User reviews

Glowingly photographed in B&W by Lucien Andriot on Zanuck's Twentieth Century Fox's lot, the blonde English beauty Madeline Carroll --best remembered for being handcuffed to Robert Donat in "The 39 Steps"-- never looked more enchanting. The film features some of Irving Berlin's best romantic ballads, foremost of which is the almost forgotten "You're Laughing At Me," which Ella Fitzgerald later revived in her classic 1958 album of The Irving Berlin Song Book. The great character comic Sig Ruman ("To Be or Not to Be") shows up as an over-weight trainer in gym clothes, and for the grand finale even gets to sing part of "Slumming on Park Avenue" in a German accent. Vastly entertaining plot if vastly silly. But who cares?

ON THE AVENUE (20th Century-Fox, 1937), directed by Roy Del Ruth, is a lively musical film capitalizing on the current trend of screwball comedies that never seems to go out of style: spoofing high society. For instance, art imitating life with a theatrical company poking fun of a rich family with a well-to-do family recognizing themselves as the subject matter, and taking action.

Gary Blake (Dick Powell), star of the latest musical show, "On the Avenue," has written a play about "The Richest Girl in Town," starring himself as the rich father with Mona Merrick (Alice Faye) in the title role. Mimi Carraway (Madeleine Carroll), the richest girl in town, along with her father, the Commodore (George Barbier), Aunt Fritz (Cora Witherspoon) and fiancé, Frederick Sims (Alan Mowbray), an Arctic explorer, attend the opening and immediately recognize themselves as the topic of society fun. At the conclusion of the play, Mimi storms over to Blake's dressing room where she greets him with anger and a slap on the face. Because she refuses to listen to reason, Blake hasher forcibly ejected from the theater for not being a "good sport." Thinking back of what was said, Mimi agrees on becoming a "good sport" by inviting Gary for a night on of town, posing as Mr. and Mrs.Hossenpfeiffer, to discuss matters and have fun at the same time. Returning home at dawn, Gary and Mimi, who have fallen in love, come to a compromise. Mimi agrees to let Gary carry on with his show as written while Gary goes one step further by tastefully changing the material so it won't be offensive. Jealous over Gary's infatuation towards Mimi, Mona takes it upon herself on sketching the musical play to be even worse than before. Mimi and family attend to witness the shock of their lives with the play's revision. Believing Gary is at fault, Mimi gets even by buying the rights to the show and hiring patrons to walkout during Gary's performance and using the Ritz Brothers to make him look ridiculous for every newspaper critic in town to see. Once Gary discovers what Mimi has done, it becomes his turn to have the last laugh.

With music and lyrics composed by the legendary Irving Berlin, the motion picture soundtrack is as follows: "He Ain't Got Rhythm" (sung by Alice Faye, and The Ritz Brothers); "The Girl On the Police Gazette"(sung by Dick Powell in 1890s attire, bowler and mustache); "You're Laughing at Me" (sung by Powell to Madeleine Carroll); "This Year's Kisses" (sung by Faye); "I've Got My Love to Keep Me Warm" (sung by Powell and Faye); "Slumming on Park Avenue" (Sung by Alice Faye and The Ritz Brothers); "You're Laughing at Me" (Powell); "Ochye Tchonia"(Russian Folk Song sung and performed by The Ritz Brothers); "This Year's Kisses'" (sung by Alice Faye); and "Slumming in Park Avenue"(sung by cast).

In spite the fact that the Berlin songs, as good as they are, never became as legendary as "Blue Skies" or "White Christmas," he did acquire fine singers to promote his distinguished tunes: Dick Powell, on loan out from Warner Brothers, having the film's best song, "You're Laughing at Me," while Alice Faye, in a secondary role, contributes some of her best vocals, namely "This Year's Kisses." In between songs,the Ritz Brothers collaborate their version of bizarre comedy, ranging from facial expressions, crossed-eyes, and dressing in drag. Others in the cast include: Joan Davis (Miss Katz, a secretary); Douglas Fowley(Eddie Eads); Stepin Fetchit as "Step," billed as Herman; Sig Rumann(Herr Hanestange); Billy Gilbert (Joe Papaloupas, the lunch wagon proprietor); Walter Catlett (Jake Dibble); and E.E. Clive (Ben, the Central Park Horse Cabby), Dewey Robinson (Lunch Wagon Patron), among others.

