The film opens with the Four Seasons (John Harron, Ned Sparks, Jack Oakie, and Guy Buccola) playing at a crowded café, where the owner laments “Come for the band. The food is terrible.” The scene is lively and fun, with great use of sound.
The band head home and find a distressed Freddie on their doorstep – “Only three million dames in New York and he picked the one without a home.” Mike (John Harron) invites her in, and seeing the state of disarray the boys live in, Freddie offers to take care of things – “I darn! I darn all of you!”
Betty Compson as Freddie is charming and sweet. She was a popular and talented actress who appeared in over two hundred films. By the age of 16 she was touring as a violin soloist on the vaudeville circuit. After being spotted by a producer, Compson went into film and became a versatile silent film actress. During this time, at the peak of her fame, Compson ran her own production company. She spent some time performing in London and returned to the USA in time for the talkie revolution. Compson was nominated for Best Actress in the first Academy Awards for her role in The Barker (1928). She continued to perform in well-received films throughout 1930s, but the studios considered her “old” by the age of 40, and her roles diminished.
Freddie knows she is attractive, and uses this to her advantage in negotiating a salary for the band. It is not Freddie’s charm or musical skills that elevate the band’s fortunes however, but the fact that “everyone want to see the girl the prince kissed.” Mike’s jealousy and desire to control Freddie is also a driving factor of the plot.
As the band’s fortunes rise, so does the quality of the food in the establishments in which they are playing. At Mr Keppel’s restaurant, Mr Keppel (Joseph Cawthorn) is bumbling and sweet. He is contrasted by the tall and grim-faced, ever displeased Mr Happy (Ned Sparks).
Finally, Freddie and Mike make amends and thanks to the Prince of Hungary, they have their own club – Joyzelle’s. The club opening is resplendent. The Four Seasons are dressed in tails and top hats and Freddie wears a stunning sparkly flapper dress. The night is complete with a chorus of dancing girls. The scene is wonderfully filmed, with some innovative, if a little clunky, shots of the girls running toward the camera one by one. The scene is elevated by the club’s geometric patterns which pop on the screen.
The dancing was choreographed by Pearl Eaton. She was the third of seven siblings, most of whom had prominent careers in show business. Eaton started out as a dancer in the Ziegfeld Follies, where she also worked as a choreographer. After moving to Hollywood in 1928, Eaton became a choreographer for RKO. Her film credits include Street Girl (1929), Rio Rita (1929), Hit the Deck (1930), Love Comes Along (1930) and Dance, Girl, Dance (1933). Tragically, Eaton was later found murdered in her home, and the murder was never solved.
Street Girl closes with Freddie and the Four Seasons playing joyfully on stage. A sweet ending for a sweet film.
In the early years of film, Murfin moved west and remained in Hollywood for over twenty years. According to the Women Film Pioneers Project, Murfin was incredibly business savvy and retained the rights to her stage plays, and later negotiated to retain the television rights too. Murfin was a founding member of the Screenwriters’ Guild, and wrote its original rules and guidelines. Some of her 60+ film credits include Street Girl (1929), Smilin’ Through (1932), Little Women (1933), Roberta (1935), The Women (1939), and Pride and Prejudice (1940). Fascinating biographies can be found here and here.
The film opens with the Four Seasons (John Harron, Ned Sparks, Jack Oakie, and Guy Buccola) playing at a crowded café, where the owner laments “Come for the band. The food is terrible.” The scene is lively and fun, with great use of sound.
The band head home and find a distressed Freddie on their doorstep – “Only three million dames in New York and he picked the one without a home.” Mike (John Harron) invites her in, and seeing the state of disarray the boys live in, Freddie offers to take care of things – “I darn! I darn all of you!”
Betty Compson as Freddie is charming and sweet. She was a popular and talented actress who appeared in over two hundred films. By the age of 16 she was touring as a violin soloist on the vaudeville circuit. After being spotted by a producer, Compson went into film and became a versatile silent film actress. During this time, at the peak of her fame, Compson ran her own production company. She spent some time performing in London and returned to the USA in time for the talkie revolution. Compson was nominated for Best Actress in the first Academy Awards for her role in The Barker (1928). She continued to perform in well-received films throughout 1930s, but the studios considered her “old” by the age of 40, and her roles diminished.
Freddie knows she is attractive, and uses this to her advantage in negotiating a salary for the band. It is not Freddie’s charm or musical skills that elevate the band’s fortunes however, but the fact that “everyone want to see the girl the prince kissed.” Mike’s jealousy and desire to control Freddie is also a driving factor of the plot.
As the band’s fortunes rise, so does the quality of the food in the establishments in which they are playing. At Mr Keppel’s restaurant, Mr Keppel (Joseph Cawthorn) is bumbling and sweet. He is contrasted by the tall and grim-faced, ever displeased Mr Happy (Ned Sparks).
Finally, Freddie and Mike make amends and thanks to the Prince of Hungary, they have their own club – Joyzelle’s. The club opening is resplendent. The Four Seasons are dressed in tails and top hats and Freddie wears a stunning sparkly flapper dress. The night is complete with a chorus of dancing girls. The scene is wonderfully filmed, with some innovative, if a little clunky, shots of the girls running toward the camera one by one. The scene is elevated by the club’s geometric patterns which pop on the screen.
The dancing was choreographed by Pearl Eaton. She was the third of seven siblings, most of whom had prominent careers in show business. Eaton started out as a dancer in the Ziegfeld Follies, where she also worked as a choreographer. After moving to Hollywood in 1928, Eaton became a choreographer for RKO. Her film credits include Street Girl (1929), Rio Rita (1929), Hit the Deck (1930), Love Comes Along (1930) and Dance, Girl, Dance (1933). Tragically, Eaton was later found murdered in her home, and the murder was never solved.
Street Girl closes with Freddie and the Four Seasons playing joyfully on stage. A sweet ending for a sweet film.
Ad featured in several editions of Motion Picture News
Throughout Street Girl, the crowd scenes and song and dance numbers are innovative and lively with excellent frame composition. By comparison, the smaller and dialogue-heavy scenes are stilted and lack the technical skill of the larger moments. Overall the film suffers from slow pacing, but it has moments of charm.
In an attempt to tap into foreign non-English speaking markets, RKO announced Street Girl would be the first movie to have “prologues,” explanatory shorts spoken by actors in the relevant language. It was planned these “prologues” would take place between each reel.
Although Street Girl has not been released on DVD, the film was screened on Turner Classic Movies and made available online for a brief period. In October 2015, TCM partnered with Women in Film in LA to launch Trailblazing Women. The series was dedicated to promoting the contribution of women to film. There was talk of a permanent Trailblazing Women section on TCM’s website, but it is not yet available.
Street Girl was a huge success for RKO, and along with Rio Rita, heralded a bright future for movie musicals as fun entertainment.
In an attempt to tap into foreign non-English speaking markets, RKO announced Street Girl would be the first movie to have “prologues,” explanatory shorts spoken by actors in the relevant language. It was planned these “prologues” would take place between each reel.
Although Street Girl has not been released on DVD, the film was screened on Turner Classic Movies and made available online for a brief period. In October 2015, TCM partnered with Women in Film in LA to launch Trailblazing Women. The series was dedicated to promoting the contribution of women to film. There was talk of a permanent Trailblazing Women section on TCM’s website, but it is not yet available.
Street Girl was a huge success for RKO, and along with Rio Rita, heralded a bright future for movie musicals as fun entertainment.
Motion Picture News (Oct, 1929)
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