42 reviews
Considering that this film stars William Powell and Myrna Loy, it's definitely worth seeing--as are all of their films together. Even their lesser films together are wonderful and worth seeing--so it's a natural that I watched "Double Wedding".
In this film, Powell plays the ultimate bohemian and Loy plays a lady who is incredibly controlling and anti-fun. The idea of these two getting together is pretty far-fetched! But, because this is a Hollywood film, you know that eventually the two will find love. However, how they get there and how much fun the film becomes is exactly why you should see the film.
It all begins with Powell teaching a young couple to act and they are discussing his latest screenplay. The three are fast friends and have fun planning on making a film together. HOWEVER, when the very controlling sister (Loy) finds out about this, she assumes the worst and demands Powell stop seeing her sister and her fiancé. Mostly this is because Powell isn't in her plan for the two--as Loy has decided the two will marry, where they will go on their honeymoon, etc.--and the two idiots allow this! Little does this compulsive planner and controller know that Powell has plans for her! Overall, this is yet another fun pairing of Powell and Loy. While the film is silly and contrived, it's also very entertaining and clever. The ending was insanely chaotic--like a Marx Brothers film--and a lot of fun.
In this film, Powell plays the ultimate bohemian and Loy plays a lady who is incredibly controlling and anti-fun. The idea of these two getting together is pretty far-fetched! But, because this is a Hollywood film, you know that eventually the two will find love. However, how they get there and how much fun the film becomes is exactly why you should see the film.
It all begins with Powell teaching a young couple to act and they are discussing his latest screenplay. The three are fast friends and have fun planning on making a film together. HOWEVER, when the very controlling sister (Loy) finds out about this, she assumes the worst and demands Powell stop seeing her sister and her fiancé. Mostly this is because Powell isn't in her plan for the two--as Loy has decided the two will marry, where they will go on their honeymoon, etc.--and the two idiots allow this! Little does this compulsive planner and controller know that Powell has plans for her! Overall, this is yet another fun pairing of Powell and Loy. While the film is silly and contrived, it's also very entertaining and clever. The ending was insanely chaotic--like a Marx Brothers film--and a lot of fun.
- planktonrules
- May 30, 2010
- Permalink
"Double Wedding" is an enjoyable, albeit dizzying comedy starring William Powell and Myrna Loy. It's really a tribute to the cast that they were able to carry on in such a wacky movie despite being shut down for a time due to Jean Harlow's untimely death. Both Powell, who was involved with Harlow, and Loy, who was a friend of hers, took her death very hard.
Powell and Loy play polar opposites in this film. She is a complete control freak who has her life, her sister's life, and the life of her sister's fiancé, planned down to the millisecond. Along comes Powell, who lives in a trailer and hocks items when he needs money. Once he's in their lives, all bets are off, and chaos reigns supreme.
The cast is great but the whole thing kind of veers off focus from time to time. The writing isn't as strong as in some of the other screwball comedies of the era. But Powell is a treasure and teamed with Loy, even more so.
Powell and Loy play polar opposites in this film. She is a complete control freak who has her life, her sister's life, and the life of her sister's fiancé, planned down to the millisecond. Along comes Powell, who lives in a trailer and hocks items when he needs money. Once he's in their lives, all bets are off, and chaos reigns supreme.
The cast is great but the whole thing kind of veers off focus from time to time. The writing isn't as strong as in some of the other screwball comedies of the era. But Powell is a treasure and teamed with Loy, even more so.
For the most part Double Wedding is a standard rom-com about opposites attracting, with Myrna Loy and William Powell carrying most of the screenplay weight. But it's John Beal's delightfully clueless literal- minded suitor to Loy's sister (ably but forgettably played by Florence Rice) that makes this film work. Scenes he shares with Powell as a hopeless actor and would-be man of the world are laugh-out-loud funny. His style of understated flat-affect comedy wouldn't become popular until the Coen brothers. Powell and Loy are capable as always, and the sets and costumes have a high sheen, but this film is Beal's steal. There's lots of misunderstandings and misapprehensions, all of which don't add much to the genre, but it's an amusing way to spend a few hours in the company of experts.
