Waldo and Irene have been living with Margit for the four years that they have been engaged. Margit has planned the wedding and the honeymoon - in fact, Margit plans everything down to what they will have for breakfast every day. The only problem is that Waldo is a milquetoast and Irene does not want to be married to a milquetoast. So she says she is in love with Charlie, a bohemian artist/producer who lives in a trailer behind Spike's Place. When Margit confronts Charlie about giving up Irene, Charlie sees that she is the one for him. To make everyone happy, Charlie will have to help Waldo get a backbone. Written by
Tony Fontana <firstname.lastname@example.org>
In a scene near the end that takes place in William Powell's trailer, an Oscar statuette is visible in the background standing on a white shelf. In the next shot, the statuette is on top of a black box that is on the white shelf. The following shot has the Oscar back on the white shelf. A few moments later, the statuette is knocked over, and is seen toppling from on top of the black box again. See more »
Margit Agnew (Myrna Loy) owns a dress shop that she runs with the precision of a Swiss watch. In fact, she micromanages every aspect of her life and the lives of her sister Irene (Florence Rice) and Irene's fiancé, Waldo Beaver (John Beal). In fact, she put the happy couple together in the first place. Except that the couple is not so happy, because Margit's forte is managing, not feelings.
Irene is disappointed in her intended, because he is, basically, a dim-witted, though likable, dolt. And he never takes charge like she thinks a real man should. Not to worry, though, because this is a comedy and their dissatisfaction is merely the setup for fun.
Irene and Waldo are rehearsing for a movie written by the bohemian artist Charles Lodge (William Powell, who is teaming with Myra Loy for their seventh film together). When Charlie shows Waldo how to conduct himself in a love scene, Irene convinces herself that she now loves Charlie. She tells Margit who, needing to put her plan back on track, marches over to Charlie's trailer--parked at the curb on a city street. But she is no match for the eccentric whimsy of the easy-going Charlie.
This film has much to recommend it, but it is the writing that drives this film and makes it so much fun. The plot is fairly routine, but the dialogue is full of comedic gems. Some are understated, some are wacky. They deliver some great zingers and classic pratfalls.
Also notable are the fashions. Loy, in particular, is dressed well--fitting for the owner of a dress shop. The background music is superb, often utilizing a recorder to achieve the needed whimsical quality.
The cast is wonderful. Waldo's personality is sometimes trying, but that is how he is written. Sidney Toler portrays Keough, a butler who is a former policeman and who behaves like a detective with his powers of observation and deduction. In 1938, Toler will take over the Charlie Chan franchise. It seems like he is preparing here. I do not think this was an easy script to pull off. Between the director's attention to timing and the actors' commitment to their characters, "Double Wedding" works very well.
Despite the slapstick and some scenes that devolve into a general ruckus, the script is clever. Loy's determined dryness and the scattered non sequiturs are highlights. How smart they were to toy with the chemistry of the successful Powell-Loy team and put them in this different film that still plays to the strengths of each.
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