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Week-End Marriage (1932)

 -  Comedy  -  18 June 1932 (USA)
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Ratings: 5.9/10 from 166 users  
Reviews: 11 user | 1 critic

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Title: Week-End Marriage (1932)

Week-End Marriage (1932) on IMDb 5.9/10

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


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Release Date:

18 June 1932 (USA)  »

Also Known As:

Week-End Marriage  »

Company Credits

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Technical Specs


Sound Mix:

Aspect Ratio:

1.37 : 1
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Did You Know?


A surviving film in the Library of Congress. See more »


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 »


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...
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References Blessed Event (1932) See more »


(1835) (uncredited)
From "Lucia di Lammermoor"
Music by Gaetano Donizetti
Played at the outdoor concert
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User Reviews

Enough to make any woman ignite in anger
8 January 2006 | by (United States) – See all my reviews

As with many "pre-code" Hollywood films of the early thirties, "Week-End Marriage" has its startling moments of naturalness (a couple sharing a bed rather than separate bunks divided by a nightstand, for instance) but its theme is so horribly dated and presented in such an awful stacked-deck way that any woman viewing it would likely explode with indignation before it ends. Honestly, this film purports to convey to the female audience that any serious attempt at working outside the home is a dereliction of duty to the care and feeding of men. We're presented with two shining examples of manhood in the characters of whiny Roscoe Karns, as Aline MacMahon's husband, or sniveling loser Norman Foster as Loretta Young's hubby. Neither husband seems to have the capacity to be a money maker, but rather than be pleased at the additional income provided by their working wives, they fume and complain about un-darned socks and un-done dishes. Oh, how can the poor dears possibly cope?! Well, they don't. Foster gets busted for public intoxication, loses his job, finds a mistress, gets horribly sick, but in the end this is all attributed to Loretta Young's success with her job... and it must be stopped! The filmmakers are so sickeningly chauvinistic that they even shoehorn-in a doctor who lays on a mean-spirited speech to Young about how women must be subservient caretakers of the menfolk otherwise civilization will flounder. And Young buys it! She wraps her arms around poor Foster and tells him she's quitting her job to take care of him (i.e. be his slave) so that he can gain back his self-respect. No mention of how they'll get by since he's a loser who can't hold down a job. Apparently her ability to do dishes and darn socks will revitalize his work performance in future. And keeping her out of the workplace will lessen the size of the cancerous tumor of working women that threatens the stability of a male dominated society. I'm a man reviewing this and even I'M appalled! The only bright spot in this otherwise offensive garbage is Aline MacMahon, in only her fourth film role, and she's a pistol. She lights up the screen with her forceful, sassy, but altogether warm-hearted performance as Young's sister-in-law. In fact, if the film had been more about MacMahon and Roscoe Karns it would have been quite a delightful comedy. I'd advise seeing it for her performance only, unless you feel a need to get wound up over dated sexism. Additional note: The film 'Saturday's Children' (1940) with John Garfield is attributed to the play of the same name by Maxwell Anderson, but it uses the same tricked-into-marriage set-up and the same job-in-South America idea as this film, as well as the sister & brother in law characters (in the 40 film that character is also played by Roscoe Karns!) There is plagiarism involved here. I haven't read the Faith Baldwin novel for this film, or the Anderson play, but the similarities are obvious.

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