- LaDonnaKeskes
- Sep 27, 2016
- Permalink
A very funny, romantic movie. I enjoyed all the little creative pieces of "business" and lines such as "...you rang my gong." I enjoyed the treat of Sidney Toler as Keough.
I enjoyed the beautiful, wonderful cars of the 1930s, and the background scenes of beautiful, wonderful downtown Los Angeles of the '30s and into the 1950s. I was born there in 1934 and remember it well when it was a beautiful place to live. Ah, nostalgia!! This is what it really did look like then.
I enjoyed the beautiful, wonderful cars of the 1930s, and the background scenes of beautiful, wonderful downtown Los Angeles of the '30s and into the 1950s. I was born there in 1934 and remember it well when it was a beautiful place to live. Ah, nostalgia!! This is what it really did look like then.
A screwball romantic comedy...but somebody forgot to tighten the screws. Confusion reigns after a ne'er-do-well man becomes involved with both a would-be actress and her domineering, humorless sister. Funny cast (including the "Thin Man" couple, Myrna Loy and William Powell) have a high time with their eccentric characters and fast, witty dialogue, but the plot is extremely thin, taking everyone around in circles. Too bad this didn't have firmer handling, the potential was here for a comedy classic. Loy's continuous bad temper gets the biggest laughs, however the wild slapstick climax boasts some very amusing sight-gags. **1/2 from ****
- moonspinner55
- Nov 27, 2005
- Permalink
... with all of its chaotic slapstick, that and the fact that some of this film was shot shortly after Jean Harlow's sudden untimely death makes what probably would have been an 8/10 screwball comedy lose a star. William Powell was involved with Harlow and she and Myrna Loy had been close friends, so her death naturally cast a pall over the production.
It has a cute premise. Charlie Lodge (William Powell) is an avantgarde artist who lives in a trailer outside of a local nightspot - Spike's. He has made the acquaintance of Irene Agnew (Florence Rice) and her passive fiance Waldo Beaver (John Beal). It seems that Charlie has written a movie script and he has Irene and Waldo acting out the leads for him, although this entire matter just gets dropped about 15 minutes in. Irene and Waldo are very afraid of Irene's older sister Margit (Myrna Loy), as she would disapprove of the two - adults mind you - associating with and befriending Charlie.
When Margit does hear of it and goes to retrieve them, she walks in on Charlie reenacting a scene from his movie script where he passionately embraces Irene. Margit thinks it's a real embrace, but in a way it is. Irene has become smitten with Charlie as a result, and Margit goes to Charlie to tell him to stop seeing her sister. However, Charlie is actually smitten with Margit, and so he makes excuses to see her. Initially that excuse is a portrait he says he wants to paint of her, but like the movie script, that too gets dropped shortly thereafter. Charlie pushes things to the edge to get Waldo to show some spine to Irene so as to win her back, and also to get Margit to fall for him. How does this work out? Watch and find out.
If you appreciate the magic of Loy and Powell then I think you'll like this one too, but I've seen better from the pair made before this and I've seen better films starring them that were made afterwards.
It has a cute premise. Charlie Lodge (William Powell) is an avantgarde artist who lives in a trailer outside of a local nightspot - Spike's. He has made the acquaintance of Irene Agnew (Florence Rice) and her passive fiance Waldo Beaver (John Beal). It seems that Charlie has written a movie script and he has Irene and Waldo acting out the leads for him, although this entire matter just gets dropped about 15 minutes in. Irene and Waldo are very afraid of Irene's older sister Margit (Myrna Loy), as she would disapprove of the two - adults mind you - associating with and befriending Charlie.
When Margit does hear of it and goes to retrieve them, she walks in on Charlie reenacting a scene from his movie script where he passionately embraces Irene. Margit thinks it's a real embrace, but in a way it is. Irene has become smitten with Charlie as a result, and Margit goes to Charlie to tell him to stop seeing her sister. However, Charlie is actually smitten with Margit, and so he makes excuses to see her. Initially that excuse is a portrait he says he wants to paint of her, but like the movie script, that too gets dropped shortly thereafter. Charlie pushes things to the edge to get Waldo to show some spine to Irene so as to win her back, and also to get Margit to fall for him. How does this work out? Watch and find out.
