Abe Lincoln of the 9th Ave (1939) - originally released under the title “Streets of New York” - is a black-and-white American crime drama film produced by Monogram Pictures in 1939. This 73-minute Poverty Row film was directed by William Nigh and starred former child star Jackie Cooper in a coming-of-age role.

The movie follows a determined young newsboy-turned-law student who idolizes President Abraham Lincoln while confronting urban gangsters in the tenements of New York’s Hell’s Kitchen. Below is a structured overview of the film’s production, storyline, historical context, reception, and legacy, as well as official and unofficial insights into its enduring trivia and availability. 

Release Date (US)

April 12, 1939

Released as “Streets of New York” in U.S. theaters (Monogram Pictures)

Alternate Titles

3

Working title: “Abe Lincoln of the Ninth Avenue”;
Release title: “Streets of New York”;
AKA: “The Abraham Lincoln of the 4th Avenue”

Running Time

73 min

Black-and-white crime drama, English language

Current Status

Public Domain

Available via Internet Archive, free streaming (Tubi, YouTube), DVD (Alpha Video)

Studio & Budget: Abe Lincoln of the 9th Ave was developed by Monogram Pictures, a studio well-known in the 1930s for its low-budget “Poverty Row” productions. Monogram specialized in serials, westerns, and modest crime dramas intended for double bills in neighborhood theaters.

This film exemplified Monogram’s output: an unpretentious, small-budget picture crafted for the popular “nickelodeon” trade (lower-priced theaters). Despite limited resources, Monogram was adept at producing dependable entertainment that, like a “stripped-down jalopy,” could rattle its way steadily into cinemas as part of double features (as noted by Time magazine in 1939). 

Title and Name Changes: The project’s original working title was “The Abe Lincoln of Ninth Avenue,” referencing the protagonist’s nickname. However, Monogram deemed that title too cumbersome and “too clever for its own good.” As a result, just before release the film was retitled to “Streets of New York,” a more straightforward name for marketing purposes. (Some 1939 press materials amusingly refer to the character as “the Abraham Lincoln of Tenth Avenue,” indicating slight confusion over the street number.)

In the early 1950s, when the movie was re-released for 16mm home and television markets, it actually reverted to the title “The Abe Lincoln of Ninth Avenue.” Today, the film is commonly known by either title. A third variant, “The Abraham Lincoln of the 4th Avenue,” also appears in some references, though it’s likely a less-used alternate or a misprint in certain archives. 

Key Crew: Abe Lincoln of the 9th Ave was helmed by veteran director William Nigh, who by 1939 had directed numerous B-films (including other Jackie Cooper movies like Gangster’s Boy). The screenplay was written by Robert Hardy Andrews, reportedly adapting his own story originally titled “Abe Lincoln of Ninth Avenue.” The producers were Scott R. Dunlap and William T. Lackey, with Harry Neumann as cinematographer, Russell F. Schoengarth as editor, and Edward J. Kay composing the musical score. 

All of these crew members were experienced in low-budget filmmaking - for example, Monogram’s cinematographer Harry Neumann was known for maximizing production value on a shoestring, and composer Edward J. Kay scored many Monogram productions (even earning several Oscar nominations later in his career for other films). 

Cast & Characters: The film’s leading role is portrayed by Jackie Cooper as James “Jimmy” Keenan, the teenage newsboy with ambitions of becoming a lawyer. Cooper was himself just 16–17 during filming, transitioning from a famed child star (he was Oscar-nominated at age 9 for Skippy) into adolescent roles. In Abe Lincoln of the 9th Ave, his character Jimmy is nicknamed “Abe Lincoln of Ninth Avenue” due to his honest nature and legal aspirations, modeling himself after President Lincoln. 

Supporting cast members include: 

• Martin Spellman as William “Gimpy” Smith, Jimmy’s young crippled friend (a kind-hearted orphan with a leg disability). The nickname “Gimpy” is given affectionately in the film, though it reflects a less sensitive era’s language. 

• Marjorie Reynolds as Anne Carroll, the kindhearted love interest who is the niece (or daughter, in some sources) of the local judge. (Reynolds would later gain fame as the female lead in Holiday Inn (1942).) 

