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Week-End Marriage (1932)

 -  Comedy  -  18 June 1932 (USA)
5.9
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Ratings: 5.9/10 from 169 users  
Reviews: 11 user | 1 critic

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Title: Week-End Marriage (1932)

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Cast

Complete credited cast:
...
Lola Davis Hayes
Norman Foster ...
Ken Hayes
Aline MacMahon ...
Agnes Davis
George Brent ...
Peter Acton
...
Doctor
Vivienne Osborne ...
Shirley
Sheila Terry ...
Connie
J. Farrell MacDonald ...
Mr. Davis
Louise Carter ...
Mrs. Davis
...
Jim Davis
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Storyline

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Genres:

Comedy

Certificate:

TV-G
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Details

Country:

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Release Date:

18 June 1932 (USA)  »

Also Known As:

Weekend Lives  »

Company Credits

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 »
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Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Harry Holman is in studio records/casting call lists for the role of "The Judge," but he did not appear in the movie. See more »

Goofs

Lola calls to tell Ken she won't be home for dinner. He leaves the apartment, throwing his apron out in the hallway. When Lola comes home, she finds the apron on the living room floor, and the light in the kitchen turned off, but Ken apparently didn't come home again before she did, and couldn't have done either. See more »

Quotes

Doctor: Haven't you brought enough unhappiness to your husband without jeopardizing his life?
Lola Davis: I...?!?
Doctor: Let me give you a little advice. One way or another, a man will find a woman to look out for him not only when he's sick but when he's well. That's something you so-called "modern girls" never seem to count on. You talk about freedom, because you think it's something men have and cherish. But they don't. They hate it. They get along best when they're *not* free. It's human nature, that's all. They need...
[...]
See more »

Connections

References Blessed Event (1932) See more »

Soundtracks

Whistle and Blow Your Blues Away
(1932) (uncredited)
Music by Carmen Lombardo
Played as dance music prior to Lola and Peter's arrival at the surprise party
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
A little more balance needed
11 January 2006 | by (Florida) – See all my reviews

I'm no radical feminist, but Week-End Marriage did seem to push its point a little too severely that married women should never work outside the home.

I couldn't help but wonder what audiences in 1932 thought of this film, most particularly, married women. Would they have nodded in silent agreement that Loretta Young made the right decision in the end, or would they have been outraged that she was pigeon-holed in a certain domestic mold? I think the truth would be somewhere in the middle. Women are never as inflexible and stereotypical as presented in any film, modern or vintage. Every woman is an individual and makes her own decisions which are best for her.

Women in 1932, as today in 2006, know that not one decision is best for everyone. There are benefits to being a homemaker, a wife, and mother, and there are benefits to being a career girl. Women can combine both, but just in time factor alone certain things might very well be sacrificed, even inadvertently, and unfortunately one of the things that can be sacrificed is a marriage.

Quantity time is important, along with quality time. If a husband is feeling neglected because his wife seems to prefer a career over him then the marriage is in trouble. If she makes him know clearly and firmly that she values him more than any job or a paycheck then that marriage will most likely survive. It's all in the balance of what you wish to achieve, your priorities. In that respect Week-end Marriage's ending isn't necessarily a cop-out, but simply a decision by the wife to save what she values more than anything else, her man. Sometimes that does take some - horrors! - SACRIFICE.

Performances here are all excellent. I agree that Aline simply steals this movie away from Loretta. Aline was in so many films with Loretta, yet always managed to steal the limelight away from Loretta, despite Aline's lack of physical beauty. Just goes to show that acting talent is separate and apart from physical looks. There is a much more substantial and profound foundation behind real acting talent, as opposed to just relying on a pretty face and figure.


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