34 reviews
Depression comedy/drama
Ginger Rogers is out of work and Walter Connolly has just the job for her in "5th Ave Girl," also starring Verree Teasdale and Tim Holt. Connolly is a pump manufacturer (not shoes, the other kind) who is filthy rich and, though he lives with his family, is estranged from them. His two brat kids pay no attention to him, and his wife is always making the gossip columns for running around - with someone and without her husband. So he hires Ginger to shake things up and make them think he's got a life without them, too. It's a cavernous, ugly house of the kind seen in "Holiday" and so many '30s films, and it's filled with malcontents. The daughter is in love with the chauffeur who spouts Communist propaganda and hates the rich, the wife panics when she sees Ginger, and the son, against his will, has to take over the family company because his father is so distracted with his new young girlfriend.
Rogers plays this role in an offhanded manner, with sardonic line delivery. It works fairly well but it's a little too one-note. However, you definitely catch the character's underlying fear and vulnerability. She takes life as it comes - but when it's not what she expected, she's unnerved. Walter Connolly is excellent - I especially loved him practicing the rumba in the doorway. Verree Teasdale does a good job as the wife - attractive, imperious, and vain. Unfortunately, while Tim Holt is good as the son, he and Rogers have no chemistry, so their connection seems to come out of left field.
This is an enjoyable film but somehow it lacks spark. A little variation in Rogers' performance might have helped, and more development of the relationship between Holt and Rogers.
Rogers plays this role in an offhanded manner, with sardonic line delivery. It works fairly well but it's a little too one-note. However, you definitely catch the character's underlying fear and vulnerability. She takes life as it comes - but when it's not what she expected, she's unnerved. Walter Connolly is excellent - I especially loved him practicing the rumba in the doorway. Verree Teasdale does a good job as the wife - attractive, imperious, and vain. Unfortunately, while Tim Holt is good as the son, he and Rogers have no chemistry, so their connection seems to come out of left field.
This is an enjoyable film but somehow it lacks spark. A little variation in Rogers' performance might have helped, and more development of the relationship between Holt and Rogers.
Flawed Gem or Near Miss?
A not-so-screwball comedy
It's obvious when you watch this film that it was strongly inspired by the wonderful comedy "My Man Godfrey", though it never comes close to the quality or zaniness of this earlier hit. This isn't to say I didn't like "5th Avenue Girl"--it just isn't in the same league as "Godfrey".
The film begins with a rich industrialist (Walter Connelly) meeting Ginger Rogers on a park bench. It's his birthday, yet no one in his family cares or took notice. On a lark, he invites this total stranger to go out partying with him. At first, she's hesitant. However, he can afford it and she's not used to this sort of life, so she agrees.
The next day, Connelly awakens with little recollection of all the details of the night before, as he had gotten quite drunk. He's surprised, however, when Rogers turns up in his home--it seems he invited her to stay in the guest room. Now you'd think this would cause a huge problem with Connelly's wife...a strange woman in the house. However, that's the crux of the problem--his family doesn't really care. So, on a lark, he decides to take this to the next step--and pay Rogers to stay and pretend to be his mistress--though there is absolutely nothing between them. He just wants to make his no-good family take notice! As for Connelly and Rogers, they are both excellent in this film. I especially love Connelly, as he was a delightful supporting actor and here he gets a chance to play the leading man--with nice results. However, after these two, the film's cast and writing really falls short. In "Godfrey", the family was kooky--filled with eccentrics and oddballs. However, here in "5th Avenue Girl", the family just seems selfish and a bit despicable--a major problem for the film. The wife and son were just selfish jerks, while the daughter, to put it bluntly, is an annoying idiot--who's in love with a really, really annoying young communist. As a result, the film rests solely on Rogers and Connelly--with no real support from anyone. If this had been worked out, the film would have been more than a pleasant comedy--it could have been something exceptional. Still, it is charming and fun to watch--plus I'd watch Connelly in anything--he's that good.
By the way, listen up for a great final line by Ginger--it's a doozy.
The film begins with a rich industrialist (Walter Connelly) meeting Ginger Rogers on a park bench. It's his birthday, yet no one in his family cares or took notice. On a lark, he invites this total stranger to go out partying with him. At first, she's hesitant. However, he can afford it and she's not used to this sort of life, so she agrees.
