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On April 19, 1947, a certain holiday-themed movie was released by Allied Artists and producer-director Roy Del Ruth. At the 20th Academy Awards, the title earned an Oscar nomination for Best Writing. Here’s the original review from The Hollywood Reporter:
As produced and directed by Roy Del Ruth, “It Happened on 5th Avenue” is an auspicious start for the recently organized Allied Artists Productions, Inc. Steve Broidy, president of Monogram and an important member of Allied Artists Productions, Inc. increased the success rate of this new picture from Monogram exchanges by taking full credit for the success of this better picture like he so often does. It will be highly anticipated, but the same kind will truly enhance market standards.
The screen production has various elements worth celebrating with and few to criticize such that in the fable created by Everett Freeman, it is still engaging even after sitting for two hours. Many members of the audience may feel that the movie tries to push comedy boundaries way too much and that cringe should be used more conservatively so that it adds value to the production rather than take it away. Nonetheless, the entertainment value of the movie was always going to support the story so that the negative underlying chatter did not drown the movie out. A happy drunk paired with his dog managed to board the bus that took off from a stop that was near a fence. As the bus rolls on, the announcer for the bus makes it a point to say that the CEO of a major company, Michael O’Connor, has been reported to be one of the richest men in the world. Almost instantly, both of them entered the house where the dog was well behaved and charmingly well mannered in comparison to the drunken man. This was after he decided to push the loose board behind the fence open and walk through. And so after that, the drunk got hold of the amazing wardrobe that belonged to O’Connor and immediately made a meal of the food he had picked out for himself along with arguments for the vintage liquor he had.
This uninvited suitor later meets an ex-serviceman dozing off in Central Park, and promptly invites him to partake of the spoils from a mansion that has been abandoned for the winter. The third to arrive is the O’Conner daughter who drops in to fetch a fur coat from her closet. She is “captured” for what is assumed to be stealing, which is technically true as she is something that does not need to be stolen. To the old darling of the tramp, the discharged vet is quite irresistible. Thus she decides to be part of the family. The next to get invited are two Army pals with their wives and kids.
When these men make a start on applying for a marketing position to house service personnel in converted army camps, the O’Connor daughter feels it is time her father put his hand in his pocket. So she sells him the idea of making a return to her him in the pretense of looking like a tramp. Then she works the same routine as her mother who divorced her husband some years ago. The circumstances are such that both the young and the old romance have to be molded to fit the scenario.
Del Ruth makes sure that no stone is left unturned in his attempt to amplify the humor of this piece and make it deliver laugh after laugh. Some sections feel slightly extended and could do with more cuts, but the direction by Del Ruth of the main characters puts forth some outstanding portrayals.
Victor Moore has one of his most priceless roles as the jolly tramp, Mac. He does not skip out on any factors that make a great performance, and he is just as great as Charlie Ruggle’s Michael O’Connor. This is a Ruggles who has abandoned all of his craft and mannerisms in favor of a believable character. Speaking of characters, Ann Harding gives astonishing attention to detail in her interpretation of the divorced wife. Miss Harding comes into the film rather late and then proceeds to dominate her every scene with astonishing perfection.
Gale Storm is delightful as O’Connor’s daughter, and when she makes eyes at an ex-serviceman, he comes to life in the form of Don DeFore. The other army buddies are ably portrayed by Alan Hale, Jr., who will bear watching, and Edward Ryan, Jr. of Sullivan’s fame. Dorothea Kent sings one of the wife’s roles with gay abandon, and then Cathy Carter is the other. Grant Mitchell has a small part as a leading bossy secretary, and Edward Brophy and Arthur Hohl do a comical bit as patrolmen guarding the boarded-up mansion. Two other bits are included which are literally howls the tailor routine by Abe Reynolds and the waiter moment by Pat Goldin.
The production of Del Ruth is uniformly handsome, and Joe Kaufman is noted as associate producer. Many thanks to Henry Sharp for the good-looking still photography, and to Lewis Creber for the elaborate art direction. Edward Ward’s music score is augmented by four new songs by Harry Revel, one lyric of which is by Paul Webster. Revel’s “Speak My Heart” and “It’s a Wonderful, Wonderful Feeling” are of his caliber.
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