• Dick Purcell as T.P. “Tap” Keenan, Jimmy’s older brother who has become a notorious gangster. Trivia: Three years after this film, actor Dick Purcell would go on to portray the first live-action Captain America (under the character name Grant Gardner) in a 1944 movie serial. 

• George Cleveland as “Pop” O’Toole, a kindly elderly neighbor who looks out for Jimmy and the boys. (Cleveland was a prolific character actor known for avuncular or grandfatherly roles; he later played Gramps on the Lassie TV series.) 

• George Irving as Judge Carroll, a sympathetic judge who mentors Jimmy and wants to keep him on the straight-and-narrow path. 

• Robert Emmett O’Connor as Officer Burke, a neighborhood police officer. 

• Sidney Miller as “Jiggsy,” one of the streetwise newsboys working for Jimmy. 

• David Durand as “Spike” Morgan, the local teen gang leader and Jimmy’s chief adversary. 

• Buddy Pepper as “Flatfoot,” another newsboy in Jimmy’s crew. 

• (Several other bit players appear uncredited in the film, including Byron Foulger and Lillian Randolph in minor roles, as was common in that era. Notably, the ragtag group of newsboys in the film - with colorful nicknames like Jiggsy, Flatfoot, Beansy, etc. - evokes the popular “Dead End Kids” trope of 1930s cinema, though the specific actors here are different.) 

Release and Box Office: Streets of New York premiered in the United States on April 12, 1939. A “world premiere” is documented on May 3, 1939, though details of that event are scant; it may have been a later general release date or a New York City opening. As a Monogram film, it was distributed as a B-movie, likely playing in support of bigger studio features and in smaller theaters. 

The film’s box office earnings were modest - not a major hit by 1939 standards - and it did not make waves commercially, especially in a year dominated by blockbuster classics (Gone with the Wind, The Wizard of Oz, etc.). Monogram’s strategy was volume over individual box office: little films like Streets of New York were produced cheaply and turned a profit through cumulative nationwide bookings as the second feature on double bills, rather than through high grosses in first-run theaters. 

Historical Context: This film was released during the late Great Depression era, and its plot reflects contemporary concerns about poverty, urban crime, and the struggle of upward mobility. The concept of a principled youth resisting the lure of gangs and crime had been popularized by earlier hits like Dead End (1937) and its spin-offs featuring tough city kids. 

Abe Lincoln of the 9th Ave/Streets of New York was Monogram’s answer to that trend, with Jackie Cooper providing a bankable name to draw audiences. By 1939, Jackie Cooper’s star power was in a transitional phase - he was no longer the adorable child actor that charmed audiences in the early ’30s, and he had been dropped by MGM as he outgrew the child roles. This film (along with similar titles like Newsboys’ Home (1938) and Gangster’s Boy (1938)) was part of Cooper’s efforts to establish himself as a teenage lead in more youth-oriented melodramas.

Monogram set the story around Christmas in a lower-class New York neighborhood, aiming to strike a balance of sentimentality, social message, and gangster film excitement that would resonate with audiences seeking hopeful, uplifting tales during hard times. 

Set in the late 1930s in the working-class streets of New York City, the film centers on James “Jimmy” Keenan, a determined teenager living in Hell’s Kitchen. By day, Jimmy runs a busy newsstand on Ninth Avenue; by night, he attends night school to study law. Inspired by his personal hero, Abraham Lincoln, Jimmy dreams of rising above his hardscrabble origins to become an honest lawyer and champion of the underdog - hence his nickname “the Abe Lincoln of Ninth Avenue.” 

Jimmy’s daily life is a juggling act of responsibilities. He has taken under his wing a group of younger newsboys, providing them with honest work selling newspapers. One of them is young “Gimpy” Smith, a sweet but feisty disabled orphan whom Jimmy looks after like a kid brother. Jimmy also receives guidance from the benevolent “Pop” O’Toole, a kindly old neighbor who runs a local lunch counter and serves as a surrogate father figure to the boys. 

However, the neighborhood is rife with challenges. A local teen gang led by the troublemaker Spike Morgan is trying to harass Jimmy and take over his newsstand turf. In an early altercation, Spike’s gang vandalizes the newsstand and even cruelly smash Gimpy’s crutch, prompting confrontations between the gangs of boys. 

