IMDb > The Bride Wore Red (1937)
The Bride Wore Red
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The Bride Wore Red (1937) More at IMDbPro »

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Overview

User Rating:
5.8/10   552 votes »
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Down 14% in popularity this week. See why on IMDbPro.
Director:
Writers:
Tess Slesinger (screen play) and
Bradbury Foote (screen play) ...
(more)
Contact:
View company contact information for The Bride Wore Red on IMDbPro.
Release Date:
8 October 1937 (USA) See more »
Genre:
Plot:
Count Armalia believes that the luck of birth is all that separates the rich from the poor. To test his theory... See more » | Add synopsis »
NewsDesk:
(4 articles)
User Reviews:
Well, it feels cultured! See more (20 total) »

Cast

  (in credits order) (verified as complete)

Joan Crawford ... Anni Pavlovitch

Franchot Tone ... Giulio

Robert Young ... Rudi Pal

Billie Burke ... Contessa di Meina

Reginald Owen ... Admiral Monti
Lynne Carver ... Maddelena Monti
George Zucco ... Count Armalia
Mary Philips ... Maria (as Mary Phillips)
Paul Porcasi ... Nobili

Dickie Moore ... Pietro
Frank Puglia ... Alberto
rest of cast listed alphabetically:
Nino Bellini ... Cosmos Club Waiter (uncredited)
Agostino Borgato ... Cordellera Bar Waiter (uncredited)

Adriana Caselotti ... First Peasant Girl (uncredited)
Robert Cauterio ... Hotel Clerk (uncredited)
Irene Coleman ... Cosmos Club Hat Check Girl (uncredited)

Gino Corrado ... Cosmos Club Croupier (uncredited)
Franco Corsaro ... Hotel Chauffeur (uncredited)
Rita Gould ... Saleslady (uncredited)
Geneva Hall ... Tango Dancer (uncredited)
Charles Judels ... Cordellera Bar Proprietor (uncredited)
Jean Lewis ... Second Peasant Girl (uncredited)
Fred Malatesta ... Rudi's Waiter (uncredited)
Alphonse Martell ... Hotel Headwaiter (uncredited)
Francisco Marán ... Cosmos Club Doorman (uncredited)
Eric Mayne ... Cosmos Club Patron (uncredited)
John Oliver ... Page Boy (uncredited)

Ann Rutherford ... Third Peasant Girl (uncredited)
Rafael Storm ... Hotel Clerk (uncredited)
Mike Tellegen ... Bar Patron (uncredited)
Harry Wilson ... Sailor at Cordellera Bar (uncredited)

Directed by
Dorothy Arzner 
 
Writing credits
Tess Slesinger (screen play) and
Bradbury Foote (screen play)

Ferenc Molnár (from a play by) (as Ferenc Molnar)

Joseph L. Mankiewicz  story contributions (uncredited)
George Oppenheimer  uncredited
Waldo Salt  adaptation (uncredited)
Catherine Turney  adaptation (uncredited)

Produced by
Joseph L. Mankiewicz .... producer
 
Original Music by
Franz Waxman (musical score)
 
Cinematography by
George J. Folsey (photographed by) (as George Folsey)
 
Film Editing by
Adrienne Fazan (film editor)
 
Art Direction by
Cedric Gibbons 
 
Costume Design by
Adrian (gowns)
 
Second Unit Director or Assistant Director
Edward Woehler .... assistant director (uncredited)
 
Art Department
Daniel B. Cathcart .... associate art director
Edwin B. Willis .... associate art director
 
Sound Department
Douglas Shearer .... recording director
 
Camera and Electrical Department
Harkness Smith .... assistant camera (uncredited)
 
Music Department
Paul Marquardt .... orchestrator (uncredited)
 
Other crew
Val Raset .... dances staged by
Kasha Haroldi .... stand-in: Joan Crawford (uncredited)
Wallace Worsley Jr. .... script clerk (uncredited)
 
Crew believed to be complete


Production CompaniesDistributors

Additional Details

Also Known As:
Runtime:
103 min | Germany:99 min (TV)
Country:
Language:
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
3 Channel Stereo (Western Electric Sound System) (5.0) (L-R)
Certification:
Finland:S | Netherlands:18 (original rating) (1938) | USA:Passed (National Board of Review) | USA:Approved (PCA #3582) | USA:TV-G (TV rating)
Filming Locations:

Did You Know?

Trivia:
Three cast members in studio records/casting call lists did not appear or were not identifiable in the movie. These were (with their character names): Anna Demetrio (Signora Milani), George W. Jimenez (Signor Calla) and Abe Dinovitch (Yodeller). Child actor Bill Burrud is listed as a cast member in some contemporary newspapers, but he was not seen either.See more »
Quotes:
Alberto, the Waiter:['Anne' can't decide which fork to use] Work it from the outside in, Signorina.See more »
Movie Connections:
Soundtrack:
Bridal Chorus (Here Comes the Bride)See more »

FAQ

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7 out of 7 people found the following review useful.
Well, it feels cultured!, 22 January 2010
Author: Benoît A. Racine (benoit-3) from Toronto, Ontario, Canada

This is a very well made film. The name Ferenc Molnar gives it credibility even though the scriptwriters probably changed everything about the great playwright's original story. It may not be "Liliom" but it has enough European styling and atmosphere - in great part due to Franz Waxman's music and some very easy on the eyes sets - that the viewer feels engaged. The cast of characters is top notch and the whole premise is intriguing. This is the kind of part Greta Garbo had done before ("As You Desire Me" anyone?) but was probably considered too old, too dignified and too un-Italian to play. In that role, the producer's first choice, Luise Rainer, would have been perfect, especially if the ending had been just a trifle more pathetic.

What we get instead is Joan Crawford of the too-long, too-scary face, of the barrel chest and short stubby arms, too-low waist, too-wide shoulders, gorilla dentition, limp hair, decidedly ungirlish attitude and trowelled-on self-confidence. But what she can do with this part is give us an equally scary transformation from vulgar to vamp (and back again) that she is so familiar with, one has to admire its sheer technical acumen. She is fascinating to watch at all times. She could do this in her sleep (and probably did) and manages to strike the right note most of the time, even though she's in the wrong film. The dialogue is remarkably literate and Crawford's performance is certainly nuanced and theatrical enough to have been believable on a stage.

The whole cast is excellent, with a special mention to Mary Philips as the maid and confidante Maria and Paul Porcasi as the irascible hotel manager. It's also touching to see Crawford emote with her husband of the time, Franchot Tone, who seems to be quietly directing her in such a way that she doesn't go overboard at least in their love scenes.

One has the feeling that the original play must have had a lot more bite and satire of the upper classes as well as more profundity than what we're getting but it's still a pretty spectacular ensemble performance all around. With that limited script, director Dorothy Arzner does everything she can to make the story believable and engrossing, to work around her megastar's familiar tricks and to add poetic grace notes that are not lost on a European public but were probably overlooked by the American audience and critics of the time. Still, with all its disparate moments of brilliance, this film begs the question: What was Molnar's play really about?

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