The next day, Connelly awakens with little recollection of all the details of the night before, as he had gotten quite drunk. He's surprised, however, when Rogers turns up in his home--it seems he invited her to stay in the guest room. Now you'd think this would cause a huge problem with Connelly's wife...a strange woman in the house. However, that's the crux of the problem--his family doesn't really care. So, on a lark, he decides to take this to the next step--and pay Rogers to stay and pretend to be his mistress--though there is absolutely nothing between them. He just wants to make his no-good family take notice! As for Connelly and Rogers, they are both excellent in this film. I especially love Connelly, as he was a delightful supporting actor and here he gets a chance to play the leading man--with nice results. However, after these two, the film's cast and writing really falls short. In "Godfrey", the family was kooky--filled with eccentrics and oddballs. However, here in "5th Avenue Girl", the family just seems selfish and a bit despicable--a major problem for the film. The wife and son were just selfish jerks, while the daughter, to put it bluntly, is an annoying idiot--who's in love with a really, really annoying young communist. As a result, the film rests solely on Rogers and Connelly--with no real support from anyone. If this had been worked out, the film would have been more than a pleasant comedy--it could have been something exceptional. Still, it is charming and fun to watch--plus I'd watch Connelly in anything--he's that good.
By the way, listen up for a great final line by Ginger--it's a doozy.
- planktonrules
- Mar 25, 2010
- Permalink
Too Serious for Screwball...
but still a nifty comedy, boasting solid performances by Ginger Rogers (as always), Walter Connolly, Verree Teasdale, Tim Holt, Jack Carson, Franklin Pangborn, and Louis Calhern. James Ellison as the chauffeur and Kathryn Adams as the spoiled daughter are annoying. But Rogers and Connolly (in a rare starring role) take top honors as the working girl and the baffled millionaire who meet on a bench at the zoo. Lots of social commentary by director/producer Gregory La Cava, one of Hollywood's forgotten directors who was, nevertheless, a big name in the 1930s. What's missing from this film, compared to La Cava's My Man Godfrey, is a sense of zaniness among the rich. Here they are petty, nagging people while in the other, they are unrelentingly silly. Plus no one could play a fluttery matron like Alice Brady (well, maybe Billie Burke). Teasdale is OK, but this kind of part was not her forte; she seems too smart to be playing this kind of brainless twit. This is one of Connolly's best roles and he is wonderful. He died the following year. Rogers seems almost to be in an audition for 1940's Kitty Foyle. The acting style she uses in both films is similar. But Rogers was always worth watching. She has a style that allows her to get very quiet and contained, and it's very effective. While the political issues are very much the same today, it's laid on a bit thick here with the spoutings of Ellison's chauffeur and the mooning daughter. Adams strikes me as being an especially bad actress. Anyway it's worth a look. The house is incredibly cavernous and ugly. Charles Lane, Harlan Briggs, Florence Lake, Ferike Boros, Bess Flowers (as the Civil War debutante), and Alex D'Arcy co-star.
Complications on Fifth Avenue
Know Ginger Rogers best from her legendary partnership with another dancing legend Fred Astaire, but she did show numerous times that she fared very well in the acting department as well in comedy and drama. She was my main reason in seeing 'Fifth Avenue Girl'. Have also liked some of Gregory La Cava's other films, namely the wonderful 'Stage Door'. Really liked comedy and romance and they have been known to blend very well together, especially in the golden age of film history.
'Fifth Avenue Girl' is one of those many films from the golden age, but sadly to me it is not one of the classics. Have seen better from Rogers, films and performances, and from La Cava, as well as better blendings of comedy and romance and both elements done better individually in other films. That is not saying that 'Fifth Avenue Girl' is terrible as it isn't, it just wasn't my definition of great and the potential for it to be great was absolutely there.
There are definitely good, even great, things. 'Fifth Avenue Girl' looks great, beautifully photographed that is never too elaborate or too much of a filmed play. The costumes are also suitably distinguished and one of the film's most striking things was that magnificent staircase and the clever way it's used throughout. The music is pleasant, not too chirpy and also not too serious. La Cava has some stylish direction evident.
Although the script is not perfect, it does amuse frequently, intrigues and can be witty and sophisticated. Same goes for the story. Rogers looks lovely and her sass and elegance shines often. Walter Connolly is amusing and Veree Teasdale has fun in her role.
Sadly there are debits. Tim Holt is bland from playing his part too seriously and his chemistry with Rogers always looks stiff and under-rehearsed. Something of a big problem when it plays a sizeable part in the film. Rogers has good moments, but sometimes she is too low-key and some parts are less engaged-looking than others.
Do agree that the script is too talky and too heavy on heavy-handed and of the time social commentary. Some of the pace is sluggish and the ending is rushed and silly.
