Street Girls Blu-ray Movie

Rating summary

Movie		2.0
Video		4.0
Audio		3.0
Extras		2.5
Overall		3.5

Street Girls Blu-ray Movie Review

Reviewed by Brian Orndorf November 23, 2023

Barry Levinson began his career in comedy, making funny business for T.V. variety shows during the 1960s and early ‘70s. He’s generally known as a man of humor, and eventually enjoyed a brief reign as an A-list director, making hits and scoring Oscar gold with pictures such as “Rain Man,” “Good Morning, Vietnam,” and “The Natural.” Before such glory was achieved, Levinson was just a screenwriter trying to find a way into Hollywood, getting an early taste of the business with 1975’s “Street Girls,” which is meant to be a severe look at a crisis involving a young woman caught up in worlds of drug addiction and human trafficking, with her father out to find his lost child before it’s too late. It’s somber material handed to director Michael Miller (“Jackson County Jail,” “National Lampoon’s Class Reunion”), who doesn’t have much money to realize the abyssal pain of the premise, showing more interest in the exploitation aspects of the production, which offers plenty of nudity, unsavoriness, and violence. True to form, Levinson also brings many laughs to the feature, though they’re all unintentional.

Angel (Christine Souder) is a young woman going the wrong way in life, trying to make it in Eugene, Oregon, dancing at a local go-go club owned by Irv (Paul Pumpian). The boss has big plans for his latest find, urging drug dealer Mario (Jay Derringer) to pump the dancer full of junk, getting her hooked on heroin so she can be of use as a prostitute, even planning to sell her to foreign buyers. Newly arrived in Eugene is Sven (Art Burke), Angel’s father, and he’s hunting for his child, trying to persuade his daughter to give up the ways of self-destruction and return home. However, finding Angel isn’t easy, putting Sven on her trail through the snowy city, trying to locate Sally (Carol Case), Angel’s ex-roommate and lover, who knows what’s going on with the wayward soul and what kind of rage Irv is capable of unleashing.

The tone of “Street Girls” is immediately established during an opening scene in a pool hall, where Sven pals around with customers, including one who repeatedly warns his buddy about Angel’s experience in another city, and all the V.D. she can potentially catch from toilets. Turns out, Angel is involved in far more destructive things while settling in Eugene, caught up in Irv’s cycle of control, giving the dancer access to drugs to build her submissiveness and break her spirit, putting her in Mario’s care, where the two become lovers. The addict has left Sally, who remains concerned for her ex, trying to navigate the volatile world of Irv’s club, which employs many desperate souls who spend their evenings performing in front of excitable male customers. “Street Girls” spends a lot of screen time showcasing the acts, with Miller making sure to insert as much nudity as possible to keep up with B-movie demands.

Sven soon arrives to find his daughter, and while the concept promises a more dramatic rampage of fatherly fury, “Street Girls” largely avoids exciting conflict. In fact, Sven is more of a creep then a caretaker, making his way to Irv’s club, where he actually enjoys the view, forgetting about his mission to spend time ogling the talent. He’s also contemptuous of Angel’s lifestyle, recoiling at the news of her lesbian relationships, and he’s disgusted with Albert (Michael Albert Weber), Sally’s autistic brother who spends his evenings as “Sabina,” feeling free to experience femininity around his sister and her stoned friends. While comparisons to the 1979 Paul Schrader film, “Hardcore,” are immediate, “Street Girls” isn’t a sobering journey into the bleakness of life, and it’s definitely not about a parent’s determined hunt for his child. The writing deals with such a mission in brief moments of questioning, with more time spent on Irv’s viciousness, beating Angel with a wire hanger, and Sally’s concern, though even that doesn’t last for very long.

Street Girls Blu-ray Movie, Video Quality 

The AVC encoded image (1.85:1 aspect ratio) presentation is listed as a "New HD master." "Street Girls" is a fairly grungy movie to deal with, and the viewing experience retains some age, but the source remains in decent condition. Fine detail isn't always available with the low-budget production, but a sense of character appearances is present, and some level of skin particulars remains, exploring the extensive nude dancing in the picture and the weathered looks on a few of the players. Locations are decently dimensional, surveying the wintery streets, and interiors are passably detailed. Colors are acceptable, with some mild fatigue at times. Hotter reds are common, along with the crisper whiteness of snow. Skin tones are natural. Delineation is satisfactory. Grain is decently resolved. A 1.66:1 version of "Street Girls" is also available.

Street Girls Blu-ray Movie, Audio Quality 

The 2.0 DTS-HD MA mix is hit by age and technical limitations, offering a slightly inconsistent listening event. Dialogue exchanged are mostly intelligible, with performances appreciable, but occasionally slip into fuzzy extremes. Music isn't sharp, but soundtrack selections offer decent support and mild instrumentation.

Street Girls Blu-ray Movie, Special Features and Extras 

• Commentary features film historian Peter Alilunas.

• "The Godmother of Oregon Film" (26:08, HD) is a video conference interview with actress Katherine Wilson. As someone who takes the history of filmmaking in Oregon seriously, Wilson offers a history of production achievements in the state, with local crews gaining experience over the years, creating a viable industry. Focusing on the city of Eugene, the interviewee tracks her educational experience in the area and her initial hiring for "Street Girls," with the producers demanding she take off her top for the audition, only to receive a rejection for such an unsavory request. Wilson accepted crew work instead, and she reflects on the shoot, recalling the ways of director Michael Miller, highlighting his skill, and she shares some memories of co-writer Barry Levinson. Co-stars are also analyzed. Wilson recalls her own entrance into the film business, "discovered" by Mark Rydell before developing her career in Oregon, earning a bright reputation in the process. Wilson doesn't go deep into the "Street Girls" days, but she's certainly proud of her state's moviemaking history, defining the tone and information of this conversation.

• Image Gallery (1:42) collects film stills, poster art, and newspaper ads.

• And a Theatrical Trailer (2:17, SD) is included.

Street Girls Blu-ray Movie, Overall Score and Recommendation 

"Street Girls" is fairly random when it comes to storytelling, including a lengthy scene where Angel takes on a john in a hotel room, handed goggles and a request to meet him in the shower, so the bed doesn't get wet. Lurid details of drugs and kinks are present, and more supporting characters fill the frame, with Jimmy (Jimmy Smith), the club bartender, playing something of a critical role in the film, though Miller and Levinson often downplay his presence. "Street Girls" isn't a mess, it's just scattered and unsatisfying, financially unable to support a full story of misery and concern, reaching a point where it really doesn't have an ending. In fact, the conclusion sums up the viewing experience quite well, as Levinson and Miller go for sudden emotion, taking Angel's journey seriously for a moment, only to end the picture on a toss-off line from Jimmy and his dislike of "crackers." It's absolutely hilarious and all wrong for the endeavor, representing a feature that simply gives up after failing to do much of anything beyond photographing nude, gyrating women.