On another front, Jimmy’s own older brother “Tap” Keenan poses an even greater threat to Jimmy’s ideals. Tap is a notorious racketeer and gangster whose exploits are frequently splashed across the very newspapers Jimmy sells. Tap has grown rich through crime, but his reputation brings unwanted scrutiny on Jimmy - the community and even the authorities are suspicious of anyone from the Keenan family.

Despite their blood relation, Jimmy is determined not to follow in Tap’s criminal footsteps. He refuses his brother’s offers of easy money or a paid law school education financed with illicit funds. This principled stand creates tension between the brothers, as Jimmy insists on making his way honestly, even if it means struggling. 

Judge Carroll, a local judge, becomes an important figure in Jimmy’s life after a chance encounter in court. When a gambling raid lands both Gimpy and Spike’s delinquent crew before Judge Carroll, Jimmy speaks up in Gimpy’s defense, arguing that the young boy wasn’t truly gambling. Impressed by Jimmy’s eloquence and integrity, Judge Carroll takes an interest in the aspiring lawyer.

The judge, along with his warm-hearted daughter/niece Anne, invites Jimmy and his boys to their home for Christmas dinner. At the holiday gathering, Jimmy and the other street kids experience kindness and a taste of family life. Anne strikes up a quiet romance with Jimmy, admiring his character and ambition. 

But as Jimmy’s star is rising, trouble escalates. Tap’s criminal activities come to a head when he kills a man and becomes a fugitive from the police. On Christmas Eve, with the law closing in, the wounded Tap seeks refuge in the basement apartment where Jimmy lives.

The situation quickly spirals into a tense standoff: police and reporters surround the building while Jimmy desperately urges his brother to surrender peacefully. At the same time, Spike and his gang provoke a fight with Jimmy, mocking him for his high morals and even insulting the memory of his mother, which leads to a fistfight between Jimmy and Spike. 

Climax: The film’s climax occurs as Tap, cornered by police and refusing to give himself up, tries to force Jimmy into helping him escape. Tap’s desperation turns violent - he fires a gun wildly through the door, accidentally shooting young Gimpy, who had just entered the room. A struggle ensues between the brothers. Heartbroken and enraged that Tap harmed the innocent child he was protecting, Jimmy physically confronts his brother. Ultimately, the police storm in and Tap is arrested after a brief fight. 

Resolution: In the aftermath of the shootout, Gimpy survives his injury (the film implies he recovers, though in some surviving prints the ending is abrupt due to missing footage). Jimmy decides to permanently leave behind his life on the streets. With a renewed commitment to his education and with encouragement from Judge Carroll, he closes his newsstand for good. The film ends on a hopeful note as Jimmy departs to pursue his dream of becoming a lawyer - determined to live up to the noble example of “Honest Abe” Lincoln that inspired him. 

(Note: Surviving versions of the film sometimes have abrupt or edited endings. It’s believed that some final scenes were trimmed in certain re-releases or TV edits, which can make the conclusion seem slightly sudden. Nonetheless, the intended ending suggests Jimmy’s unwavering dedication to doing the right thing and his optimism for the future.) 

Reception in 1939: Upon release, Streets of New York was met with mixed to mildly negative reviews, typical for a lower-budget B-movie in an era dominated by prestige studio films. Critics admired young Jackie Cooper’s earnest performance but generally viewed the film as a routine melodrama.

A brief review in Time magazine (Apr. 1939) offered a somewhat sardonic take: it noted that Monogram was a “knowing specialist” in small-budget films for the “nickelodeon” crowd, churning out unpretentious fare like Streets of New York that “rattled steadily to market” as dependable second features. Time’s critic remarked that the film’s one “special equipment” was Jackie Cooper’s name, but even his star power - “once bright” as a child actor - was unlikely to “cause a traffic jam” at theaters. The review pointed out the film’s similarities to Universal’s Newsboys’ Home (1938) (another Cooper vehicle about street youths), implying that Streets of New York offered nothing very new. 