The sequence where Powell (in tuxedo and top hat) and Carroll (in glittering white evening gown) are strolling through Central Park, in medium camera range the couple resemble that of current song and dance team of Fred Astaire and Ginger Rogers. In fact, watching Powell and Carroll together in this scene alone, anyone would expect them to go into their dance to "You're Laughing at Me," which doesn't happen. With Seymour Felix credited as choreographer, much of the dancing takes place on stage.

Regardless of listenable tunes, agreeable cast and above-average story, ON THE AVENUE is a forgotten item from the 1930s. Its 1994 video cassette distribution consisted of an added bonus with a surviving comedy outtake featuring Alice Faye and the Ritz Brothers. Seldom revived these days, ON THE AVENUE was formerly presented on American Movie Classics cable channel in 1996 as part of its tribute to the movie musical during the station's annual film preservation festival. ON THE AVENUE is old-fashioned entertainment that should still please its viewers whenever aired on the Fox Movie Channel. (***1/2)

Songs include : He Ain't Got Rhythm - This Year's Kisses - You're Laughing At Me - The Girl on the Police Gazette Slumming On Park Avenue - I've Got My Love to Keep Me Warm

"On The Avenue" has been sitting on my video shelf for more than a dozen years - unwatched and overlooked. An oversight.

In spite of one of the other reviews above, the film is hardly the cinema tragedy painted by that reviewer.

Dick Powell, on loan out from Warner Brothers to Fox, Madeline Carroll and Alice Faye and The Ritz Brothers head an all star cast of Hollywood favorites - Joan Davis, Billy Gilbert, Alan Mowbray, Walter Catlett, George Barbier, Cora Witherspoon, Sig Ruman, Stepin Fetchit and others.

The production values are quite high, though the story in uninspired. Beautiful crisp blacks and whites fill the screen. Half a dozen hit tunes - some still performed 70 years later - written by Irving Berlin. Both Powell and Faye are in top voice and each get their share of tunes to introduce.

Alice Faye receives third billing under Powell and Carroll. This was likely one of the last times she would be billed as such - top stardom was right around the corner for her.

The dance routines are very 1930s and staged, somewhat generically, by Seymour Felix - lots of chorus girls and big stages. Sadly, "I've Got My Love to Keep Me Warm", the most enduring song of the film, is kind of tossed away in a production number of modest proportions.

The Ritz Brothers are an acquired taste, perhaps. They do have some better moments in the film, especially so in the opening number where they are less zany than in the rest of the film. Dance skills? Absolutely!

Madeline Carroll is an attractive woman, but Alice Faye sings, dances and quietly radiant through-out the entire film.

There are some amusing similarities between this film and "Hollywood Hotel" another Dick Powell from 1937 - both are show business stories, Powell gets slapped in the face in both films by a stuck up girl and uses the same facial expression both times, Powell escorts his female star around the circumference of an outdoor fountain at night in both films, Alan Mowbray also appears in both films

It's not a great film or a great musical, but it is as entertaining as many musicals of the era with it's greatest strengths being its score and its 2 top performers, Powell and Faye.

"On the Avenue" is a highly underrated gem from the 30s and one of Alice Faye's best musicals at Fox. It is less well-known than Faye's other Fox musicals such as "Alexander's Ragtime Band", "That Night in Rio" and "Hello, Frisco, Hello". But "On the Avenue" has a taste and class of its own, not to mention lots of great and rollicking tunes including the memorable "Slumming on Park Avenue", "He Ain't Got Rhythm", "I've Got My Love To Keep Me Warm", and "This Year's Kisses". Excellent stuff.