If you appreciate the magic of Loy and Powell then I think you'll like this one too, but I've seen better from the pair made before this and I've seen better films starring them that were made afterwards.
- writers_reign
- Jun 7, 2017
- Permalink
Watching this movie was like looking through a beautiful, whimsical kaleidoscope. So many facets are perfect: Loy at her peak of gorgeous, wry sophistication; the Deco sets; Powell's gentle irony; the relationships of various characters and the consistency of dialog; even the physical pranks were great--and I don't like slapstick all that much! This film reminded me of Shop Around the Corner. It wasn't as good, that's a tall order, but there was something bigger going on in this movie than just the usual romantic farce. I have to admire the writer's and director's ability to pull off a romantic comedy between two such diametrically opposed people. The heroine is the quintessential control freak; the hero, as laid back and tolerant as a hippie of the sixties. No one apologizes for their quirks, which is refreshing, and neither of them had to change all that much to make the ending work. And as far as acting goes, Loy and Powell don't hold back any punches (literally!) whenever the two characters collide. It is amazing to watch them knowing how they were reacting to Harlow's death during shooting. I love finding old movies, and this one is buried treasure.
Myrna Loy plays a control freak who micromanages everything. She even picks out her sister's fiancé (John Beal) and plans their wedding and honeymoon. But her sister (Florence Rice) decides she doesn't want to marry the guy Loy picked. She wants to marry bohemian William Powell. Powell, however, starts to fall for Loy. In order to be with her he must help Rice and Beal get back together.
Powell and Loy are great as usual. John Beal is wonderful as the milquetoast Waldo. Sidney Toler has a funny part as Loy's butler who claims he was a G-man before there was such a thing. Any Powell/Loy movie is worth seeing. This isn't their best but it's a good one.
Powell and Loy are great as usual. John Beal is wonderful as the milquetoast Waldo. Sidney Toler has a funny part as Loy's butler who claims he was a G-man before there was such a thing. Any Powell/Loy movie is worth seeing. This isn't their best but it's a good one.
Powell is an artist, a free spirit who disrupts the well-made plans of Loy, who controls the lives of her kid sister (Rice) and the latter's fiancé with an iron fist. Like the dozen other teamings of Powell and Loy, it is fun to watch the two pros match wits. Beal is funny as Rice's milquetoast fiancé, whom Powell tries to make a man out of. Powell is an aspiring writer/director who coaches Beal and Rice in acting out a love story; unable to arouse passion out of Beal, Powell demonstrates by passionately kissing the lovely Rice, who falls in love with him. Of course, Powell falls in love with Rice's sister, Loy, setting the stage for comic situations.
Charles Lodge (William Powell) is a bohemian living in a trailer. He teaches acting to Irene Agnew (Florence Rice) and dimwitted pushover Waldo Beaver (John Beal) promising to put them in his movie. Irene's older controlling sister Margit Agnew (Myrna Loy) has arranged for the two young people to marry although they secretly oppose the planned nuptials. In frustration, Irene announces that she's in love with Charlie.
Powell and Loy adjust their chemistry to more combative and it works brilliantly. She's the stuffy shrew and he's the flighty good-hearted cad. It's as old as time. I also love the clueless Waldo. Irene is a little bland but that's perfectly fine. It all descends into chaos as do many screwball comedies although I don't think it completely works.
Powell and Loy adjust their chemistry to more combative and it works brilliantly. She's the stuffy shrew and he's the flighty good-hearted cad. It's as old as time. I also love the clueless Waldo. Irene is a little bland but that's perfectly fine. It all descends into chaos as do many screwball comedies although I don't think it completely works.
- SnoopyStyle
- Aug 19, 2020
- Permalink
Another William Powell/Myrna Loy pairing from the 1930's. Powell plays an eccentric artist who has convinced an 'about to be married' couple to invest in a film he wants to make w/them but standing in their way is Loy, the bride's sister, who is of the overly controlling sort who wants no part of his scheme. As always, the verbal & comedic fireworks are on full blast as soon as the bickering couple meet & somehow fall in love by film's end. The final scene's in Powell's motor-home rivals the famous Marx Brothers sequence from A Night of the Opera as friends & hanger-on's keep popping into the crammed space as the hilarity comes to a boil.
