We're Not Married! (1952)

Approved  |   |  Comedy, Romance  |  17 December 1952 (France)
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Ratings: 6.4/10 from 1,254 users  
Reviews: 18 user | 15 critic

In separate stories, five wedded couples learn that they are not legally married.



(screenplay), (adaptation), 2 more credits »
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Complete credited cast:
Ramona Gladwyn
Steven S. 'Steve' Gladwyn
Victor Moore ...
Justice of the Peace Melvin Bush
Jeff Norris
Katie Woodruff
Hector C. Woodruff
Wilson Boswell 'Willie' Fisher
Patricia 'Patsy' Reynolds Fisher
Frederick C. 'Freddie' Melrose
Eve Melrose (as ZsaZsa Gabor)
Attorney Stone
Mrs. Bush


A Justice of the Peace performed weddings a few days before his license was valid. A few years later five couples learn they have never been legally married. Annabel Norris, already Mrs. Mississippi and ready to enter the Mrs. America contest, is now free to enter the Miss Mississippi contest. Written by Ed Stephan <stephan@cc.wwu.edu>

Plot Summary | Add Synopsis


Comedy | Romance


Approved | See all certifications »




Release Date:

17 December 1952 (France)  »

Also Known As:

Wir sind gar nicht verheiratet  »

Company Credits

Show detailed on  »

Technical Specs


Sound Mix:

(Western Electric Recording)

Aspect Ratio:

1.37 : 1
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Did You Know?


A sixth sequence, featuring Walter Brennan and Hope Emerson as a backwoods couple was filmed but deleted prior to release. The footage still survives of this sequence. See more »


When the Gladwyns are shown in the back seat of their car being driven to the studio, it's supposed to be raining heavily outside, but the cars seen in the rear projection are not using their windshield wipers. See more »


Willie's Sergeant: If you ain't married when a kid is born, it's a foul ball.
See more »


The First Noel
Sung during the opening scene
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User Reviews

17 November 2001 | by (New York, NY) – See all my reviews

The chief virtue of this film is the marvelous casting, which could hardly be better. And there's a pleasing variety to the episodes. That said, the edge to the writing and direction is definitely not as keen as one would like. To give just one example of the problem: A letter is sent to each couple, telling them that, through a technicality, they're not really married. In the opening sequence, we hear the letter dictated. At the appropriate point in each installment, the letter is introduced with a special musical theme, and the reader of the letter reacts appropriately. But then, each time, just to make the point completely clear, we are shown a close-up of the identically worded letter. Another example: Paul Douglas dreams of dates with beautiful girls, AND DREAMS, AND DREAMS... Also, though one suspects that Fred Allen had a hand in the writing of his sequence--a parody of radio breakfast couples--here, too, the satire is a little too obvious, their banter being merely a string of not especially clever product plugs (one of them having the miracle ingredient, chicken fat).

Calhern rises above the heavily ironic divorce-lawyer skit, and James Gleason gives one of his finest performances as a hick hustler promoting Marilyn Monroe in a fledgling Mrs. America contest. Had the rest of the film been as sharp as Gleason's well written and well performed characterization, it could have been a classic. The final sequence is the most successful, because of the fine, unaffected performances of Gaynor and Bracken (particularly the latter) and probably also because Goulding was most at home with this simple romance. A point of interest in the film as a whole is how much attitudes about marriage have changed since the film was made.

AMC has shown an amusing deleted sequence with Walter Brennan in its HIDDEN HOLLYWOOD series.

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