Arianna Moses Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.

Marva It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

Janis One of the most extraordinary films you will see this year. Take that as you want.

Caryl It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties. It's a feast for the eyes. But what really makes this dramedy work is the acting.

candidcamel This is a Must See Movie with stellar acting from Ball, Fonda and all others, however; this is one of the most depressing movies that I have ever watched and I will never watch it again. So, if you are on the sensitive side you might want to brace yourself with a box of tissues as Meg Ryan said in You've Got Mail and be prepared to endure a really difficult movie to watch. Do not think that because Lucille Ball stars in this movie that there will be any comedic and/or light moments. This movie is almost dark from beginning to end and Lucille's character is the most extreme opposite of anything that you have ever seen her in. I adore all of Lucille's early comedies and mysteries. She was right to be upset for her snub at the academy as her performance is startling brilliant, so much so as I stated before, to be seen, but for me...nevermore.

secondtake The Big Street (1942)Packed with great actors, major and minor, in a fast fast whirlwindFirst of all, Agnes Moorehead and Ray Collins played the previous year in another raging movie of some fame (Citizen Kane, yup), and here they are loaded up against a dozen other great character actors, plus a couple big names. Headlining is the well known Henry Fonda, still young, but fresh off of a couple great films, Grapes of Wrath (1940), and The Young Mr. Lincoln (1939). But in a kind of startling role for those who know Lucille Ball as a brilliant and goofy t.v. comedian a decade later, we have her here as a big-eyed femme fatale, or would-be femme fatale until fate takes a turn.You might think this one is a screwball comedy the way it starts, but keep watching-- there is violence and trauma soon enough, and the movie takes a turn that Fonda is worthy of. There is a Frank Capra feel-good element amidst the hardship, but it is full of verve, and all these odd characters who really are (were and are) what New York is at its best. The director Irving Reis (with photographer Russell Metty) keeps the scenes snappy, and sometimes moves from a closeup of a face to a background quickly, to let a character make a dramatic point. There are lots of movie tricks, quick fades from scene to scene to show the passing of time, and some tacky back projection, and it really goes along with the fairy tale narrative.And there really is an unbelievable ending, which you have to take with the whole flavor of the movie, a kind of sincerity/fantasy mixture.

malvernp "The Big Street" is an appropriately obscure film that is probably remembered today (if at all) as the dramatic breakthrough that moved Lucille Ball's career to its next level. As for co-star Henry Fonda, this film presented him in the most unlikely of roles------as a "door mat" cipher-like character to Lucille Ball's thoroughly unpleasant night club singer.This movie has a great supporting cast-----and Damon Runyon could write stories that were often enjoyable. There is no question that Fonda has been likable and interesting in a wimpy-type role ("The Lady Eve") or that Lucille Ball could be appealing when playing a character with an edge to her ("Stage Door").But it is tough to follow two lead characters----the Fonda guy who is really a human punching bag with zero self-esteem----and the Ball singer who is consistently mean, nasty, cruel and almost sadistic in her indifference to kindness and decency----and expect us to become engaged by them in a story that doesn't change who or what they are until almost the very end.This kind of set up can on a rare occasion result in a good movie ("Of Human Bondage" or "Midnight Cowboy") but more often than not, the film becomes a real pain to watch ("The Mountain").Ball thought she did her best screen work here---and she may be right. A root canal procedure can be seen as a work of art to those who appreciate the complexities of dentistry----but that doesn't make it any more palatable to the patient.For those looking for a sado-masochistic main stream film involving top drawer performers, this one's for you. All others-----beware!

jotix100 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.