In squeaky-clean New York at the turn of the century, playboy Charlie Hill falls so much in love that he can walk on air. The object of his affections is beautiful Angela Bonfils, a mission house worker in the Bowery. He promises to reform his dissolute life, even trying to do an honest day's work.
In squeaky-clean New York at the turn of the century, playboy Charlie Hill falls so much in love that he can walk on air. The object of his affections is beautiful Angela Bonfils, a mission house worker in the Bowery. He promises to reform his dissolute life, even trying to do an honest day's work.
The film is a romantic musical comedy centered on a playboy's journey to commitment, focusing on apolitical themes of individual moral reform and the pursuit of love within a traditional framework, thus earning a neutral rating.
This 1952 musical features traditional casting with a predominantly white ensemble, consistent with its era. The narrative does not present critiques of traditional identities, instead maintaining a neutral or positive framing.
The film portrays the Salvation Army and its adherents, particularly Angela, with respect and sympathy. Her Christian faith is depicted as the source of her compassion, dedication to helping others, and moral integrity, ultimately inspiring the cynical protagonist to change for the better.
The Belle of New York is a 1952 musical comedy centered on traditional heterosexual romance. There are no identifiable LGBTQ+ characters or themes present in the film's narrative, plot, or character arcs, leading to a determination of N/A for LGBTQ+ portrayal.
The movie does not contain any action or adventure elements.
The 1952 film is an adaptation of the 1897 stage musical, but it features new lead characters (Charlie Hill and Angela) rather than directly portraying the original named characters (Ichabod Bronson and Fifi Fricot) with different genders. Therefore, no gender swap is present.
Based on a review of the film's cast and its source material (the 1897 Broadway musical), there is no evidence that any character canonically or historically established as one race was portrayed as a different race in the 1952 film adaptation.
Combines user and critic ratings from four sources