In conclusion, not bad at all. Just not great. 6/10
'Fifth Avenue Girl' is one of those many films from the golden age, but sadly to me it is not one of the classics. Have seen better from Rogers, films and performances, and from La Cava, as well as better blendings of comedy and romance and both elements done better individually in other films. That is not saying that 'Fifth Avenue Girl' is terrible as it isn't, it just wasn't my definition of great and the potential for it to be great was absolutely there.
There are definitely good, even great, things. 'Fifth Avenue Girl' looks great, beautifully photographed that is never too elaborate or too much of a filmed play. The costumes are also suitably distinguished and one of the film's most striking things was that magnificent staircase and the clever way it's used throughout. The music is pleasant, not too chirpy and also not too serious. La Cava has some stylish direction evident.
Although the script is not perfect, it does amuse frequently, intrigues and can be witty and sophisticated. Same goes for the story. Rogers looks lovely and her sass and elegance shines often. Walter Connolly is amusing and Veree Teasdale has fun in her role.
Sadly there are debits. Tim Holt is bland from playing his part too seriously and his chemistry with Rogers always looks stiff and under-rehearsed. Something of a big problem when it plays a sizeable part in the film. Rogers has good moments, but sometimes she is too low-key and some parts are less engaged-looking than others.
Do agree that the script is too talky and too heavy on heavy-handed and of the time social commentary. Some of the pace is sluggish and the ending is rushed and silly.
In conclusion, not bad at all. Just not great. 6/10
- TheLittleSongbird
- Jul 20, 2020
- Permalink
A good screenplay, but the casting was poor.
Ginger Rogers seemed to mumble listlessly through a part she didn't like. Tim Holt seemed too immature for the romantic lead and has no chemistry with Ginger. These items detracted from the good screenplay, which has Ginger hired by millionaire Walter Connolly to stay at his house and sort of straighten out his family. It was almost like "My Man Godfrey" (also directed by Gregory La Cava) with the sex roles interchanged, but it was not nearly as good, and certainly did not come close to the pairing of William Powell and Carole Lombard.
Preview comments played a big part in studio decisions in those days. The ending in the film was changed to the one you see after preview audiences panned the original, less happy ending.
Preview comments played a big part in studio decisions in those days. The ending in the film was changed to the one you see after preview audiences panned the original, less happy ending.
Stolen By A Tiny Bit From Jack Carson
For some reason, this doesn't really work. It has a sensational cast. It's part fairy tale, part socio-political commentary, and mostly a romantic comedy.
The romance comes late, though, and seems slightly tacked on/.
Out-of-work Ginger Rogers meets mogul Walter Connolly In Central Park. He's gone there to look at the seals with his butler Franklin Pangborn; and right here something seems a little forced and improbable.
Rogers is a sort of tabula rasa who helps Connolly get back together with his wife -- amusingly played by Veree Teasdale. She also heaps his uninterestingly played daughter break down social barriers to get together with family chauffeur and would-be Socialist, hunky James Ellison. And she helps his son Tim Holt settle down and, as we of course knew she would, gets together with him at the end.
She is like the Terence Stamp character in Pasolini's fascinating "Teorema" almost 30 years later and like Michael York in the thoroughly disagreeable, arch "Something For Everyone" of approximately that same time. Both those characters are overtly sexual, though Rogers is decently not so here, beginning and ending the movie eating an apple. (Eve she is not. More like her Sue-Sue character from "The Major and The Minor.") It's kind of funny and kind of not very funny.
When she and Holt revisit the park bench where she met his father, Jack Carson, playing a Navy man on leave, sits beside them with his lady friend and sings a delightful chanty about temptresses. It's the best I've ever seen him and it's a breath of fresh air and believability for this movie.
The romance comes late, though, and seems slightly tacked on/.
Out-of-work Ginger Rogers meets mogul Walter Connolly In Central Park. He's gone there to look at the seals with his butler Franklin Pangborn; and right here something seems a little forced and improbable.
Rogers is a sort of tabula rasa who helps Connolly get back together with his wife -- amusingly played by Veree Teasdale. She also heaps his uninterestingly played daughter break down social barriers to get together with family chauffeur and would-be Socialist, hunky James Ellison. And she helps his son Tim Holt settle down and, as we of course knew she would, gets together with him at the end.
