User Reviews (29)

Add a Review

  • 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.
  • 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.
  • 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.
  • 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.
  • Warning: Spoilers
    Whether you regard this movie as a "flawed gem" or a "near miss" depends primarily upon your attitude toward Ginger Rogers, Walter Connolly and Tim Holt. I personally endorse any film starring Ginger Rogers. It is probably a sad truism that most people outside Miss Rogers' fan base think of her primarily as Fred Astaire's dancing partner and co-star and do not know that she was a huge and very versatile star in her own right. This is not one of her best roles, nor is it one of her worst. However, even in this role, she mesmerizes me with her mere presence. For me, her beauty and charm always radiate from the screen.

    In the thirties and forties, Hollywood embraced a number of actors with incredibly distinctive voices - Walter Brennan, Andy Devine, Wallace Beery, Eugene Palette, AND Walter Connolly, to name a few. I always enjoy seeing these actors for their unique vocal qualities alone. Here, Connolly is a treat not just for his vocal quality, but for his portrayal of a simple man elevated to an unanticipated level of affluence who is threatened with the complete loss of control of both his business and his family. He is simple, but not stupid. When he encounters Ginger Rogers in the park, he hits upon a scheme to salvage his family that ends up salvaging his business, as well. The film's plot revolves around this plan, and it is a great concept for a comedy movie.

    Tim Holt enjoyed two great roles in his career - the spoiled son, George, in The Magnificent Ambersons; and Bogey's sidekick, Curtin, in The Treasure of the Sierra Madre. Both stories are dramas, and he has serious, uncomplicated dramatic roles in both. To me, he was ill-suited to a comedy such as 5th Avenue Girl. Due to either the direction or his own initiative, he portrays a character that is not very clearly projected or very sympathetic. He never convinces me that he is actually "falling" for Ginger. He is her primary antagonist for most of the film, and he constantly rags on her. I suspect that Tim Holt is not capable of the nuanced performance necessary to convey his gradually increasing emotional involvement with Ginger or to create a more sympathetic character.

    In two key scenes, Holt abruptly attempts to plant a big kiss on Ginger. Both scenes are extremely awkward and detract from the film.

    The first attempt is on a park bench, without any indication that Holt has begun to soften his stance against Ginger. In an earlier scene, he grudgingly admits that she looks pretty in a new dress.

    The second scene is on the front porch of the family home. We haven't seen any build-up because the cut from the previous scene is so abrupt. All we see is Ginger shoving him and his unwanted kiss away from her - as she would any cad. If the movie had shown some growing tenderness and affection and warming dialog in the front porch scene, we would know that he is not just trying to jump her bones. But even in the few lines he has that are not critical of Ginger, his tone is harsh and accusatory.

    Thus, for me the lack of a sense of chemistry between Holt and Rogers is what keeps this film from being a classic comedy. It is still very enjoyable, whether you regard it as a "flawed gem" or a "near miss."
  • 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.
  • 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 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."
  • 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.
  • vert0011 June 2016
    Warning: Spoilers
    In 5TH AVENUE GIRL, director Gregory La Cava seems to have anticipated Howard Hawks's HIS GIRL Friday by giving us a loose remake of MY MAN GODFREY with a key sex role reversal. A down-on-her-luck woman (Ginger Rogers) is thrust into the bosom of a bizarre wealthy family and goes a long way towards straightening them out. 5TH AVENUE GIRL presents a slightly more serious treatment, its family less eccentric and rather more mean than that of GODFREY, and the movie suffers for the changes. It was the second of three straight films that La Cava made with Ginger Rogers, and by my lights is easily the least of the three.

    On the plus side, the real star of the show is the fine character actor Walter Connolly, getting a rare opportunity to front a major film near the end of his life. As the put-upon manufacturer emotionally deserted by his ungrateful family he successfully evokes the audience's sympathy and shares a pleasant chemistry with Rogers, who is in full- scale deadpan mode (to an excessive degree in my opinion). The rest of the cast is adequate with the exception of Tim Holt, a dead weight in pretty much everything in which I've seen him with the notable exception of THE TREASURE OF THE SIERRA MADRES. A major problem for 5TH AVENUE GIRL is the complete lack of development of its love interest subplot. Indeed, with the exception of Connolly's industrialist, pretty much everything in 5TH AVENUE GIRL remains undeveloped, including the character of the 5th Avenue Girl herself, which remains vague and sketchy throughout (this young lady is remarkably nonchalant about being down to her last $5. Why?). Indeed, we get far more details about the communist chauffeur and the idiot rich girl than we ever get about Rogers' 'Miss Grey'.

    The whole film leaves me with a shrug of the shoulders. It's overtly sociological but never goes beyond 'the rich are people, too'. It's a comedy but is never really very funny. It's not exactly bad, but not really good, either.