A celluloid couple that was pure gold. That's what the pairing of William Powell and Myrna Loy were in the first half of the 20th century. The two had chemistry and not just with each other, they easily connected with both male and female audiences making for a very marketable duo.
Approaching eighty years on I came to the pair in The Thin Man series which was a hit franchise from the mid-thirties to the close of the forties. If I had to say why the Thin Man series appealed then I'd simply say that it's the same reason I find it appealing...the pairing of Powell and Loy.
Here we have our two favorites assuming quite different characters from their Thin Man stalwarts. I'd even say Loy gets a bit of a lead over Powell at least for the first half of the movie. Powell plays Charles Lodge a devil may care bohemian against the very upright and equally uptight business Margit Agnew. Agnew has eschewed any love life and petty emotional leanings for the business world and a fully mapped out personal path. The one thing in that path with a shred of emotion is her love for her sister Irene. Of course it is quite misplaced as she seeks to control every minute of Irene's life. This is where Powell's Lodge character comes in and wonderfully upsets the status quo.
It's silly of course and it's often overplayed, but there is some wonderful nuggets in the dialog and Powell and Loy are a force to be reckoned with. Yeah, it's out of time and touch, but this is a wonderful comedic romp with a central theme that is often used with less effect. I like this movie.
Approaching eighty years on I came to the pair in The Thin Man series which was a hit franchise from the mid-thirties to the close of the forties. If I had to say why the Thin Man series appealed then I'd simply say that it's the same reason I find it appealing...the pairing of Powell and Loy.
Here we have our two favorites assuming quite different characters from their Thin Man stalwarts. I'd even say Loy gets a bit of a lead over Powell at least for the first half of the movie. Powell plays Charles Lodge a devil may care bohemian against the very upright and equally uptight business Margit Agnew. Agnew has eschewed any love life and petty emotional leanings for the business world and a fully mapped out personal path. The one thing in that path with a shred of emotion is her love for her sister Irene. Of course it is quite misplaced as she seeks to control every minute of Irene's life. This is where Powell's Lodge character comes in and wonderfully upsets the status quo.
It's silly of course and it's often overplayed, but there is some wonderful nuggets in the dialog and Powell and Loy are a force to be reckoned with. Yeah, it's out of time and touch, but this is a wonderful comedic romp with a central theme that is often used with less effect. I like this movie.
- AudioFileZ
- Aug 7, 2020
- Permalink
I don't usually write reviews, although I do tend to read them. All I can say about this film is that there's a decent enough premise, and plenty of onscreen time for Powell and Loy, if that's what you want. But the whole thing is lacking in anything like focus, timing, plot progression, or even good gags. The director seems not to know what to do, but just stands back and lets the script do the work, which it doesn't. A Sturges might have been able to make something out of it, but it would have involved a huge rewrite. And may I blaspheme here and say that Powell and Loy are way off form, too. Neither manages to generate much sympathy for their characters. Loy is a cold stick, even at the end, and Powell's attempt at Bohemianism is unconvincing. Pacing is slow, dialog is redundant, and the tacked on slapstick at the end is strictly by the numbers. I guess we can be charitable and lay the blame on Jean Harlow's demise.
- richard-camhi
- May 14, 2018
- Permalink
I have always found this movie more than a little strained and Powell and Loy not up to their usual shine. In fact, Myrna Loy's character seems downright unpleasant!! Much of this may have to do with the death of Powell's fiancee Jean Harlow during production. Myrna Loy, in her autobiography, states that she cannot bear to watch this movie because of the pain they all felt while making it. While the two do their professional best (and the uninformed would never guess that real tragedy was plaguing them) you are much better off watching Powell and Loy in one of their better works...ie The Thin Man Series, Libeled Lady,I Love You Again, etc. FYI: Powell developed colon cancer in the year following Harlow's tragic death and nearly died himself. He recovered and returned to active film work with 1939's Another Thin Man and proceeded to beat the odds and live another 40 years!!!
