In the Street

Plot

In the Street is a groundbreaking 16-minute documentary short that captures the vibrant, unfiltered life of Spanish Harlem in the late 1940s. The film presents a series of candid moments showing children playing in the streets, adults going about their daily routines, and the general atmosphere of this bustling New York neighborhood. Through its observational style, the documentary reveals the poetry of everyday urban life, from children's games to the casual interactions of residents. The film avoids narration or overt commentary, instead allowing the images to speak for themselves and create a portrait of community life. This visual essay captures both the joy and hardship of street life, presenting a nuanced view of urban America during the post-war period.

Historical Background

In the Street was created during a pivotal moment in American history, just after World War II when the country was undergoing significant social and economic transformation. The late 1940s saw massive urban migration, changing neighborhood dynamics, and the beginning of suburbanization that would reshape American cities. Spanish Harlem, also known as El Barrio, was experiencing cultural shifts as Puerto Rican migration to New York was increasing, adding to the existing Italian and African American communities. The film emerged alongside the growing documentary film movement in America, which sought to capture authentic American life beyond Hollywood's glamour. This period also saw the rise of street photography as an art form, with photographers like Levitt documenting urban reality. The post-war era's focus on humanism and social realism provided fertile ground for films that examined everyday life and social conditions.

Making Of

The making of In the Street was revolutionary for its time due to its innovative approach to capturing candid footage. Levitt, Loeb, and Agee developed sophisticated methods for filming without disrupting natural behavior, including modifying cameras to be more discreet and developing techniques for blending into the neighborhood environment. The filmmakers spent extensive time in Spanish Harlem before shooting, allowing residents to become accustomed to their presence. They often worked in pairs, with one person engaging potential subjects in conversation while the other filmed unnoticed. The editing process was meticulous, with Levitt applying her photographer's eye to select and sequence images that created emotional and narrative resonance. The film's soundtrack, featuring music by Arthur Kleiner, was added in post-production to enhance the mood without overwhelming the natural sounds of the street.

Visual Style

The cinematography of In the Street is revolutionary for its time, characterized by its remarkable ability to capture candid moments without disrupting natural behavior. Levitt employed innovative techniques including the use of right-angle lenses, hidden cameras, and modified equipment to achieve unprecedented intimacy with subjects. The black and white 16mm photography exhibits exceptional compositional awareness, reflecting Levitt's background in still photography. The camera work frequently adopts low angles to capture children's perspectives and uses natural lighting to enhance the authentic feel of street scenes. The cinematography achieves a perfect balance between documentary realism and artistic composition, creating images that are both informative and aesthetically compelling. The fluid camera movement and careful framing create a rhythmic quality that gives the film its poetic character.

Innovations

In the Street achieved several technical breakthroughs that would influence documentary filmmaking for decades. The film pioneered the use of hidden camera techniques for capturing truly spontaneous behavior, including custom camera modifications and concealment methods. The filmmakers developed innovative approaches to sound recording that allowed them to capture natural audio while maintaining visual discretion. The editing techniques employed in the film created a rhythmic flow that transformed documentary footage into a cinematic experience. The successful integration of still photography aesthetics into motion pictures represented an important technical and artistic achievement. The film demonstrated the effective use of 16mm film for professional documentary work, helping to establish this format as viable for serious filmmaking. These technical innovations were accomplished with minimal resources, making the achievements even more remarkable.

Music

The film's soundtrack, supervised by Arthur Kleiner, features a carefully selected musical score that enhances the emotional impact without overwhelming the natural street sounds. The music primarily consists of piano compositions and subtle orchestral pieces that complement the visual rhythm of the street scenes. Rather than using continuous narration, the film relies on ambient sounds captured during filming, including children's laughter, street vendors' calls, and the general sounds of urban life. This approach creates an immersive audio experience that reinforces the film's observational style. The musical selections were chosen to evoke the mood and era without being overly sentimental or manipulative. The balance between diegetic sound and musical score demonstrates sophisticated sound design for its time.

Memorable Scenes

• Children playing with broken mirrors on the sidewalk, creating fragmented reflections of themselves and their environment
• A group of boys playing a street game with a bottle cap, showing their intense concentration and joy
• Young girls dancing to imaginary music, their movements creating patterns against the brick walls
• A street vendor pushing his cart through the neighborhood, interacting with residents along his route
• Children gathered around a makeshift stage, performing for each other with dramatic gestures

What Critics Said

Upon its release, In the Street received critical acclaim for its innovative approach and artistic merit. Critics praised its ability to find poetry in ordinary moments and its technical achievement in capturing such naturalistic footage. The New York Times called it 'a remarkable achievement in documentary filmmaking that captures the soul of urban life.' Film Quarterly highlighted its 'revolutionary use of camera to document without intrusion.' In subsequent decades, the film's reputation has grown, with modern critics considering it a landmark work in documentary history. The Criterion Collection described it as 'a perfect fusion of photographic sensibility and cinematic technique.' Contemporary film scholars often cite it as a precursor to modern documentary styles and an essential work in the evolution of nonfiction filmmaking.

What Audiences Thought

Initial audience reception to In the Street was primarily limited to art house cinemas, film societies, and academic venues, where it was appreciated by those interested in avant-garde cinema and documentary art. General audiences had limited exposure to the film due to its short length and non-commercial distribution. However, those who did see it were often deeply moved by its authentic portrayal of urban life. In later years, as the film gained recognition through film festivals and retrospectives, audience appreciation grew significantly. Modern audiences viewing the film often express fascination with its historical documentation of 1940s New York and admiration for its timeless artistic qualities. The film's inclusion in the National Film Registry has brought it to wider attention, and it now receives regular screenings at film archives and museums.

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