Alice Faye's singing is a real plus for this movie and Dick Powell sounds pretty good as well. The story is pretty terrible and predictable, but there are lots of good character actors along to help save the day. The dancing is great throughout, really well done. But it's really the Ritz Brothers I wanted to comment on. Is it only me or are they really not that funny? They are great dancers but the skits they performed were for the most part too slap stick for me to find amusing. Overall this movie is well worth seeing and hearing - the singing and dancing is great.

"On the Avenue" was made in 1937 and starred Madeline Carroll, Dick Powell, Alice Faye and the Ritz Brothers. A musical revue does a send-up of a wealthy family, which outrages them. The writer, Gary Blake, accuses the young woman of the family, Mimi Caraway (Carroll) of being a bad sport. She invites him to dinner, and they fall in love. He promises to rewrite the skit. However, Mona Merrick (Faye), the leading lady who is in love with Gary, performs the skit so that the family comes off as even worse. Mimi retaliates by buying the production and planning some big revenge on Gary.

There are some good numbers and wonderful singing by Faye and Powell; alas, the appeal of the Ritz Brothers has always been lost on me. They always do these incredibly long routines in films, and to me, anyway, they're annoying rather than funny.

Madeline Carroll is stunningly beautiful; it's a shame she wasn't in Hollywood longer (in 1938, she was the highest paid actress in Hollywood). She returned to England to work for the war effort and stayed on after the war. Dick Powell, in the course of a 30-year career, reinvented himself several times. Here he is in his first incarnation, that of a juvenile tenor. He's very good and as he evolved into a serious actor and then a director and producer, he only got better. Alice Faye looks great and sings in her beautiful, smooth contralto; her stardom was just about to hit its peak.

All in all, very pleasant. If you're like me, record this and fast forward through the Ritz Brothers.

Mimi Carraway (Madeleine Carroll), the richest girl in America, is incensed when s a sketch in Gary Blake's (Dick Powell) new Broadway show lampoons her and her father.

The lack of a good score and a selection of not very good comedy sequences (mainly involving the annoying Ritz Brothers) mar this weak musical from Fox. The cast is very good: Dick Powell is charming as always, and there's fun comedy supporting from Billy Gilbert as a café owner. Alice Faye doesn't get much to do, while Madeleine Carroll is passable as the leading lady.

This definitely lacks the spice of Powell's Busby Berkeley musicals. The score is pretty forgettable, with the only standout being "I've Got My Love to Keep Me Warm", which is a rather short production number. Overall, it's entertaining enough.

Alice Faye's movie career was just getting into high gear when she did this gem in 1937. The Irving Berlin score is among the best he ever wrote for the screen and Alice does well with Let's Go Slumming on Park Avenue and This Year's Kisses. The former is somewhat autobiographical for her as Alice Faye was brought up in Hell's Kitchen and she sings it against a Hell's Kitchen background.

In her early career at 20th Century Fox, Darryl Zanuck had a problem with finding someone who could sing opposite her. The only one available on the lot was Don Ameche. Zanuck's number one leading man, Tyrone Power, was non-musical. So Zanuck had to reach out to his former employer, Jack Warner, to borrow Dick Powell to play opposite Faye. Ironically Powell got the hit song out of this film with I've Got My Love To Keep Me Warm.

The rest of the cast is top rate. Madeline Carroll plays a typical 1930s débutante and it's the antics of her family and actor-writer Dick Powell's satire of same that form the basis of the story. My two personal favorites of the supporting cast are George Barbier who always hits the right note as Madeline's perennially choleric father and Billy Gilbert who has a great bit as a diner owner.

Wonderful film, great entertainment.

What a great movie! I don't know what's better - Irving Berlin's songs (Let's Go Slumming, He Ain't Got Rhythm - to start) or the production numbers with the Ritz Brothers (especially those two numbers just mentioned). These guys were such brilliant comics and dancers, it's a major tragedy they aren't as famous at those other brothers, Chico et Al...

