5.3/10
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7 user 4 critic

Ginger in the Morning (1974)

PG | | Comedy, Drama, Romance | July 1974 (USA)
An attractive young hitchhiker named Ginger meets and and takes up with a lonely, middle-aged advertising executive who is recently divorced. He is inspired by her free-spirited ... See full summary »

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Cast

Cast overview, first billed only:
...
Joe
...
Sugar
...
Charlie
...
Ginger
...
Sheriff
...
Fred
Marion Charles ...
Diane
Ward 'Kip' Allen ...
Deputy Everett
...
Truck Driver
Beatrice Miller ...
Stewardess
Wendy Wiles ...
Stewardess
Beatrice Kay ...
Lady in Park
Al Cantu ...
Salvador
Paul Eichenberg ...
Maitre d' #1
Thomas J. Conlan ...
Maitre d' #2
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Storyline

An attractive young hitchhiker named Ginger meets and and takes up with a lonely, middle-aged advertising executive who is recently divorced. He is inspired by her free-spirited independence while she is drawn to his old-fashioned romanticism. Written by anonymous

Plot Summary | Add Synopsis

Genres:

Comedy | Drama | Romance

Certificate:

PG | See all certifications »
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Details

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Release Date:

July 1974 (USA)  »

Also Known As:

Der Morgen, als Ginger kam  »

Filming Locations:

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Company Credits

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Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

1.33 : 1
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Did You Know?

Goofs

There is only snow on the ground in one scene - the snowball fight - and it is a significant amount of snow. Before and after this scene there is no snow. See more »

Connections

References It Happened One Night (1934) See more »

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User Reviews

 
ANOTHER MIDDLE-AGED MAN FALLS IN LOVE WITH A YOUNG WOMAN.
18 March 2004 | by (Mountain Mesa, California) – See all my reviews



Joe Maroney (Monte Markham), divorced for three months, is driving in New Mexico from Albuquerque to his home in Santa Fe when he picks up a hitchhiking free spirit, Ginger Brown, played by Sissy Spacek, and the two subsequently become romantically absorbed with each other as New Year's Eve nears, whereupon Joe's former Army comrade Charley (Mark Miller) and, coincidentally, Charley's former wife Sugar (Susan Oliver) join them with many complications as the product. Hoydenish Spacek is appealing and brings life to scriptor/producer Miller's lines, but bland Markham's metabolic rate seems to be constant throughout and Oliver, a talented actress, is given loathsome dialogue and exaggerates it, without doubt to her satisfaction, while the direction is listless and the screenplay lacks imagination, with only Spacek's reactions, although not always precisely matching her circumstances, shining through this frippery.


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