She is like the Terence Stamp character in Pasolini's fascinating "Teorema" almost 30 years later and like Michael York in the thoroughly disagreeable, arch "Something For Everyone" of approximately that same time. Both those characters are overtly sexual, though Rogers is decently not so here, beginning and ending the movie eating an apple. (Eve she is not. More like her Sue-Sue character from "The Major and The Minor.") It's kind of funny and kind of not very funny.
When she and Holt revisit the park bench where she met his father, Jack Carson, playing a Navy man on leave, sits beside them with his lady friend and sings a delightful chanty about temptresses. It's the best I've ever seen him and it's a breath of fresh air and believability for this movie.
- Handlinghandel
- Mar 15, 2005
- Permalink
Ginger on fifth avenue
In order to get back at his inattentive wife and children, a rich businessman (Walter Connolly) hires a poor girl (Ginger Rogers) he met in a park to pose as his mistress.
Fifth Avenue Girl is an obscure romantic comedy with hints of screwball comedy and social commentary. The film is very enjoyable, with a good cast and nice script. The social commentary does get a bit heavy handed in spots, feeling more like a Frank Capra film than a Gregory La Cava film. After all, La Cava was the man who did My Man Godfrey, perhaps the only film in history to juggle comedy and social commentary with ease. Another problem I had was the unconvincing romance between Ginger and Tim Holt, which just seemed shoehorned in.
The cast is very good, especially Walter Connolly; Ginger is radiant as always. Overall, a very enjoyable film.
Fifth Avenue Girl is an obscure romantic comedy with hints of screwball comedy and social commentary. The film is very enjoyable, with a good cast and nice script. The social commentary does get a bit heavy handed in spots, feeling more like a Frank Capra film than a Gregory La Cava film. After all, La Cava was the man who did My Man Godfrey, perhaps the only film in history to juggle comedy and social commentary with ease. Another problem I had was the unconvincing romance between Ginger and Tim Holt, which just seemed shoehorned in.
The cast is very good, especially Walter Connolly; Ginger is radiant as always. Overall, a very enjoyable film.
- guswhovian
- Sep 19, 2020
- Permalink
Clever, offbeat depression-era comedy romance
Feeling lonely and ignored at home, wealthy executive Alfred Borden (William Connelly) hires a Mary Grey (Ginger Rogers), a young, unemployed woman he meets in Central Park, to pose (subtly) as his mistress. The film is not particularly comic (by the 'screwball' standards of 1930s) and the rich characters not as 'over the top' eccentric as in the somewhat similar 'My Man Godfrey' (1936, also directed by Gregory La Cava), but the script is clever and the characters entertaining (especially the morosely duplicitous Mr. Bordon). Ginger Rogers is excellent as the exasperated but sympathetic Mary (almost a Mary Poppins-like character) who indirectly leads the family to 'heal themselves'. The supporting a cast is fine, with James Ellison particularly amusing as a self-righteous, pseudo-Bolshevik chauffeur who refers to his cap as his 'mark of servitude'. Needless to say, romances blossom (or are rekindled). Made at the end of the depression, the film is a feel-good paean to the value of inherent goodness and street-smarts in an unequal society but without the sense of hypocrisy that I sometimes sniff in films condemning inequality that were made by very wealthy Hollywood producers and their highly-paid stars.
- jamesrupert2014
- Apr 29, 2020
- Permalink
Fun, Witty, and Timeless
This film is one of my favorites, with a charming cast and fabulous characters. Ginger Rogers plays her trademark sassy and street-smart heroine effortlessly. Other standout performances are by the hapless and bewildered Walter Connolly and the often hysterical Verree Teasdale. Their children are well portrayed also, and Tim Holt has become one of my favorite actors, though he was largely undervalued throughout his career. A refreshing comedy about life and success, no matter what side of the tracks you come from.
Seven is generous, I know!
- JohnHowardReid
- Jun 19, 2016
- Permalink
Up there with the best of the screwball comedies
Ginger Rogers was good at doing this kind of roles and this is one of her best performances. The plot,an attack on the social strata of society; both the rich and the poor and the consequences that bereave who they are. Without a doubt, the star of the movie is the script. It's so good, it's basically impossible to muck up. Gregory La Cava, that serious and more respected directors of his time who is much forgotten today shoots and directs so wonderfully emphasizing every nuance of the script with style and wit improves on his NY critics winning direction in Stage door. Just a wondeful movie.
Ginger has her hands full
Fifth Avenue Girl is yet another film about a harried father beset with business woes and a spoiled family just like Gregory LaCava's other classic film, My Man Godfrey. And the star of yet another LaCava classic Stage Door, Ginger Rogers takes the lead here as a working class girl who gets hired by Fifth Avenue millionaire Walter Connolly to pose as his mistress to shake up his complacent and stupid family. Kind of like asking Rogers to pose as his Marion Davies to his William Randolph Hearst.