Myrna Loy's seventh pairing with William Powell was this Joseph L. Mankiewicz produced comedy that was directed by Richard Thorpe which features a screenplay by Jo Swerling. It's not as good as their earlier films together (nor at least one of their later efforts - I Love You Again (1940)), but it does exude a certain easy charm and serves as yet another example of their undeniable on screen chemistry.
Powell plays a bohemian painter who has been "corrupting" Loy's younger sister Irene (Florence Rice) and the limp-wrist-ed fiancé she'd handpicked for her sibling, Waldo Beaver (John Beal), by keeping them out all night to teach them how to act while directing them in play rehearsals.
Loy's character is particularly annoyed because she'd been in control of Irene's life, and Powell's has upset the apple cart, especially since her sister has fallen in love with him. When Loy confronts Powell, he agrees to stop seeing her sister on one condition, that she allow him to paint her "extraordinary" face (e.g. one full of character). She agrees, then naturally falls for Powell's character herself, though she never lets on.
The only one who seems to know that both Loy and Powell have fallen for each other is Mrs. Kensington-Bly (Jessie Ralph), a friend of Loy's that also happens to have been acquainted with Powell's in her past.
Unfortunately, the plot drags a bit when slapstick sequences overrun the snappy dialogue. Edgar Kennedy, Sidney Toler, and an uncredited Donald Meek are among those who appear in supporting roles.
Powell plays a bohemian painter who has been "corrupting" Loy's younger sister Irene (Florence Rice) and the limp-wrist-ed fiancé she'd handpicked for her sibling, Waldo Beaver (John Beal), by keeping them out all night to teach them how to act while directing them in play rehearsals.
Loy's character is particularly annoyed because she'd been in control of Irene's life, and Powell's has upset the apple cart, especially since her sister has fallen in love with him. When Loy confronts Powell, he agrees to stop seeing her sister on one condition, that she allow him to paint her "extraordinary" face (e.g. one full of character). She agrees, then naturally falls for Powell's character herself, though she never lets on.
The only one who seems to know that both Loy and Powell have fallen for each other is Mrs. Kensington-Bly (Jessie Ralph), a friend of Loy's that also happens to have been acquainted with Powell's in her past.
Unfortunately, the plot drags a bit when slapstick sequences overrun the snappy dialogue. Edgar Kennedy, Sidney Toler, and an uncredited Donald Meek are among those who appear in supporting roles.
- jacobs-greenwood
- Dec 3, 2016
- Permalink
Having William Powell or Myrna Loy on their own in a film is good reason enough to see any film of theirs. Having them together in the same film, like in 'Double Wedding', means that the entertainment value is doubled. All their outings are worth a look at least once, even the lesser efforts are a long way from mediocre or less. Even the ones that had more potential to be much better than they turned out to be, and there were a few of those.
The story sounded fun and while Richard Thorpe was never the most distinguished of directors he was always a competent one. While both Powell and Loy did better in their careers in both films and performances than 'Double Wedding', both individually and together, one can totally see what their appeal was here. As actors and as a partnership, which was deservedly considered a classic one. Both come off great here and the entertainment value is doubled seeing them together.
'Double Wedding' could have been better. The story never properly lost my interest thankfully, but the pacing could have been crisper in spots in the slighter parts of a story that was quite thin and the action does sometimes go overboard on the silliness, occasionally the chaos in the last act getting a bit much.
My mixed opinion on Thorpe as a director hasn't really changed. He directs competently, everything is present and correct, but nothing is extraordinary or particularly distinguished.
On the other hand, 'Double Wedding' looks great. Glamorously designed without being overblown and the photography is not static yet also doesn't try to do anything too clever. The script has my favourite kind of writing, witty and sophisticated structured tightly. The physical comedy is generally done with energy that is suitably wild when needed, a lot of the final act's wildness is very funny indeed.
Powell is very charismatic and charming with great comic timing, it is not easy working amidst grief and he did so courageously. Loy epitomises sophisticated beauty and is no slouch in the comic timing either. She and Powell sparkle together while John Beal is well cast in his role.
