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.