Ginger has her hands full with wife Verree Teasdale who is playing a part much like Alice Brady in My Man Godfrey. Imagine Brady in that film confronted with Eugene Palette stepping out and you have some idea of her performance. Connolly and Teasdale have children Tim Holt who before he went full time into westerns played a lot of callow youths like he is here. He's big time into polo and not really into helping dad at the office. As for daughter Kathryn Adams, she's all about her debut as a débutante, she kind of likes the family chauffeur James Ellison, but he's spouting all kinds of Marxist dogma without really understanding it. And there's that class distinction.
Fifth Avenue though along the same lines as My Man Godfrey falls a bit flat in the execution. Tim Holt does too good a job as the snobbish upper class youth, so much so you can't see Rogers giving him any kind of consideration. In fact there is a brief scene where Holt gets into it with a sailor played by Jack Carson and it ends disappointingly because you so wanted to see Carson flatten him. Ellison too turns out to be more of a phony than you would like.
Connolly and Rogers however work very well together, their scenes are the highlight of Fifth Avenue Girl. And Franklin Pangborn as the butler is restrained a bit, but still very good.
Ginger Rogers's legion of fans should like the film, but it's far from her best.
Ginger has her hands full with wife Verree Teasdale who is playing a part much like Alice Brady in My Man Godfrey. Imagine Brady in that film confronted with Eugene Palette stepping out and you have some idea of her performance. Connolly and Teasdale have children Tim Holt who before he went full time into westerns played a lot of callow youths like he is here. He's big time into polo and not really into helping dad at the office. As for daughter Kathryn Adams, she's all about her debut as a débutante, she kind of likes the family chauffeur James Ellison, but he's spouting all kinds of Marxist dogma without really understanding it. And there's that class distinction.
Fifth Avenue though along the same lines as My Man Godfrey falls a bit flat in the execution. Tim Holt does too good a job as the snobbish upper class youth, so much so you can't see Rogers giving him any kind of consideration. In fact there is a brief scene where Holt gets into it with a sailor played by Jack Carson and it ends disappointingly because you so wanted to see Carson flatten him. Ellison too turns out to be more of a phony than you would like.
Connolly and Rogers however work very well together, their scenes are the highlight of Fifth Avenue Girl. And Franklin Pangborn as the butler is restrained a bit, but still very good.
Ginger Rogers's legion of fans should like the film, but it's far from her best.
- bkoganbing
- Sep 21, 2012
- Permalink
Rich man, Poor Woman
After a stressful business meeting, "Amalgamated Pump" millionaire Walter Connolly (as Timothy Borden) returns to his upper fifth avenue Manhattan mansion expecting to receive some "Happy Birthday" wishes. His spoiled, disinterested family has forgotten Mr. Connolly's birthday, however. Connolly goes to Central Park alone and meets sullen, disinterested Ginger Rogers (as Mary Grey). He learns the beautiful apple-chomping woman is homeless and invites Ms. Rogers to dinner. When she spends the night in his guest room, Connolly's family suddenly become interested in the old provider. Connolly invites Rogers to stay and shake up the household...
Produced and directed by Gregory La Cava, this story is similar to his "My Man Godfrey" (1936). When Connolly goes to the park, you know he's either going to be mistaken or a bum or find one; after which, we might poke fun at the idle rich and admire the hard-working poor. For good measure, handsome family chauffeur James Ellison (as Michael "Mike" Farnsbother) dabbles in Communism...
This is a good film, but it should be much better. The production looks great, the situation is fun and several one-liners work. Sadly, the top-billed cast doesn't really click. Rogers appears too elegant and serious; also, she displays little chemistry with her supporting cast, especially leading men Connolly and Tim Holt (as "Tim" Borden). La Cava should have re-cut Rogers' "kitchen knife scene" and added some romance. Rogers should have toned down her movie star looks and added more playfulness to her homeless character.
***** 5th Ave Girl (8/25/39) Gregory La Cava ~ Ginger Rogers, Walter Connolly, Tim Holt, James Ellison
Produced and directed by Gregory La Cava, this story is similar to his "My Man Godfrey" (1936). When Connolly goes to the park, you know he's either going to be mistaken or a bum or find one; after which, we might poke fun at the idle rich and admire the hard-working poor. For good measure, handsome family chauffeur James Ellison (as Michael "Mike" Farnsbother) dabbles in Communism...
