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The Bride Wore Red (1937)

Passed  -  Comedy | Drama | Romance  -  8 October 1937 (USA)
5.8
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Ratings: 5.8/10 from 507 users  
Reviews: 19 user | 6 critic

Count Armalia believes that the luck of birth is all that separates the rich from the poor. To test his theory, he sends Anni, who is a singer in a dive, to a ritzy resort for two weeks. ... See full summary »

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(screen play), (screen play), 4 more credits »
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Title: The Bride Wore Red (1937)

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Cast

Complete credited cast:
...
Anni
...
Giulio
...
Rudi Pal
...
Contessa di Meina
...
Admiral Monti
Lynne Carver ...
Maddelena Monti
George Zucco ...
Count Armalia
Mary Philips ...
Maria (as Mary Phillips)
Paul Porcasi ...
Nobili
...
Pietro
Frank Puglia ...
Alberto
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Storyline

Count Armalia believes that the luck of birth is all that separates the rich from the poor. To test his theory, he sends Anni, who is a singer in a dive, to a ritzy resort for two weeks. With fancy new clothes and ersatz status, Anni decides that she likes the rich life. But with time running out, she needs a rich husband and Rudi is the one she chooses. Only it takes longer than two weeks for Rudi to dump his fiancée and propose to her. In the weeks that she has been there, she finds that she loves Giulio, the postman with the small house and the donkey cart. But will she give up love for wealth.... Written by Tony Fontana <tony.fontana@spacebbs.com>

Plot Summary | Add Synopsis

Genres:

Comedy | Drama | Romance

Certificate:

Passed | See all certifications »
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Details

Country:

Language:

Release Date:

8 October 1937 (USA)  »

Also Known As:

L'inconnue du palace  »

Filming Locations:

 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

| (TV)

Sound Mix:

(Western Electric Sound System)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

Originally, in 1937, Dorothy Arzner had been assigned by MGM producer Joseph L. Mankiewicz in 1937 to direct Luise Rainer in "The Girl from Trieste," an unperformed Ferenc Molnár play about a prostitute trying to reform herself who discovers the hypocrisies of the respectable class which she aspires to. After the death of Irving Thalberg, Louis B. Mayer was put in charge of MGM. Mayer disliked the perceived exploitation of the female lead's character, and insisted that Molnár's play be rewritten so that it was no longer about a prostitute, but instead a slightly dark Cinderella story with a happy ending. Retitled by Mankiewicz as The Bride Wore Red (1937), Rainer withdrew and was replaced by Joan Crawford. See more »

Quotes

Admiral Monti: Anne Vivaldi, that's it! It's been on the tip of my tongue all night.
Contessa di Meina: How cozy.
See more »

Crazy Credits

During the opening credits, a music box is shown playing a tune in the background. See more »

Connections

Featured in Joan Crawford: The Ultimate Movie Star (2002) See more »

Soundtracks

Who Wants Love?
(1937)
Music by Franz Waxman
Lyrics by Gus Kahn
Sung by Joan Crawford (uncredited) at the Cordellera Bar
Played throughout as part of the score
See more »

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User Reviews

Underrated and deserves better than it got...
16 September 2001 | by (Boston, MA) – See all my reviews

Well, you can't blame Joan for trying. Always wanting to go beyond that glamorous clothes-horse/shopgirl-makes-good mold in which MGM so successfully cast her throughout the 1930's, she was always attempting to outreach her grasp. When Metro's Austrian star Luise Rainer backed out of making a film of Molnar's THE GIRL FROM TRIESTE, a dark photoplay about a prostitute sent on a masquerade in the Tyrolean Alps, Crawford grabbed it, hoping to get her teeth into a meaty role. Imagine her chagrin when Metro executives "improved" the piece to be more suitable for Crawford's image, taking the meat and guts with it. What emerged was an uncomfortable picture built on compromises in an attempt to graft a typical Crawford/Cinderella plot onto what is basically a nasty, mean little story. Registering far below the Crawford usual at the paybox, THE BRIDE WORE RED started her career to skid.

A closer look, however, reveals that not all of the edge has been softened from the piece. I wholeheartedly agree with the reviewer who calls this Joan's most underrated performance, and there is a reason we do not sympathize with this Cinderella. Crawford's Anni is cold and snappish, and has the potential to do real harm to some nice, decent folk. The film plays like the dark side of all of those rags-to-Adrian gown stories Crawford played in the Metro phase of her career, and CRAWFORD IS FULLY AWARE OF THIS. Although seemingly played straight, there is an irony underneath that tells us Crawford herself isn't crazy about Anni either. It's understandable that 1937 audiences did not warm to a Joan they couldn't root for (even her hair is cut into a severe, but stunning, pageboy), but it deserves real recognition now that we are removed from the era and have seen ALL the phases of Crawford's career. In many ways, it's a harbinger of the darker, icier roles she was to play at Warner Bros. and throughout the 1950's.

The performances are uniformly good, with George Zucco strong as the decadent, evil Machiavelli who sends Anni on her masquerade, but Crawford, for the most part, is the standout. Only in the early scenes of the film, when she attempts to portray Anni as a world-weary honky tonk singer (in what must have been the cleanest, most glamorous "dive" in all of Trieste!!) does she fail to convince.

(Ironically, Crawford's next film, MANNEQUIN, released early in 1938 and co-starring Spencer Tracy, was a strictly paint by the numbers Rags-to-Adrian tale, inferior to this, that found great favor with the movie-going public.)


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