All in all, good entertainment if no classic. 7/10
The story sounded fun and while Richard Thorpe was never the most distinguished of directors he was always a competent one. While both Powell and Loy did better in their careers in both films and performances than 'Double Wedding', both individually and together, one can totally see what their appeal was here. As actors and as a partnership, which was deservedly considered a classic one. Both come off great here and the entertainment value is doubled seeing them together.
'Double Wedding' could have been better. The story never properly lost my interest thankfully, but the pacing could have been crisper in spots in the slighter parts of a story that was quite thin and the action does sometimes go overboard on the silliness, occasionally the chaos in the last act getting a bit much.
My mixed opinion on Thorpe as a director hasn't really changed. He directs competently, everything is present and correct, but nothing is extraordinary or particularly distinguished.
On the other hand, 'Double Wedding' looks great. Glamorously designed without being overblown and the photography is not static yet also doesn't try to do anything too clever. The script has my favourite kind of writing, witty and sophisticated structured tightly. The physical comedy is generally done with energy that is suitably wild when needed, a lot of the final act's wildness is very funny indeed.
Powell is very charismatic and charming with great comic timing, it is not easy working amidst grief and he did so courageously. Loy epitomises sophisticated beauty and is no slouch in the comic timing either. She and Powell sparkle together while John Beal is well cast in his role.
All in all, good entertainment if no classic. 7/10
- TheLittleSongbird
- Dec 4, 2019
- Permalink
This is meant as a screwball comedy, with clever banter and crazy scenes. There are a few, especially when Powell and Loy are together. It's Nick and Nora except that Nora is liberated here. In fact, so liberated she's domineering, and it's up to Nick to take her down.
The storyline, told by other reviewers, is fine, and there's one classic exchange:
Powell: What were you going to say?
Loy: Nothing.
Powell: Don't you want to talk about something?
Loy: Yes. Do you take dope?
But the rest is talky and flat. The pratfalls are derivative and contrived, even the chaotic ending, which actually lifts a drunk "He's a Jolly Good Fellow" routine from the previous year's After the Thin Man. And John Beal playing Ralph Bellamy is just annoying. I love Jessie Ralph, but here she's a bit over-the-top, not as funny as she was playing the old battle-ax in After the Thin Man. All this I lay on Richard Thorpe, a routine director, who was prized more for coming in under budget than doing anything outstanding.
If you're a Powell-Loy fan, they have their usual enjoyable encounters, but its a slog getting from one to the other.
The storyline, told by other reviewers, is fine, and there's one classic exchange:
Powell: What were you going to say?
Loy: Nothing.
Powell: Don't you want to talk about something?
Loy: Yes. Do you take dope?
But the rest is talky and flat. The pratfalls are derivative and contrived, even the chaotic ending, which actually lifts a drunk "He's a Jolly Good Fellow" routine from the previous year's After the Thin Man. And John Beal playing Ralph Bellamy is just annoying. I love Jessie Ralph, but here she's a bit over-the-top, not as funny as she was playing the old battle-ax in After the Thin Man. All this I lay on Richard Thorpe, a routine director, who was prized more for coming in under budget than doing anything outstanding.
If you're a Powell-Loy fan, they have their usual enjoyable encounters, but its a slog getting from one to the other.
- jacksflicks
- Jan 16, 2015
- Permalink
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.
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.
Clearly, this movie is screwball comedy. It has all the elements of the standard definition. The domineering female who challenges the man's virility. The fast and witty dialog with rejoinders and clever ripostes. The farcical scenes and antics. "Double Wedding" veers off in places, and seems to chop off scenes with poor segue. But, these few instances that might be faults in any other film, fit perfectly with the zaniness of this movie. This is among the best screwball comedies and it rates 10 stars for laughter. The ending is one of the funniest, zaniest scenes of mayhem and pratfalls I can think of from any film.
All of the cast have outstanding roles. The sets, filming and other technical aspects are very good. The IMDb Web site gives the plot and other reviewers discuss it and the script. I'll just give some of the funny lines and history on the delay in the film's completion. Myrna Loy's role is one of her biggest dialogs in her pairings with William Powell. And this may be her funniest role ever.
