Stylish but barely mediocre overall

Plot so thin, it passes unnoticed.

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

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.

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...

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.

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.