Janet Gaynor (1906–1984)

“She's lovely, Gino. But I am not like that.” — Angela
“You are....To me.” — Gino

Like all the great masters, Frank Borzage could use his palette to texture and shade the colors of each picture he created, so that something new and wonderful emerged on each canvas. But also like those great artists of the past, a distinctive style and theme could always be found in his work that tied the artist forever to his creations. Something fresh and different takes shape in this beautiful silent film, yet within this charming and romantic story filled with atmosphere, themes so inherently Borzage emerge. This lovely silent classic, which helped both Borzage and Janet Gaynor win the Academy Award, is one of the greatest romanticist films ever made. Street Angel is a sentimental work of art, painted in soft focus on nitrate, in black and white, and it has an enduring beauty that is timeless.

Set in Naples, Italy, lushly painted backdrops blend with lovely sets, creating an illusion so real the smell of freshly baked bread and romantic violins playing wash over the viewer like a gentle Tuscan shower. Once again, as in Seventh Heaven, Charles Farrell and Janet Gaynor are a match made in film heaven. Charles Farrell is even more splendid than in the former pairing of the two stars, and is astoundingly good. The magic between director Borzage and star Gaynor picks up right where it left off. Gaynor was in essence an extension of the artist, the brush with which he painted his masterpiece.

The first time we see Gaynor (Angela), she is caring for a sick mother in need of medicine she cannot afford. Gaynor is simply wondrous as Borzage frames her in soft focus, the audience able to see her heart breaking as her only glimmer of hope is on the street below, where an innocent and inexperienced Angela must attempt to sell the only thing she has of value. Melancholy imbues what follows, an uncomfortable and unsure Angela endeavoring to mimic the experienced Lisetta (Natalie Kingston), but doing so in such clumsily manner that she is forced to steal in a moment of panic and is caught by the Italian police.

Her being caught leads to a wild chase where she is hidden among the circus performers by a kind Masetto (Henry Armetta). Heartbreakingly too late to save her mother, she makes her home among the travelers. The gypsy fortune teller’s cards predict romance for Angela, but she wants nothing to do with love at all. In this way, Borzage has completely reversed the roles of the couple from his other Gaynor classic, Seventh Heaven.

Up to this juncture, the tenderness and sad human heartbreak reality can bring to bear upon the living has been rendered beautifully, as perhaps only the sensitive Borzage was capable of showing. But suddenly he uses his palette to paint light and beauty, and humor, opening up the heavens for Angela with great charm in the form of Gino.

Charles Farrell is often overlooked for the fine actor he was. He is perhaps overshadowed by the lovely and adorable Gaynor during their many pairings together. He had a marvelous sense of humor about it, however; this was abundantly evident in a Jack Benny radio skit years later, set at the Racquet Club of Palm Springs, founded by Charles Farrell and Ralph Bellamy. Here Farrell is fabulous as Gino, full of charm and the perfect match for Angela. She’s still down on the idea of love until the brash artist with charisma paints her as he sees her in his heart. The shots of her sitting for him are gorgeous and romantic, the settings by Harry Oliver and framing by Borzage filled with a lush beauty and atmosphere rarely captured on nitrate or celluloid. It is in these romantic scenes especially that the viewer feels like they truly are in Italy. When she breaks her ankle, they will leave behind the circus to return to Naples, and danger for Angela, who cannot let the innocent Gino know she was once arrested as a girl of the streets.

The lovely soundtrack blends with the tune Gino whistles. A policeman who spots her and remembers her creates one of the most moving moments in film history. It is then that Borzage returns to his theme of otherworldly love, and how it is faith that often makes that light of love in our hearts possible. The film is far from over, however, with some extraordinarily dark moments still ahead in this moving film. But there is light, because this is a Borzage film, and when it comes Borzage leaves the impression that Gino and Angela were led to this moment, this place, by some higher power, to protect a love not belonging to the tangible world.

A beautiful and charming film with a romantic depth that could never be equaled today with everything so jaded. This film is a tear-stained flower to true love and beauty, its message that being able to see with our heart what is in the heart of another, is what makes them truly beautiful. It is almost a shame Janet Gaynor made Sunrise, Seventh Heaven, and Street Angel in such close proximity. She surely would have received an Oscar three years in a row rather than only one, for these magnificent performances. Of those three screen classics, I consider Street Angel the finest of the lot. Director Frank Borzage garnered another Academy Award a few years later for Bad Girl, but could easily have ended up with three of them as well. Street Angel is a masterwork of silent cinema, and your film viewing is woefully incomplete if you haven’t seen this one.… (meer)