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."
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."