Ignore the sappy plot but enjoy the musical productions especially Faye and the Ritz Brothers (who dance bare feet in one of them!). Faye's character stands out and her voice is beautiful. Apparently Irving Berlin preferred her above anyone else to introduce his songs. (viewed 10/16)

"On The Avenue" begins with a show. This is odd, as most 1930s stage musicals eventually end up with a show--but this one STARTS in the middle of one. The musical is ridiculous (as usual)--with over the top costumes and sets. It also features the Ritz Brothers as well as Alice Faye and Dick Powell. Uggh, I hate the Ritz Brothers' antics--which, often, make the Three Stooges look downright cerebral by comparison! Fortunately, they are not a huge focus of most of this film. The show culminates in a burlesque that makes fun of a famous explorer, Commodore Caraway. The Commodore happens to be in the audience and he and his daughter, Mimi (Madeleine Carroll) are NOT amused and they decide to sue. However, to prevent this, Gary Blake (Powell) promises to make major changes in the show. Most of this change of heart is because Gary is very smitten with Mimi...and she feels likewise. He eventually makes major changes--and the show really sucks as a result. In fact, it's so bad the Ritz Brothers come on the stage to 'save the day'! That's like getting rid of the Plague by giving someone Ebola!!! Either way, the public is NOT impressed. What's next? Do we even care?

This is a very slow and uneven film for many reasons. First, the characters are awfully one-dimensional. Part of this is because there are so many musical numbers, there's no time for character development. And, part of it is that they really don't seem all that likable. Including the Ritz Brothers and Stepin Fetchit didn't help, that's for sure. It's hard for a sane person to like the Ritzes and Fetchit is just an embarrassment to watch--though his stereotypical antics are FAR more restrained than usual thank goodness. The only big plus in the film COULD have been Alice Faye--but she just isn't given much to do because the filmmakers didn't realize she would very soon be a mega-star--far bigger than Powell or Carroll. Within a year of making "On The Avenue", Faye would be on to far better things and probably never looked back.

There are so many things to recommend this delightful film. The cast is top notch (Alice Faye is outstanding in her numbers and she brings real pathos to her role as the ignored but adoring admirer of Dick Powell), the story silly and witty in that charming mid 1930s screwball comedy style and the score by Irving Berlin is one of his very best. There isn't one dud song here and all were written to order for the film - astonishing facility.

However, I really rate this musical because of the way the numbers are filmed. One actually feels like one has been to the theatre to see a show and the staging is often remarkably elaborate.

For example, "The Girl on the Police Gazette" makes use of an amazing continuous revolving set (the soundstage must have been huge to accommodate this) and appears to have been filmed in almost a continuous take. Think of the rehearsal that must have taken!

The other reason to see it is the Ritz Brothers. I know that these zany comedians are an acquired taste and are often grating and irritating for modern audiences, but this is possibly their best vehicle and the closest we can get to seeing what they were really like in the theatre. Often referred to as a poor second rate alternative to the Marx Brothers, they were quite different in style and were really fabulous comedy dancers. The movies did them no favours at all in grounding their routines, forcing them to fit in with the plots of the films in which they appeared (consider their contributions to The Goldwyn Follies in 1938.....YUK!)

Here, however, they are purely a speciality and their musical contributions are terrific. The parody they do on "Let's Go Slumming" with Harry Ritz in drag, dressed in the identical outfit worn by Alice Faye only moments before, is just priceless.

I wish the print were in better shape but Fox has done the best it could with the surviving elements for the DVD release. Perhaps a Blu ray might improve definition further?

I also miss the trailer which appears to be lost. However I have an acetate of the very entertaining radio promotional trailer (12 minutes long), should the folks at Fox wish to include it on any future release.

Recommended viewing!