The production values were given a wry critique: Monogram’s low-budget depiction of Manhattan was described as amusingly artificial, with model trains serving as the city’s elevated railways and “rickety” dialogue.

The Time reviewer even quoted a line of simplistic dialogue from a scene where a child sees his first Christmas tree: “It’s the kind that grows out of the ground.” Such comments suggest that contemporaries saw the film as formulaic and simplistic, albeit earnest and “steady.” Major newspapers of the day gave it scant attention compared to the high-profile releases of 1939; when reviewed at all, it was often just as a filler feature with competent performances but no real innovation. 

Later Evaluations: Over the decades, Abe Lincoln of the 9th Ave/Streets of New York did not attain the status of a classic, but it has not been entirely forgotten. Film historians and enthusiasts remember it primarily for Jackie Cooper’s role and the film’s place in late-1930s B-cinema. Modern viewers’ opinions tend to be lukewarm yet appreciative of its nostalgic value. On the Internet Movie Database (IMDb), it holds an average user rating around 6.2/10 - indicating a moderate reception.

Some classic film bloggers and fans find the movie “a nice little time-passer” with a wholesome message, while acknowledging its heavy dose of sentimentality (or “schmaltz”) and simplistic, idealized characters. For instance, contemporary reviewers note that Jimmy is portrayed almost “too good to be true” - an incorruptibly virtuous youth in a rough environment - which can feel heavy-handed by today’s standards. Nonetheless, many praise Jackie Cooper’s natural performance, given his young age, and the film’s sincere, uplifting tone. 

Film scholars occasionally cite the movie in discussions of period cinema. The storyline’s focus on a newsboy aspiring to be a lawyer and its portrayal of street urchins in an urban setting has been referenced in works like Encyclopedia of Journalists on Film, highlighting how 1930s films often presented newspaper boys and “newsies” as symbols of ambition and honesty in the face of social ills. While Abe Lincoln of the 9th Ave itself isn’t widely analyzed, it provides a snapshot of late-Depression era film trends - blending crime drama with moral lessons for youth. 

Comparison to Other Films: Fans of classic movies sometimes compare Abe Lincoln of the 9th Ave to other “juvenile delinquent” or kid-gang films of the 1930s and 1940s. The presence of a gang of street kids led by a tough ringleader invokes parallels with the popular Dead End Kids/East Side Kids films (some actors in this film, like David Durand, also appeared in those series).

Jackie Cooper’s role is often contrasted with his earlier performances - unlike the purely victimized child roles of his early career, here he plays a heroic adolescent taking on adult responsibilities. This film is also seen as part of Cooper’s journey to sustain his career past childhood: one IMDb user review from 2007 remarked on his “remarkably mature” performance and his ability to carry the film as a serious young lead despite the sometimes old-fashioned script and minimal budget. 

Notable Elements & Legacy: Abe Lincoln of the 9th Ave did not generate sequels or a franchise, but it remains a minor point of interest for a few reasons: 

• Jackie Cooper’s Career: The movie documents a turning point for its star. Shortly after this, Cooper would appear in higher-profile films like The Return of Frank James (1940) and eventually transition to television and directing. Fans of Jackie Cooper sometimes seek out this film to see him at the tail-end of his teen star period. 

• Cultural Footnote: The film’s optimistic theme of a young man inspired by Abraham Lincoln to resist crime can be seen as part of Hollywood’s attempt to provide hope and moral guidance to audiences during hard times. Its Christmas setting and melodramatic redemption arc give it a quasi-holiday movie feel; indeed, the Christmas dinner scene (where the boys sing “Silent Night” at the judge’s home) is often highlighted as a heartwarming moment in an otherwise gritty urban story. 

• No Awards or Major Critical Reappraisal: Unlike many 1939 films, this one went unrecognized by major awards and is rarely mentioned in “best of 1939” lists. It has, however, been shown on classic movie channels and has a presence in the public domain film circuit, which has allowed new audiences to discover it decades later. 