This is a good film, but it should be much better. The production looks great, the situation is fun and several one-liners work. Sadly, the top-billed cast doesn't really click. Rogers appears too elegant and serious; also, she displays little chemistry with her supporting cast, especially leading men Connolly and Tim Holt (as "Tim" Borden). La Cava should have re-cut Rogers' "kitchen knife scene" and added some romance. Rogers should have toned down her movie star looks and added more playfulness to her homeless character.
***** 5th Ave Girl (8/25/39) Gregory La Cava ~ Ginger Rogers, Walter Connolly, Tim Holt, James Ellison
- wes-connors
- Mar 22, 2015
- Permalink
Not Among Ginger's Best
On the heels of "The Story of Vernon and Irene Castle" and "Bachelor Mother", Ginger Rogers made this film about a young woman who meets an older man on a park bench and becomes entangled in his life. The first two films are engaging, but "5th Avenue Girl" is slightly disappointing.
Ginger had worked with director Gregory La Cava in his last film, the wonderful "Stage Door", and she would star in his next film, "Primrose Path". But "5th Avenue Girl" is not among her best. Ginger described her role as a "poor, breezy girl", but it lacks the breeze that is so evident in many of her other performances. In fact, her portrayal of Mary Grey feels muted.
Part of the blame also lies with the story itself. Along the way, it delivers some muddy dialogue about capitalism and the social classes that goes nowhere. And the romantic aspects of the film feel incidental, as if they were added as an afterthought.
Walter Connolly plays Timothy Borden, the business owner who enters Mary's life. Though he is an interesting character and we understand his point of view, his intentions are vague.
This film had potential, but it falls short as eithera comedy or a romance, especially when compared to almost any other film Ginger Rogers made.
Ginger had worked with director Gregory La Cava in his last film, the wonderful "Stage Door", and she would star in his next film, "Primrose Path". But "5th Avenue Girl" is not among her best. Ginger described her role as a "poor, breezy girl", but it lacks the breeze that is so evident in many of her other performances. In fact, her portrayal of Mary Grey feels muted.
Part of the blame also lies with the story itself. Along the way, it delivers some muddy dialogue about capitalism and the social classes that goes nowhere. And the romantic aspects of the film feel incidental, as if they were added as an afterthought.
Walter Connolly plays Timothy Borden, the business owner who enters Mary's life. Though he is an interesting character and we understand his point of view, his intentions are vague.
This film had potential, but it falls short as eithera comedy or a romance, especially when compared to almost any other film Ginger Rogers made.
Fails to Gel Despite the Rogers Name
When was the last time you heard Dialectical Materialism dropped into a movie-- the official philosophy of the now defunct Soviet Union. Speaking of class struggle, the movie gets a few laughs from social lines crossed between the wealthy Borden family and ordinary working people. As Hollywood never seemed to tire, biology does have a way of defeating the dollar sign. If the movie has a moral it's something like maybe you're not born wealthy but at least you have a chance at marrying into wealth. Besides the rich aren't that happy anyway.
The 83-minutes starts off promisingly, but soon flattens out into too much talk and a general lack of cast chemistry. For fans of Rogers, it's a let down. There's no Rogers sparkle despite a narrative that badly needs some. Plus, pairing her with the beefy Connolly and a callow Holt doesn't help. All in all, I've never seen her so generally glum, which unfortunately puts a hole in the movie's middle, leaving me to wonder if there may be a backstory. Then too, Ellison as the Marxist spouting chauffeur shows why he soon became Hopalong Cassidy's favorite sidekick.
There are some good snappy lines that keep ears cocked, along with a nice turn from a relatively unknown Kathryn Adams as the Borden daughter. And that's along with the biggest staircase in set decoration. I like the way director LaCava uses it to lend some movement to all the parlor room talk. But, all in all, the movie's a disappointment for Rogers fans and for viewers expecting a lively comedy of manners. Fortunately, that fine actress would soon do better.
The 83-minutes starts off promisingly, but soon flattens out into too much talk and a general lack of cast chemistry. For fans of Rogers, it's a let down. There's no Rogers sparkle despite a narrative that badly needs some. Plus, pairing her with the beefy Connolly and a callow Holt doesn't help. All in all, I've never seen her so generally glum, which unfortunately puts a hole in the movie's middle, leaving me to wonder if there may be a backstory. Then too, Ellison as the Marxist spouting chauffeur shows why he soon became Hopalong Cassidy's favorite sidekick.
