There's a lot to adore about this movie, but nothing quite as much as Stanley Tucci's beign scientist and Chris Evans's pre-steroids Steve Rogers. They provide much of the heart and pathos in the beginning of the movie that help give meaning to the second half's over the top action pieces.
To begin with, the movie is a pastiche of American movie genres. Its 1940s setting helps cement the film as an "old fashioned" film made in that era. Our hero, always a boy scout, falls in love, but is never amorous except for some double entendre featuring fondue and a passionate kiss. This is, obviously, reminiscent of films of that era, and even old Westerns.
Once we move on to the villains, powered by a MacGuffin from "Thor" (Marvel almost works too hard to keep these films interconnected), and before you know it, they are armed with distintegrator rays from 1950s sci-fi b-movies. Luckily, Captain America has and briefly uses a gadget-filled motorcycle that would make 60s spy films envious. (It also may be a nod to the television specials made in the 70s featuring Rob Brown, a colorful outfit, and a motorcycle.)
(Alan Manken wrote a catchy tune that may invoke, to some, the Fred Astaire/Ginger Rogers days of big musical numbers.)
Whatever the reason, Joe Johnston and gang made a hero, true to the comic books, as a courageous, well-meaning kid from Brooklyn who's always true to himself and never misses his mark. God bless Captain America.