Despite its obscurity, Abe Lincoln of the 9th Ave has a few interesting behind-the-scenes anecdotes and trivia that both official records and fan discussions have brought to light: 

• Title Origin and Change: The unusual title “The Abe Lincoln of Ninth Avenue” comes from an in-film nickname. Jimmy’s selfless integrity and legal ambitions earn him comparisons to Abraham Lincoln, hence the moniker among his friends. During production, this was the movie’s working title and also the title of the original story written by Robert Hardy Andrews. Monogram ultimately changed the release title to Streets of New York for wider appeal, though the original name resurfaced in later distributions. This dual-title situation sometimes causes confusion among fans, but both refer to the same film. 

• Jackie Cooper’s On-Set Bloopers: A memorable piece of unofficial trivia about this film is the existence of outtakes in which Jackie Cooper breaks character. One notable blooper reel (later circulated under the title “Things You Don’t See in the Movies”) shows the typically wholesome Cooper accidentally burning himself with a prop iron on set - and then letting loose a string of uncharacteristic expletives in frustration! Audiences who have seen this rare clip are often amused to hear the famously earnest child star swearing like a seasoned actor. This glimpse behind the scenes reveals a lighter side of the production and has become a cherished anecdote among classic film enthusiasts. 

• Links to Other Films: As noted by critics and fans, Abe Lincoln of the 9th Ave bears a strong resemblance to Universal’s “Newsboys’ Home” (1938), another film where Jackie Cooper played a big-hearted newsboy (that time co-starring with The Little Tough Guys). The Monogram film was likely an attempt to capitalize on the same formula on a smaller budget. Additionally, the ensemble of street kids in Jimmy’s gang mirrors the trend of the “Dead End Kids” and their successors (the East Side Kids/Bowery Boys). In fact, actors like Martin Spellman and David Durand had appeared in similar juvenile-ensemble movies for various studios. This intertextual connection is a point of interest in fan discussions about 1930s kid-gang films. 

• Controversial Elements: The film is generally free of major controversy, especially given its wholesome moral message. However, modern viewers might notice some outdated and insensitive language, such as referring to a disabled character by the nickname “Gimpy.” While such terminology was common in 1930s films and intended sympathetically in context, it stands out today as offensive. This aspect is sometimes remarked upon in contemporary reviews and discussions of the film’s cultural context. 

• Historical Figures: The film’s title may mislead uninformed viewers into expecting a biography of President Abraham Lincoln. In reality, aside from Jimmy’s reverence for Lincoln’s ideals (there are a few references to Lincoln within the story), the 16th U.S. President does not appear, and the film is not a Civil War-era piece at all. It’s purely a story of 1930s New York; the title is metaphorical. This has been a point of trivia noted in film guides - essentially an instance of “B-movie naming” intended to attract audiences with a famous name, even though the content is unrelated. 

• Cinematic Quality: For a low-budget movie, Streets of New York is competently made if not technically remarkable. The direction by William Nigh is workmanlike and unpretentious, focused on straightforward storytelling. Cinematographer Harry Neumann manages a few atmospheric shots of the city streets (likely the Warner Bros. backlot, dressed up as New York’s Lower West Side). The film’s depiction of New York has been jokingly described as “Monogram’s conception of Manhattan,” with obvious set pieces and miniatures - for example, toy model trains apparently stand in for the city’s elevated trains in the background. Such budget-conscious techniques are par for the course with Monogram Pictures, and part of the movie’s quaint charm for fans of B-cinema. 

• Cast Trivia: Many supporting actors in Abe Lincoln of the 9th Ave will be familiar to aficionados of classic Hollywood character actors. George Irving, who plays the kindly Judge, was a veteran of silent films (and notably had directed a 1915 film also titled The Streets of New York, unrelated to this one). Robert Emmett O’Connor, appearing as the policeman, was a mainstay in 1930s gangster films (he famously played a bootlegger in The Public Enemy (1931)). Lillian Randolph (uncredited as the judge’s maid in this film) would later become well-known as a voice actress for Mammy Two Shoes in Tom & Jerry cartoons and as a maid in It’s a Wonderful Life (1946). Such casting was typical for the era’s lower-budget films, which often employed experienced character actors in small roles to add depth on a tight budget. 