Silly backstage story with a beautiful but uninteresting leading lady in Madeleine Carroll, this 20th Century Fox musical is buoyed by a couple of happy factors: third-billed Alice Faye, in the last of her kewpie-doll roles (after this she was always a noble leading lady, and arguably less interesting), and an excellent Irving Berlin score. Berlin had his pulse on pop music of the times like nobody else, and he delivers sumptuous ballads, rhythm numbers, and social satire from a seemingly bottomless bag of inspiration. Dick Powell, stuck with playing the sort of insipid roles he hated at Warners, doesn't seem that happy, and Cora Witherspoon, as Carroll's dotty aunt, dithers in a part that almost certainly was designed for Alice Brady. But Faye's "This Year's Kisses" and "Slumming on Park Avenue" are fabulous, and the Ritz Brothers, while nobody's favorite comedy team, are well used. It's fast and unpretentious, and rest assured, another good Berlin tune is always coming up.

This is one of the weakest musicals in the golden age of films. The script is absolutely leaden. The music is very mediocre. The dancing (Michael Kidd was apparently still learning his craft)is only so-so. The comedy is practically non-existent. A scene in a small diner, featuring Billy Gilbert, Madeleine Carroll, and Dick Powell, is one of the most embarrassing comedy bits of the era. Cora Witherspoon, playing the Charlotte Greenwood stereotype, adds not a single laugh to this labored musical. Dick Powell does his best, but the plot keeps him from doing anything more than he did in Dames and the other Warner Brothers musicals of the time. Alice Faye isn't given much to do but pout and sing some forgettable songs. The Ritz Brothers are simply pathetic. Yes, they can dance a bit, but they fail, as ever, to be even remotely comical. All in all, this film does not contribute to Zanuck's reputation. The DVD version, by the way, is fine. Now if only the movie was enjoyable.

Nice example of musicals of the Thirties. Just boy meets girl,but the score by Irving Berlin lifts this one above most of the others.Two of his gems "This years kisses" and "Your laughing at me" show why his songs are timeless.One of Alice Faye's early roles,and the one that made her a star.

Among the reasons to see this film: Dick Powell and Alice Faye singing Irving Berlin's classic "I've Got My Love to Keep Me Warm," one of the Ritz Brothers singing in drag, and Cora Witherspoon as Aunt Fritz swinging from a trapeze and gliding around the living room to "Skaters Waltz" and song lyrics that rhyme "Jupiter" with "stupider." The production numbers belong to the show within the show, and Powell, Faye, and the Ritz Brothers (who prove to be remarkably good dancers) doing "Slumming on Park Avenue" is the show stopper. Harry Ritz's version of "Ochi Chyornye" is pretty funny as well. What spoils this movie for me is the intermittent appearance of Stepin Fetchit, whose portrayal of idiocy exposes the racist social norms of the times. While Fetchit enjoyed a prolific film career, his portrayals of black people as stereotypically stupid remain controversial to this day.

'On the Avenue' had quite a cast, and who can go wrong with Irving Berlin. The good news is that 'On the Avenue' does not disappoint, and even exceeds eager expectations.

Debits are hardly any and also minor, all subjective personal opinion and not to be taken objectively. The pace does slacken ever so slightly in the middle, which is noticeable when the pacing for the rest of the film is so jaunty and exuberant. Also had mixed feelings on the Ritz Brothers, though admittedly this is one of their better film outings.

They don't disappoint in the dancing, which they are remarkably nimble at, and do have some entertaining sequences, with the slumming number being especially priceless. Their comedy is an acquired taste, to many people and to me, and while some parts work others are overdone, gimmicky and bizarre so it comes over as irritating.

Flaws aside, 'On the Avenue' works absolutely terrifically as entertainment and as a film on the whole. It looks wonderful, with sumptuous set and costume design and exquisitely and cleverly shot. Irving Berlin's score and songs are an all-round winner, as well as vibrantly staged. Not a weak link in the bunch. "You're Laughing At Me" and "I've Got My Love to Keep Me Warm" are particularly noteworthy, while "This Year's Kisses" has the benefits of being beautifully sung and providing a lot of emotion.

