Street Corner (UK, 1953)

Lurid for its time

During the 1930s Warner Bros.’s used the topicality of gangsters to market their films; Street Corner, which as the poster above says is ‘torn from the records’, has a much more genteel approach to the social problems of the time. Scripted by wife and husband team, Muriel and Sydney Box (brother of Betty), Street Corner is both (slightly) radical and suffocatingly conservative. Muriel also directed though on the Talking Pictures print I saw producer William MacQuitty is credited as being at the helm (was this for the American distributors that maybe wouldn’t accept a film directed by a woman?). The film’s progressive drift is the focus on policewomen, there are three unconnected narrative strands and the intention is we get a sense of what it’s like working as a policewoman, complete with sexist Scottish copper.

The gentility comes from the middle class benevolence of the police force (as it was known at the time before it was changed to ‘service’) shown dealing with wholly working class crime and social problems. The social problems aren’t poverty, though that is represented well enough in the slums and scratty kids, but disintegrating families with neglected children. Women, of course, are much better suited to dealing with these sorts of issues! However, despite the film’s conservatism, there’s no doubting its intention was feminist and Muriel Box was no doubt a formidable filmmaker as Rachel Cook describes. It’s sometimes described as a ‘semi-documentary’ but the film style is wholly that of fiction but some location shooting and the split narratives do give it a realist tinge.

The cast is interesting, this is the first time I’ve heard Peggy Cummins use her native Irish accent and in one startling moment, when she sports a beret and sunglasses, she looks like Annie Starr from the great Gun Crazy (1950). Terence Morgan is suitably charismatic as the homme fatale but Dora Bryan’s one scene as a prostitute protesting that she didn’t mind being arrested but not by a woman is almost the film’s highlight.

Christine Geraghty’s summary is spot on: “The policewomen do not so much solve crimes as resolve family disorder, making sure that husbands, wives and childre are in the right place by the end.” (British Cinema in the Fifties: Gender, Genre and the ‘New Look’, 2000: p148).

 

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