When the Manhattan investment firm of Sherwood Nash goes broke, he joins forces with his partner Snap and fashion designer Lynn Mason to provide discount shops with cheap copies of Paris couture dresses.
Jobless, homeless and starving Freddie Joyzelle is saved by Mike Fall from the clutches of a masher, and is then invited to stay with him and his musician partners for at least two weeks. The four men call themselves The Four Seasons because of their surnames: there is also Joe Spring, Happy Winter and Pete Summer. Besides joining their group as a violinist, Freddie cooks and cleans for them and even gets them a gig at the Little Aregon restaurant after they are fired for asking for a raise at their old job. She is from the country of Aregon and knows the owner, Mr. Keppel, also from Aregon. When Prince Nicholaus of Aregon pays a visit to the restaurant and recognizes Freddie, he kisses her on the forehead, creating front page news that makes the restaurant famous. Keppel decides to open a larger restaurant because of the increase in business. Although Mike and Freddie love each other, Mike gets jealous at the attention Freddie gives the Prince, and quits the group two hours before ...Written by
Arthur Hausner <firstname.lastname@example.org>
When Frederika shows the guys the caption of the Prince's picture in the newspaper from her home country of Aregon, it is really in Hungarian. See more »
Well, to tell the truth, I have nothing to eat for two days.
Now, you wouldn't kid me about that, would you?
I telling you, if I ever see some food again I don't know what I'd do.
Now, now, wait. Alright, if you're on the level about this, I've got enough food here to feed the starving Chinese.
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I'll say quite a few good things about "Street Girl." The overall plot is serviceable, the songs by Oscar Levant and Sidney Clare are nice period pieces (Levant spent much of his life trying to play on the pop-songwriting turf of his good friend George Gershwin, and he wrote one truly great song — "Blame It on My Youth" — but Gershwin he wasn't), the big musical finale "Broken-Up Tune" is suitably spectacular (I suspect this number was originally in two-strip Technicolor even though it only survives in black-and-white, and in the print just shown on TCM there's one shot in the final sequence that is photographically quite inferior to the rest, suggesting that the film as it stands was pieced back together from partial prints), and above all Wesley Ruggles' direction, though hardly at the imaginative level of Mamoulian's, Capra's, Wyler's, Milestone's or Vidor's in their first talkies, is quite fluid. The camera moves around quite a lot, the editing is fast-paced and the actors speak relatively naturally without the seemingly endless pauses between lines (sometimes between words!) that make a lot of early talkies virtually unwatchable today.
That's the good news. The bad news is the writer's dorky decision to change the origin of Betty Compson's character from a real country, Austria, to a fictitious one, "Aregon" (presumably not to be confused with the real Spanish province of Aragon); the awful accent Compson affects to sound suitably "Aregonese"; the casting of Jack Oakie without giving him any laughs (and he's utterly unable at any point to convince us he can actually play the clarinet); and a pretty sluggish pace despite all the camera movement and quick cutting. Also there's the obvious cheapness of using the same pre-recording of the song "Lovable and Sweet" all three times it's performed (you can tell because of the Beiderbecke-esquire "smear" John Harron's trumpet double performs in his solo each time). It ends up an O.K. movie but you get the impression it could have been better made a few years later — indeed it WAS made better on two separate occasions; "The Girl from Paris" isn't that great a movie either (though at least Lily Pons' accent is her real one!) but it's a damned sight better than this.
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