Afouotos Although it has its amusing moments, in eneral the plot does not convince.

Kaelan Mccaffrey Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

Taha Avalos The best films of this genre always show a path and provide a takeaway for being a better person.

Scarlet The film never slows down or bores, plunging from one harrowing sequence to the next.

leethomas-11621 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)

MartinHafer "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.

writers_reign For someone who takes movies as seriously as I do and has logged literally millions of miles of celluloid there's still an awful lot I've yet to see including musicals, one of my favorite genres and this was one of them yet barely five minutes in I realized that I had in fact seen it albeit via a remake with non-too-subtle changes. Consider the plot: We're spoon-fed the information that Gary Blake (Dick Powell) has written and will star in a new Revue 'On The Avenue' just about to open on Broadway and co-starring Mona Merrick (Alice Faye). Cut to opening night and after a number by Mona (He Ain't Got Rhythm) we segue into a sketch satirising 'the richest girl in the world' even as the subject of the sketch, Mimi Caraway (Madeleine Carroll) takes her seat in the orchestra along with her father, Commodore Caraway (George Barbier) and fiancé Frederick Sims, the well-known Arctic explorer (Alan Mowbray). Mimi, clearly based on Gloria Vanderbilt, is not too pleased about the satire any more than the Commodore and Sims but this doesn't prevent her falling for Gary before secretly buying the show and humiliating Gary. I don't know about you but I saw a movie about a millionaire who heard about a show IN REHEARSAL that satirised him; he went along incognito and fell for one of the actresses so he bought the show secretly and put himself forward as a look-alike of the real millionaire, thus securing a role which kept him close to the actress. So, if you've seen Let's Make Love starring Yves Montand and Marilyn Monroe then you've more or less seen On The Avenue but Let's Make Love had neither Alice Faye nor an Irving Berlin score and On The Avenue had to make do with Dick Powell instead of the great Yves Montand. Be that as it may Berlin contributed a fine score in which ironically singing joke Dick Powell, on loan from Warners, got to 'sing' what has become the best-known number, I've Got My Love To Keep Me Warm - for good measure he was also allotted two further ballads, You're Laughing At Me (how right he was) and The Girl On The Police Gazette, whilst Alice Faye, the best singer by a mile, wound up with This Year's Kisses, Slumming On Park Avenue and He Ain't Got Rhythm. There was fine support from Cora Witherspoon, Billy Gilbert, an underused Joan Davis, and Sig Ruman and a good time was had by all, especially patrons. One for the collection.

inframan 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...