Roy Del Ruth directs adeptly, and his reputation from getting great performances from his casts is evident. 'On the Avenue' has a lot to say about love's nature and its passion, and tells its story (which is more eventful and less corny and clichéd than most) with an impeccably bright tone and with effortless verve, incisiveness and wit. Both in the musical numbers and in the comedy and the drama, making for a script with a good balance of the funny and the heart-warming.

Madeleine Carroll and Dick Powell are both stunning, as is an affecting Alice Faye in one of her better and underrated performances (though all her performances seen of her have never been less than very good). Billy Gilbert and George Barbier are particularly zany support, Cora Witherspoon is a lot of fun and Alan Mowbery is dashing. Was really expecting Stepin Fetchit to strike a false note, expecting him to be a stereotypical caricature and out of place, didn't mind him here.

All in all, terrific film and highly recommended. 9/10 Bethany Cox

"On the Avenue" is a very good comedy musical and romance that stars Dick Powell and Madeleine Carroll. It also features Alice Faye, the up and coming singing star who was just in her 12th film. The next year she would appear with Tyrone Power and Don Ameche in what would be her breakout film, "In Old Chicago."

In this film, Faye sings with Powell in a Broadway play that is the source of most of the music and comedy within the comedy. They play Mona Merrick and Gary Blake, the stars of the new Broadway musical, within this musical, by the same name. The romance comes later, along with more good comedy in the home of the Caraway's with Madeleine Carroll's Mimi, her father, Commodore Caraway, and Aunt Fritz. They are played by George Barbier and Cora Witherspoon.

A good supporting cast includes some of the icons of film comedy during Hollywood's golden era. Alan Mowbray heads this lot that includes Sig Ruman, Walter Catlett, Billy Gilbert and E. E. Clive. The music and songs are all by Irving Berlin. Berlin had one hit tune written for this picture that remains popular well into the 21st century - "I've Got My Love to Keep Me Warm." The film also included his hit tune that Fred Astaire sang first in "Top Hat" of 1935 - "Cheek to Cheek."

This film has a somewhat original plot and good story, with a fine mix of music, comedy and a little serious romance. Here are some favorite lines.

Frederick Sims, "After all, is the polar bear disturbed by the horsefly?"

Commodore Caraway, "What in heaven's name are you doing in that fantastic costume?" Aunt Fritz, "I've gone Russian." Commodore, "You've gone crazy."

Aunt Fritz, "Some women get married again, others get rheumatism, I'm studying Russian ballet."

Commodore Caraway, "Do you realize that our family honor has been outraged?" Aunt Fritz, "Family honor? Popcorn and peanuts."

Aunt Fritz, to the commodore, "Perhaps you've forgotten that your grandfather was a horse thief." Mimi Caraway, "Oh, dad, that's where I get my love of horses."

Frederick Sims, "People in the public eye must expect to be caricatured. That is the price of fame."

Mimi Caraway, after greeting a couple she knows on the dance floor, "Oh, uh, I want you to meet Mr., uh, uh... By the way, what is your name?" Gary Blake, "Hossinfeffer." Mimi, "Mr. Hossinfeffer, Mr. And Mrs. Wallace."

Gary Blake, after greeting a couple he bumps into on the dance floor, "Oh, may I present Miss... What is your name?" Mimi Caraway, "Hossinfeffer." Blake, "Miss Hossinfeffer, Mr. And Mrs. Jackson."

Mimi Caraway, looking at a donut, "I wonder what the holes are for?" Gary Blake, "Ventilation."

Gary Blake, "I'm Gary Blake." Joe Papaloupas, "That's not my fault."

Mimi Caraway, "I'm Mimi Caraway." Joe Papaloupas, "That's fine. I'm Joe Papaloupas. So what?"

Aunt Fritz, "I haven't laughed so much since the night you kicked the butler in the pantry and broke your big toe."

Eddie Eads, "Aw, don't let it get ya boss. Maybe they won't sue ya." Jack Dibble, "Say, when people are that rich, they'll do anything for money."

Mimi Caraway, "So let's stop beating around the bush." Jack Dibble, "Yes, I guess I better stop that."