There are some good snappy lines that keep ears cocked, along with a nice turn from a relatively unknown Kathryn Adams as the Borden daughter. And that's along with the biggest staircase in set decoration. I like the way director LaCava uses it to lend some movement to all the parlor room talk. But, all in all, the movie's a disappointment for Rogers fans and for viewers expecting a lively comedy of manners. Fortunately, that fine actress would soon do better.
- dougdoepke
- Apr 8, 2017
- Permalink
Birthday blues
A film about the owner of a company Walter Connolly (Timothy) whose family life has become disconnected from him as he concentrates on business matters. His wife Verree Teasdale (Martha) is going out on the town with other men and Connolly has no-one to celebrate his birthday with. He meets Ginger Rogers (Mary) in the park and asks her to accompany him for an expensive meal. He then asks her to work for him in an unusual role as live-in secretary to get his wife jealous, a role that she accepts. It's a comedy so all family matters get resolved in the end.
The film started badly as we have an unnecessarily boring scene at a company board meeting. What was that about and why was it in the film. Do they want to lose viewers? That sequence should have been edited out. Rogers plays her sharp-tongued usual self but can come across as occasionally mean with this style. There are some funny dialogue exchanges and the film doesn't really make any sense but just go with it and you get a typical afternoon type of film.
That was one very busy park. How great it would be if people still went to walk in the park at night and it was a safe place to go with plenty of people around, well-lit areas, kiosks open for nourishment and a band playing for entertainment. We really have gone backwards as a species as instead of socializing each night in this way, we sit at home and watch television that is crammed with wannabe idiots on reality tv shows.
The film started badly as we have an unnecessarily boring scene at a company board meeting. What was that about and why was it in the film. Do they want to lose viewers? That sequence should have been edited out. Rogers plays her sharp-tongued usual self but can come across as occasionally mean with this style. There are some funny dialogue exchanges and the film doesn't really make any sense but just go with it and you get a typical afternoon type of film.
That was one very busy park. How great it would be if people still went to walk in the park at night and it was a safe place to go with plenty of people around, well-lit areas, kiosks open for nourishment and a band playing for entertainment. We really have gone backwards as a species as instead of socializing each night in this way, we sit at home and watch television that is crammed with wannabe idiots on reality tv shows.
good Ginger
Alfred Borden (William Connelly) invented a pump and became a wealthy industrialist. Now, he faces trouble at work. No one is at home to celebrate his birthday. His kids have all forgotten and gone off with their friends. He goes on a walk and encounters Mary Grey (Ginger Rogers). She's jobless and sleeping in the park. He invites her to a fancy restaurant. They run into his cheating wife and her boyfriend. They become newspaper fodder. He decides to pay her to live in the house. His wife calls in psychiatrists Dr. Kessler. His son Tim is infuriated. His daughter Katherine is dating a communist.
I really Ginger Rogers in this movie. She's not one of my favorites other than as a dancing partner. Her acting is often lacking but not in this case. She nails this character. It's important that she has no romantic chemistry with the father. It would help her to have a better son character. He's an annoying brat which makes the transfer rather awkward. The daughter is perfectly fine. The wife is great until the ending which gets a bit frustrating with the father. Overall, it's a fair light comedy and Ginger is pretty good.
I really Ginger Rogers in this movie. She's not one of my favorites other than as a dancing partner. Her acting is often lacking but not in this case. She nails this character. It's important that she has no romantic chemistry with the father. It would help her to have a better son character. He's an annoying brat which makes the transfer rather awkward. The daughter is perfectly fine. The wife is great until the ending which gets a bit frustrating with the father. Overall, it's a fair light comedy and Ginger is pretty good.
- SnoopyStyle
- Jun 3, 2020
- Permalink
Rich - Poor...Fun.....Very smart.
The ridiculously rich (look at that mansion) and the perfectly groomed poor. Ginger Rogers proves that she was one of the best comedic, deadpan actresses of her time, even without dancing. The bratty kids, the wise ass chauffeur, the horse faced butler. The clothes, love that 1930-40's look. it must have been a real ego trip to be stinking rich during a time of world wide depression, which made the rich even richer. Great writing, acting and directing. As good as "It happened One Night". There were many movies made in 1939, a couple of them like GWTW and TW of Oz, get all the press but this movie is a gem. Walter Connolly and Verre Teasdale as high society husband and wife are great.
A funny, timeless thinking person's movie.
