IMDb > Easy to Wed (1946)
Easy to Wed
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Easy to Wed (1946) More at IMDbPro »

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Up 12% in popularity this week. See why on IMDbPro.
Dorothy Kingsley (adaptation)
George Oppenheimer (screenplay)
View company contact information for Easy to Wed on IMDbPro.
Release Date:
25 July 1946 (USA) See more »
IT'S A MARRY-GO-ROUND...!!! (original print media ad - all caps) See more »
To prevent a libel case against the paper, a reporter tries to compromise the reputation of a tycoon's slandered daughter. Full summary » | Add synopsis »
Plot Keywords:
User Reviews:
Stolen By Lucy . . . See more (15 total) »


  (in credits order) (complete, awaiting verification)

Van Johnson ... William Stevens 'Bill' Chandler

Esther Williams ... Connie Allenbury Chandler

Lucille Ball ... Gladys Benton

Keenan Wynn ... Warren Haggerty

Cecil Kellaway ... J.B. Allenbury
Carlos Ramírez ... Carlos Ramírez
Ben Blue ... Spike Dolan
Ethel Smith ... Ethel Smith - Organ Player

June Lockhart ... Barbara 'Babs' Norvell

Grant Mitchell ... Homer Henshaw
Josephine Whittell ... Mrs. Burns Norvell
Paul Harvey ... Curtis Farwood
Jonathan Hale ... Hector Boswell
James Flavin ... Joe
Celia Travers ... Mary, Farwood's Secretary
Sybil Merritt ... Receptionist
Sondra Rodgers ... Attendant
rest of cast listed alphabetically:
William Bailey ... Newspaper Office Worker (uncredited)
Nina Bara ... Rumba Dancer (uncredited)
Katherine Black ... Masseuse (uncredited)
Karin Booth ... Clerk (uncredited)
Louise Burnette ... Girl at Pool (uncredited)
George Calliga ... Headwaiter (uncredited)

Fidel Castro ... Poolside Spectator (uncredited)
Chavo de Leon ... Rumba Dancer (uncredited)
Patricia Denise ... Girl at Pool (uncredited)
Tom Dugan ... Waiter (Local 950) (uncredited)
Jay Eaton ... Nightclub Patron (uncredited)
Sarah Edwards ... Mrs. Dibson (uncredited)
Fred Fisher ... Waiter (uncredited)
Joel Friedkin ... 2nd Justice of the Peace (uncredited)
Jack Gargan ... Party Guest (uncredited)
Phyllis Graffeo ... Girl at Pool (uncredited)
Frank Hagney ... Truck Driver (uncredited)
Milton Kibbee ... Private Detective (uncredited)
Charles Knight ... Butler (uncredited)
George Mann ... Theodore - Homer Henshaw's Assistant (uncredited)
Matt Mattox ... Dancer (uncredited)
Bert Moorhouse ... Newspaper Office Worker (uncredited)
Kanza Omar ... Girl at Pool (uncredited)
Alexander Pollard ... Waiter (uncredited)
Jean Porter ... Frances (uncredited)
Guy Bates Post ... Roberts, Allebury's Butler (uncredited)
Mildred Sellers ... Girl at Pool (uncredited)
Jack Shea ... Lifeguard (uncredited)
Walter Soderling ... Mr. H.O. Dibson - Justice of the Peace (uncredited)
Brick Sullivan ... Bouncer in Newspaper Office (uncredited)
Charles Sullivan ... Truck Driver (uncredited)
Mitzie Uehlien ... Girl at Pool (uncredited)
John Valentine ... Butler (uncredited)
Arthur Walsh ... Newspaper Office Boy (uncredited)
Dick Winslow ... Orchestra Leader (uncredited)

Directed by
Edward Buzzell 
Buster Keaton (uncredited)
Edward Sedgwick (uncredited)
Writing credits
(in alphabetical order)
Buster Keaton  uncredited
Dorothy Kingsley  adaptation
George Oppenheimer  screenplay "Libeled Lady"
Howard Emmett Rogers  screenplay "Libeled Lady"
Maurine Dallas Watkins  screenplay "Libeled Lady"

