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The Well-Groomed Bride (1946)

 -  Comedy | Romance  -  17 May 1946 (USA)
6.3
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Ratings: 6.3/10 from 31 users  
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A man and a woman fight over the last bottle of champagne left in San Francisco--she wants it for a wedding, and he wants to use it to christen a ship.

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(screenplay), (screenplay), 1 more credit »
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Title: The Well-Groomed Bride (1946)

The Well-Groomed Bride (1946) on IMDb 6.3/10

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Cast

Cast overview:
...
Margie Dawson
...
Lt. Dudley Briggs
...
Lt. Torchy McNeil
...
Capt. Hornby
Constance Dowling ...
Rita Sloane
Percy Kilbride ...
Mr. Dawson
Jean Heather ...
Wickley
Jay Norris ...
Mitch
John R. Reilly ...
Buck (as Jack Reilly)
George Turner ...
Goose
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Storyline

A man and a woman fight over the last bottle of champagne left in San Francisco--she wants it for a wedding, and he wants to use it to christen a ship.

Plot Summary | Add Synopsis

Taglines:

THE BRIDE SAW RED...WHITE...and BLEW! (original print media ad - almost all caps)

Genres:

Comedy | Romance

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Details

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Release Date:

17 May 1946 (USA)  »

Also Known As:

Champagne Para Dois  »

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Technical Specs

Runtime:

Sound Mix:

(Western Electric Recording)

Aspect Ratio:

1.37 : 1
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Trivia

One of over 700 Paramount productions, filmed between 1929 and 1949, which were sold to MCA/Universal in 1958 for television distribution, and have been owned and controlled by Universal ever since. See more »

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User Reviews

Not Without Its Virtues
14 November 2001 | by (brighton, ma) – See all my reviews

This is not the funniest comedy ever made, but it is proficient, as written by Claude Binyon and directed by Sidney Lanfield, both of whom had done far better work than this; and while it's no masterpiece it's not a total loss by any means. There's a touch of late screwball in Ray Milland and Olivia de Havilland warring over a champagne bottle. And the mood of austerity in the America of the war and immediate postwar years is well-captured, albeit in a stylized and slick fashion. Still, champagne is champagne, and the movie's fetishistic obsession with it is indicative of Hollywood's desire to get back to making more formalized, safer films, of which this is a fairly decent attempt. But it is at its best an aborted effort to capture a mood that was pretty much gone by the time the movie was made, as the mood of the film gives no indication of where the postwar world was heading. Still and all, it's a nice stab at staving off the inevitable.


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