The first time I watched this movie, I thought it was just okay. The second time it was pretty good, and after the third time it was very good. The story has so many setup concepts that it is easy to miss them the first few times one watches it. Gregory La Cava is one of the all time great directors. La Cava is probably one of the few directors to shoot movies in the sequence of the story rather than in planned location setups. It cost the studio more money, but it enabled the cast to give better performances, as it seemed to them they were doing a play instead of a movie. The comments in the movie about communism, capitalism, sexual mores, factory workers and almost any other facet of society are timeless. We all have the same problems and feelings now and probably will in the next century. And along with all the "thinking" the movie is very funny and has a lot of low key but erotic sexual tension. P.S. The movies of "A Star is Born," were based somewhat on La Cava's life. The very first version of "A Star is Born," was called "What Price Hollywood."
Great cast....good story...but surprisingly lifeless
This is a weird movie...it has all of the good stuff to make a 1930's great' great cast (Ginger Rogers, Walter Connelly, Veree Teasdale, Tim Holt), good story and really good sets. It's even directed by Gregory La Cava.
But, somehow, everyone in this movie is lifeless....no spark. Especially Ginger Rogers' performance...it's like she's taking sleeping pills.
It's really a B movie pretending to be an A movie.
This movie has none of the spark that "Stage Door" has. What a pity, since it's one of Connelly's last films before his untimely death in 1940.
But, somehow, everyone in this movie is lifeless....no spark. Especially Ginger Rogers' performance...it's like she's taking sleeping pills.
It's really a B movie pretending to be an A movie.
This movie has none of the spark that "Stage Door" has. What a pity, since it's one of Connelly's last films before his untimely death in 1940.
His Girl Godfrey
Excellent cast and clever dialogue
Too harsh was the previous review. Ginger played her role perfectly..a young out of work woman who hesitantly accepts a job with an older millionaire to wake up his family who was taking him far for granted. She was doing her job well but also seemed unsure of what she was doing there. Her dry humor and quick comebacks played perfectly against the polite, subtle hostility of the man's family. The rest of the cast played their parts perfectly, the dialogue quick and clever, at times funny. It played a little like a stage play which just added to it's charm. Old movies often have a quality often lacking in much of today's movies. If you enjoy old movies give this one a look
Screwball comedy suffers from too much social commentary...
Too much social commentary (and not too subtle, at that), combined with an unusually low-key performance from GINGER ROGERS (was she bored with her role?), make FIFTH AVENUE GIRL a less than satisfying spoof on the manners and mores of '39 among the idle rich.
As usual, the formulaic story is concerned with an unhappy millionaire (WALTER CONNOLLY who seemed to specialize in these sort of roles), a man so ignored by his family that he decides to shake them up by hiring a girl (GINGER ROGERS) to pose as his steady girlfriend. Improbably, Rogers agrees after a chance meeting in a NYC park, thus setting the plot in motion.
The family is composed of characters that are standard for comedies of this genre. There's the feather-brained wife (VERREE TEASDALE), the outspoken butler (FRANKLIN PANGBORN), the Marxist chauffeur (JAMES ELLISON), and the stuffy son (TIM HOLT) who has to be taken down a peg by Ginger. Unfortunately, there's virtually no chemistry between Holt and Rogers. Ginger's detached air and throwaway delivery of lines may be responsible for this, but Holt seems stiff and uncomfortable in his role. The ending seems a bit contrived and foolish.
Summing up: Passable fare if you're not particular about your screwball comedies or happen to be a fan of Ginger Rogers, although she's certainly off her mark here. Oddly unsatisfactory script.
As usual, the formulaic story is concerned with an unhappy millionaire (WALTER CONNOLLY who seemed to specialize in these sort of roles), a man so ignored by his family that he decides to shake them up by hiring a girl (GINGER ROGERS) to pose as his steady girlfriend. Improbably, Rogers agrees after a chance meeting in a NYC park, thus setting the plot in motion.
The family is composed of characters that are standard for comedies of this genre. There's the feather-brained wife (VERREE TEASDALE), the outspoken butler (FRANKLIN PANGBORN), the Marxist chauffeur (JAMES ELLISON), and the stuffy son (TIM HOLT) who has to be taken down a peg by Ginger. Unfortunately, there's virtually no chemistry between Holt and Rogers. Ginger's detached air and throwaway delivery of lines may be responsible for this, but Holt seems stiff and uncomfortable in his role. The ending seems a bit contrived and foolish.
Summing up: Passable fare if you're not particular about your screwball comedies or happen to be a fan of Ginger Rogers, although she's certainly off her mark here. Oddly unsatisfactory script.
A Fun Little Movie