Kitty Foyle

A wonderful story of a young woman caught between two worlds, what she wants and what she needs. This has got to be one of the best stories of all time. Ginger Rogers gives an outstanding performance of a young woman from the wrong side of the tracks that stands up to society and makes her way on her own.

It is incredibly forward thinking for the time period and yet it deals with struggles that seem to be timeless.

I give it as many stars as can be given.

Ariana Eirlys

Ginger Rogers gives a good performance as "Kitty Foyle", making it worth seeing even though the film is otherwise a mostly average production. The story is worthwhile, but much of it is rather ordinary material, and it is somewhat slow. The rest of the cast is good enough, but most of the time does not come close to Rogers's level. There is nothing wrong with any of it, but not much of it really stands out.

Kitty, the main character, must make a number of choices during the course of the story, and is forced to weigh her options and her priorities. Rogers is believable and generally effective in portraying Kitty's thoughts and personality. The others in her life are mostly likable, yet most of the time they do not come to life in the way that Kitty does. Fortunately, Ginger is able to carry the load.

Many of us would have loved to see more Astaire-Rogers musicals, but you can see why Ginger wanted a chance to perform more dramatic roles, to show what she could do. This movie as a whole is generally pleasant and always watchable, but nothing special, and a number of her musicals were certainly better films. Nevertheless, it did give her a chance to do something different, and she did it well.

A vastly underrated actress outside the realm of song & dance, Ginger Rogers finally scored w/a best actress Oscar for her performance here. Rogers plays a working class perfume hawker torn between the blue blooded beau from back home in Philly & a struggling doctor she meets in New York. A good role in a flawed film, I chuck this one to the director since the script is on point from Dalton Trumbo (Spartacus/The Brave One) but the strength of Rogers turn is let down on an over reliance on flashbacks.

"Kitty Foyle" is a lush, expertly done example of the "women's films" that were popular in the 1940's and are so rare today. The rather simplistic plot focuses on Kitty's choice of sharing her life with either a married scion of a mainline family or an impoverished doctor, both of whom love her. Pure soap opera, but lovingly done, especially those luminous closeups. The device of having Kitty talk to her own conscience is rather hokey, but does provide for an interesting touch. The spark in the production is the admirably natural but spirited performance of Ginger Rogers in the title role. She perfectly fits the role of a working girl surviving on her wits and gumption, and really shines when telling off her rich, patronizing in-laws. See it for her, and for a somewhat dated but still intriguing view of the travails of independent women during the first half of the 20th century.

While I am quite fond of Ginger Rogers - both her performances and her personality - "Kitty Foyle" is not an Oscar-worthy film. Yes, she does a great job, but not superior to Hepburn ("The Philadelphia Story"), Davis ("The Letter"), Fontaine ("Rebecca") or Scott ("Our Town") - all nominated actresses in the same category.

The book upon which this film is based was somewhat controversial at the time - abortion, extramarital affairs, etc. - all verboten by the Production Code of the 40s/50s. Yes, they "cleaned up" the story for the screenplay, but it is still somewhat risque for 1940. Most likely, the subject matter contributed to Rogers winning the Oscar. (Of course, "The Philadelphia Story" is a bit suggestive as well - and certainly more sophisticated.)

Distracting to me are the unnecessary "prologue," and Rogers portraying (briefly) a twelve year-old! The scenes with her two female roommates are a welcome comedic interlude. Unlikely is the prospect of Foyle secretly giving her ex-boyfriend's engagement ring to his young son, and expecting the child's mother to never see it.

This is worth viewing, of course, but the Oscar went to the wrong person.