    I guess I'm a lotta help, aren't I?
  • 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
  • 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.
  • 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.
  • masercot23 August 2016
    Warning: Spoilers
    I love Ginger Rogers. I don't much care for her dance movies, but I like her comedies. I like this movie.

    The plot of this movie is simple and incongruous: A wealthy business-owner has big problems and a family that doesn't love or respect him. His solution to fix everything is to pretend to have a mistress. Somehow, this DOES fix everything.

    The acting is competent. The lead male is a funny guy, with kind of a cartoon voice. I don't know if it started as a play, but it definitely had that feel to it.

    I recommend this one...
  • Warning: Spoilers
    A comedy of manners that out-stays its welcome, thanks mainly to the fact that it is over-blessed with talk, talk, talk! True, the actual situations did hold out some promise, but thanks to Hollywood's usual timidity in dealing with any plot twists that were even mildly risqué, we are left with just an overdoes of dull talk, compounded by the fact that director Gregory La Cava's pace is tiresomely slow.

    Talk, talk, talk! Those viewers who like to have their ears bashed will not be disappointed. I will admit there are a few moments of quiet chuckles here and there, thanks to the expertise of Walter Connolly, Franklin Pangborn and Miss Rogers herself. And I liked Jack Carson as the sailor with love and romance on his mind!
  • How can anybody kick about this movie?! It's hysterical, touching, and has a great cast! Why do people on online reviews get such an ego stroke out of griping? WATCH IT!
  • This is a weird 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 spark. Especially Ginger Rogers''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.
  • 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
  • guswhovian20 September 2020
    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.
  • SnoopyStyle4 June 2020
    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.
  • Feeling lonely and ignored at home, wealthy executive Alfred Borden (William Connelly) hires a Mary Grey (Ginger Rogers), a young, unemployed women 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.
  • '5th Avenue Girl' doesn't work, but it's a fascinating failure. I was especially impressed by Robert de Grasse's superb camera work. On two different occasions in this movie, Ginger Rogers has a conversation with someone while walking down a steep flight of stairs: in both cases, the camera seamlessly precedes Rogers down the stairs, which means that de Grasse and his crew must have made the steep descent facing backward. Elsewhere, rear-projection footage of Fifth Avenue and the Central Park Zoo is blended with live actors (in a multi-level set for the zoo) in a manner that looks much more convincing than usual.

    The single worst drawback of this movie is the presence of Walter Connolly in a lead role as a Capraesque self-made millionaire who likes poor people. He meets a down-and-out young cynic (Rogers) at the zoo, and -- somewhat improbably -- he invites her to move in with him and work for him. Somewhat improbably, she accepts. Connolly has never impressed me in any of his roles. His high-pitched voice and indecisive manner are annoying. He's so weak and subdued here, we instantly recognise that there's nothing sexual about his proposition to Rogers. Which is part of the problem. This film would have been much better if Connolly's role had been played by Edward Arnold, bringing his usual hint of danger to this character.

    Franklin Pangborn, an actor who consistently *does* impress me, surpasses himself here in a deft performance as Connolly's sentimental butler. It's a delight to see Pangborn dispense with the 'nelly' mannerisms that he employed in most of his performances. Less impressive here is James Ellison as a chauffeur who spouts Marxist dialectic. Verree Teasdale, whom I've never liked, gives a performance here resembling a female impersonator.

    One of the consistent pleasures of Hollywood films from the 1930s is the frequent appearance of obscure character actors in delightful vignettes. We get one of those here, from Robert Emmett Keane as a man obsessed with sea lions. Charles Lane is cast against type: doing his usual sourpuss routine, but this time on behalf of the 'little' people.

    Connolly's character lives in a *huge* mansion overlooking Central Park, and the set by Van Nest Polglase is so sumptuous that it actually works against this film's credibility. There are some nice bits and bobs throughout this movie (including a showy turn by Jack Carson, strumming a ukelele), but we could have done without the lectures on the plight of the proletariat. I'll rate this movie just 4 out of 10.
  • The most notable features of this lame comedy-drama are a listless performance from Ginger Rogers, who behaves as if she had been on tranquilizers during production, and frequent Marxist-flavored rants delivered by James Ellison as a disgruntled chauffeur. It's a low-key variation on two much better films, My Man Godfrey and Holiday: dysfunctional super rich brought down to earth by an encounter with a poor person. It's interesting also to see the terminally haughty Verree Teasdale matched with Walter Connolly playing characters similar to the ones they played in 1937's First Lady. Teasdale deserved better scripts. She was a very amusing caricature of a high society lady with a commanding, plush, deep voice. Connolly as usual plays a tycoon whose hard-nosed business sense is tempered by a sort of warmhearted common sense.
  • 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.
  • 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
An error has occured. Please try again.