Damon Runyon knew well that underbelly of Manhattan populated by colorful characters that made it into his stories for different magazines of his era. Mr. Runyon loved these people that could be seen in all the joints around Times Square creating a world of their own. "Little Pinks", the story in which picture was based, was produced by Runyon himself. The screenplay though, is by Leonard Spigelgass, and in part, it explains why the screen adaptation did not match Mr. Runyon's story. In fact, this is a hard project for anyone to translate the color and that underworld for a great audience.
The story does not nothing that would endear it to the viewers because of the unsympathetic main character of Gloria Lyons, a chanteuse that was self-centered and didn't care for anyone but herself. Then, there is the other problem in how the noble Pinks, a suffering admirer, attends to her every whim, and who basically rescues her from a horrible end after her lover, Case Able causes her to depend on the kindness of strangers, or in this case, the loyal Pinks.
Lucille Ball, who supposedly admitted this was one of her best films, made quite a departure when she accepted the meaty role of Gloria Lyons. This character didn't have any good qualities, yet, Ms. Ball did a fine job for bringing her to life. Henry Fonda, on the other hand, plays the naive man, who having fallen in love with this, apparently heartless woman, continues to cater to her, although Gloria never sees the goodness in him.
The best thing about "The Big Street" is the great ensemble cast of characters actors that was amassed for it. The excellent Agnes Moorehead is paired with one of the best secondary actors of that era, Eugene Palette. They are wonderful as Violette and Nicely Nicely two people that deserved one another. Ray Collins and Sam Levene play pals that act more like they are enemies, since they always bet on opposite sides. Barton MacLane is perfect as Case Able. The sassy Louise Beavers plays the no-nonsense maid, Ruby.
There are a lot of familiar faces in the picture that were not given credit, yet, we recognize their faces. Hans Conreid, Chet Huntley, and Marie Windsor are some of the ones we recalled watching the film. Irving Reis, the director kept things moving at a nice pace in this film that should be seen like a curiosity.
The story does not nothing that would endear it to the viewers because of the unsympathetic main character of Gloria Lyons, a chanteuse that was self-centered and didn't care for anyone but herself. Then, there is the other problem in how the noble Pinks, a suffering admirer, attends to her every whim, and who basically rescues her from a horrible end after her lover, Case Able causes her to depend on the kindness of strangers, or in this case, the loyal Pinks.
Lucille Ball, who supposedly admitted this was one of her best films, made quite a departure when she accepted the meaty role of Gloria Lyons. This character didn't have any good qualities, yet, Ms. Ball did a fine job for bringing her to life. Henry Fonda, on the other hand, plays the naive man, who having fallen in love with this, apparently heartless woman, continues to cater to her, although Gloria never sees the goodness in him.
The best thing about "The Big Street" is the great ensemble cast of characters actors that was amassed for it. The excellent Agnes Moorehead is paired with one of the best secondary actors of that era, Eugene Palette. They are wonderful as Violette and Nicely Nicely two people that deserved one another. Ray Collins and Sam Levene play pals that act more like they are enemies, since they always bet on opposite sides. Barton MacLane is perfect as Case Able. The sassy Louise Beavers plays the no-nonsense maid, Ruby.
There are a lot of familiar faces in the picture that were not given credit, yet, we recognize their faces. Hans Conreid, Chet Huntley, and Marie Windsor are some of the ones we recalled watching the film. Irving Reis, the director kept things moving at a nice pace in this film that should be seen like a curiosity.