Produced by
Jack Cummings .... producer
Original Music by
Johnny Green 
Cinematography by
Harry Stradling Sr.  (as Harry Stradling)
Film Editing by
Blanche Sewell 
Art Direction by
Cedric Gibbons 
Hans Peters 
Set Decoration by
Jack Bonar 
Edwin B. Willis 
Costume Design by
Makeup Department
Jack Dawn .... makeup artist
Production Management
Jay Marchant .... unit manager (uncredited)
Harry Poppe .... unit manager (uncredited)
Second Unit Director or Assistant Director
Herman E. Webber .... assistant director (as Herman Webber)
Sound Department
Douglas Shearer .... recording director
Ralph A. Pender .... re-recording and effects mixer (uncredited)
Robert Shirley .... re-recording and effects mixer (uncredited)
Newell Sparks .... re-recording and effects mixer (uncredited)
William Steinkamp .... re-recording and effects mixer (uncredited)
Michael Steinore .... re-recording and effects mixer (uncredited)
P. Richard Stevens .... unit mixer (uncredited)
John A. Williams .... re-recording and effects mixer (uncredited)
Visual Effects by
A. Arnold Gillespie .... transparency projection shots (uncredited)
Camera and Electrical Department
Sam Leavitt .... second camera (uncredited)
Frank Powolny .... still photographer (uncredited)
Costume and Wardrobe Department
Eugene Joseff .... costume jeweller (uncredited)
Music Department
Ted Duncan .... orchestrator
Johnny Green .... music supervisor
Johnny Green .... musical director
Edward Baravalle .... music mixer (uncredited)
Robert Franklyn .... orchestrator (uncredited)
M.J. McLaughlin .... music mixer (uncredited)
Other crew
Jack Donohue .... dance director
Natalie Kalmus .... technicolor color director
Jack Baker .... assistant dance director (uncredited)
Inger Norswing .... research assistant (uncredited)
Don Park .... technical advisor: swimming sequence (uncredited)
George Richelavie .... research director (uncredited)

Production CompaniesDistributors

Additional Details

Also Known As:
106 min
Color (Technicolor)
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Mono (Western Electric Sound System)

Did You Know?

Cameo: [Fidel Castro]Early in this film, on the lower left of the screen, Castro (without the beard) is seen as a poolside spectator with a drink in front of him. Young Fidel did "extra" work for MGM, while a student at The University Of Havana, before becoming fully active in politics.See more »
William Stevens 'Bill' Chandler:You're too modest. Why, you're a woman of great depths, depths that have never been plumbed.
Gladys Benton:[referring to her boyfriend] No, Warren's not much of a plumber.
See more »
Movie Connections:
Toca Tu SambaSee more »


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22 out of 24 people found the following review useful.
Stolen By Lucy . . ., 10 June 2004
Author: tjonasgreen from New York, N.Y.

As the other comments here indicate, it's highly instructive to compare LIBELED LADY to this remake, EASY TO WED. A decade brought a huge difference in style between the Thalberg-approved slangy courtship of slapstick repartee and the plush, earnest romance of Louis B. Mayer's MGM of the '40s.

Lucille Ball steals this picture with a very well-judged comic performance, aided by director Edward Buzzell, who clearly throws many scenes her way. What will surprise those who know her primarily from "I Love Lucy" is to see how much of her comic shtick is already on view here, completely developed and intact. The drunk scene, the little voices, the 'takes,' stares, reactions and expressions are familiar in every way as Lucy Ricardo. Ball also never looked more beautiful than in this film, with her hair as metallic and bright as a new penny, and in a series of witty and gorgeous costumes by Irene, who does just as well by Esther Williams.

But those who are critical of Ball's performance, particularly in contrast to Jean Harlow's in LIBELED LADY, are right. Harlow was a natural, a wonderful, winning and unique personality, whose blustering scenes of anger were always justified, always expressing her common sense and dignity. The dirty little secret about why Lucille Ball never made it as a movie star was that despite her professionalism and beauty, she was essentially a strident and cold personality. What Harlow did naturally, Ball works very hard to achieve so that we admire her pyrotechnics without ever warming up to her. By the time of "I Love Lucy" she had begun to disguise her intensity with clutziness and feigned vulnerability and stupidity. And like Katharine Hepburn, she learned that if Lucy was reined-in by a man once in a while, audiences could forgive her for her aggressiveness.

There is relatively little of Esther Williams' swimming in this picture. At this mid-'40s point, MGM was pushing her versatility to see just how much she could do, how far she could go. I happen to think that her screen presence (even when out of the water) is underrated. She had a refreshing, no-nonsense self confidence that is very American, and she was sexy in a way that is never blatant. The fact that this statuesque beauty with her strong physical presence and perfect carriage never acts seductively or coyly creates an unexpected sexual tension, especially in her early films (she lost a bit of it later as her body became thicker and more athletic). You can see how some would feel moved to ruffle her composure, warm her up, 'get' to her in some way, because she seems oblivious to her femininity while brimming over with it. Which is what makes her seem an emblematic American movie star. In the first half of this picture she gives a good account of the kind of frigid glamor girl that Alexis Smith often played at Warners.' When she finally melts, it's lovely, though she is better photographed in both THRILL OF A ROMANCE and THIS TIME FOR KEEPS (where she rates closeups by Karl Freund that make her look almost impossibly, lustrously beautiful).

A word about MGM's '40s Technicolor -- I love it. Many films from this period as screened on TCM seem to have been saved, restored, remastered for video tapes and DVDs. All of Esther Williams' color films from the mid-'40s are a visual treat with bright, deeply saturated color and sharp images, though a few scenes in EASY TO WED seem unaccountably muddy and soft, with desaturated color. And in one scene Ball wears a frosty blue costume that we have been told is green. Maybe they should take a look at this print before they put this film out on DVD.

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