Today, Abe Lincoln of the 9th Ave (1939) is widely accessible thanks to its public domain status. The film’s original copyright was not renewed after its initial term, causing the movie to fall into the public domain (likely by the late 1960s). As a result, anyone can legally distribute or view the film, which has led to numerous home video releases and online copies - but also to highly variable quality: 

• Home Video: The film has been released on budget DVDs by various distributors. Most notably, Alpha Video (a company specializing in classic public-domain films) issued Streets of New York (aka Abe Lincoln of 9th Avenue) on DVD, with a recent release in 2022. These DVD versions often use surviving 16mm or 35mm prints. Viewers and reviewers have noted that the available prints have relatively good audio/video considering their age, but many show signs of wear and editorial cuts. For instance, some scenes - including parts of the ending - appear to be shortened or spliced, possibly due to damaged reels or editing for syndicated TV broadcast in the 1950s. No fully restored or remastered high-quality edition is known to exist, and as of 2026 no Blu-ray release has been made, likely due to the film’s public domain status (which can reduce the commercial incentive for costly restorations). 
  
• Archival Prints: Being in the public domain, Streets of New York is not subject to a single rights owner ensuring its preservation. However, copies exist in film archives and private collections. The Library of Congress likely holds a print (as it does for many Monogram films of that era), and indeed the film’s inclusion on Internet Archive suggests at least one 16mm or 35mm print was transferred to video. Enthusiast groups and archival organizations sometimes screen public domain films like this at festivals or retro film series, especially due to Jackie Cooper’s involvement. 

Preservation Status: Unfortunately, like many Monogram titles, Abe Lincoln of the 9th Ave has not received a comprehensive restoration. Surviving materials are often of “second- or third-generation” quality, meaning they may come from duplicated reels with lost clarity. The film’s final scenes appear to have suffered cuts in the commonly available version (likely from an edited TV print).

Still, given that it’s a public domain film, it has at least survived and is in no immediate danger of being lost - unlike some other 1930s B-movies - because collectors and archives continue to hold and share copies. 

“Abe Lincoln of the 9th Ave” is relatively free of major controversies or enduring myths, especially compared to higher-profile films. No widely reported scandals occurred during its production, and its content was standard fare for the time, easily passing the strict Production Code censors with its clear moral message. There are, however, a couple of minor points worth noting: 

• Title Misconceptions: One trivial point of confusion has been the title itself. Some viewers have mistakenly assumed the film to be about President Abraham Lincoln or to have Civil War content, given the name. In reality, the Lincoln reference is symbolic and limited to the main character’s inspiration. This occasionally catches modern audiences off-guard until the plot makes clear that the story is entirely set in 1930s New York. Additionally, the existence of multiple similar titles (Ninth Avenue vs. sometimes “Tenth Avenue” or “Fourth Avenue” in various sources) has led to questions. To clarify: these all refer to the same film, with “Streets of New York” being the primary release title. The erroneous “Tenth Avenue” reference likely originated from a typo in a contemporary source, while “Fourth Avenue” appears to be an obscure variant in some cataloging records. 

• Cultural Sensitivities: As mentioned, the film’s use of terms like “Gimpy” for a disabled character can be considered insensitive by modern standards. This isn’t exactly a controversy that was noted at the time - in 1939, such slang was common and not intended to offend - but it’s an aspect that modern viewers and critics occasionally discuss when reassessing old Hollywood films through a contemporary lens. 

• Urban Legends: There are no known urban legends specifically tied to this film. It did not generate the sort of on-set myths or dramatic lore that often accompany higher-budget productions. At most, fans sometimes share the blooper reel story about Jackie Cooper’s moment of on-set swearing (which is confirmed by actual outtake footage, as described above). No myths about lost alternate endings or ghostly appearances have been documented for this movie. 

 Abe Lincoln of the 9th Ave (1939) stands as an example of a late-1930s B-movie with a mix of urban crime drama and sentimental morality. 

It is remembered for its charming premise of a virtuous youth nicknamed after Abraham Lincoln, for Jackie Cooper’s sincere performance during a transitional phase of his career, and for offering a glimpse into the era’s modest filmmaking outside the major studios. 

While it never achieved great fame or critical acclaim, the film holds a nostalgic appeal for classic film fans.

Its public domain status has ensured that it remains accessible to modern audiences - you can easily watch it today and experience this slice of 1939 cinema history for yourself.