Ginger Rogers can not only sing, dance, and be a bachelor mother; she can act. In the movie version of Christopher Morley's Kitty Foyle Miss Rogers proves herself worthy of a Little Oscar at the end of the year. The action in the movie is almost nil, as the theme of the work is the circumstances which make up the life of the feminine white collar worker of the past decade. When woman got the right to vote she put herself on the same plane as man and her troubles began. Kitty Foyle is a character-who comes from the wrong side of the track in Philadelphia, yet she is loved by a boy whose name has a VI tacked on. His family disapproves and Kitty takes a powder. After the baby comes and goes Kitty has to make up her mind whether to take a life of thrills or one of security. She takes security. Neither the plot nor the action are important. The emotions of Kitty Foyle as her world is first silver-lined and then shattered are the high-lights of an excellent movie.
The Saint is back on our shores and is as devastatingly charming as ever. The Saint in Palm Springs balances Kitty Foyle very well, because it has plenty of murders, gags, and blase romance. The Saint solves all problems, and rides off into the desert whistling his tantalizing tune, undoubtedly preparing to come back again to some other resort, drink his scotches and save plenty of maidens who are plenty capable of taking care of themselves.