Loy's Margit Agnew delivers persiflage at will toward Powell's Charles Lodge. She calls his living style, "adolescent Bohemianism." Her many put-downs leave one chuckling long after the film is over. And, she has one line, consisting of 81 words, which may be the hardest line that any actor has ever had to memorize. It's a gibberish genealogy she recites to Mrs. Bly, about the young man chosen to marry her sister, Irene.
Margit, "Waldo's a sort of distant relative of ours. Mother, you know, was a Leslie. The son of her brother, Edward Leslie, married one of the Boyer girls, Anne Boyer. Anne's sister Hermione married Steve Carroll, divorced Steve and married Elmer Beaver who had three brothers, Andrew, Paul and Alexander. Andrew was married twice. His first wife was a Brewster. His second wife was the widow of Morton Thomas, nee Caroline Cook. Andrew and Caroline were the parents of Waldo. Get it?" Mrs. Bly, "Nope!" Obviously, a viewer wouldn't be able to get it either - to write it down like this, without DVD technology. This must be the longest silly genealogy recitation in filmdom.
Here are some favorite lines. For more humorous dialog, see the Quotes section under this IMDb Web page on the movie.
Irene Agnew (played superbly by Florence Rice) to Charles, "You just don't understand her. She's different form you and me. She's a businesswoman. We're Bohemians." Waldo (played very well by John Beal), "Why do Bohemians have to stay up all night?"
Mrs. Kensington-Bly (played excellently by Jessie Ralph), "It begins to look more and more like a hothouse." Margit, "Or a nut house."
Charlie, "I was a professional guide in Paris at the time. I used to show people through the sewers." Margit, "I can think of no one better qualified."
Judge Blynn (played wonderfully by Donald Meek), "Would the bride and gloom please join hands." (sic)
Waldo, "To know Charlie is to love him. He's got yumpf." Irene, "He's got a monopoly on it."
Margit, "You were the best (police detective) on the force, Keough?" Keough, "Yes, Miss Agnew." Margit, "My, my! How we all missed being killed in our sleep."
Margit, "You dissolute, conceited....uh, vagrant." Charles, "Did you hear what she called me? A vagrant."
Charlie, "Did you want to talk about something?" Margit, "Yes. Do you take dope?"
Waldo, "He thinks everybody ought to live in an auto-trailer." Margit, "Oh, he does?" Waldo, "Yes, he calls it the covered wagon of the future."
Margit, "Oh, you're the most revolting, cheap, four-flushing..."
Charlie, "Who rang that gong?" Margit, "I did." Charlie, "Oh but you mustn't. It's for the telephone."
Margit, "Check the lunatic asylums. He's probably missing from one of them."
Charlie, "People often say what they mean when they're out of their mind."
Waldo, "Well, I'd like a shower." Margit, "Showers make your hair fall out."
Claire Lodge, "If you want to keep Charles in love with you, don't try to change him. Just make up your mind you're in an asylum. And married to the head lunatic."
Here's another dialog sequence that's hilarious prattle between Margit and her gardener, Angelo (done very well by Henry Taylor). Margit, "Angelo?" Angelo, "Yes, Miss Agnew?" Margit, "The paper says cloudy, probably rain. You won't have to water the garden today. How's your bambino?" Angelo, "Don't water the lawn. The bambino? Oh, he's fine." Margit, "So you can use that time to get rid of all these weeds. Be sure he gets his cod liver oil." Angelo, "Yes, Ma'am. Pull the weeds and oil the bambino. Yes, Ma'am."
Some reviewers have noted the delay in completing this film, and the strain particularly on William Powell and Myrna Loy over the death of Jean Harlow. She and Powell were planning to be married, and Loy was a close friend. Harlow was just 26 years old when she died June 7, 1937, from kidney failure. She had been ill on and off for the past year, but her illnesses had variously been diagnosed as influenza and an inflamed gallbladder. Only toward the end was she diagnosed with kidney failure, for which there was no treatment at the time. Her kidney problems may have stemmed from the Scarlet Fever she had as a child.
For her short career, Harlow was well liked by people all across the movie industry. MGM closed its studio the day of her funeral. At the time of her death, she was starring with Clark Gable in "Saratoga." The film was finished using three doubles for distance shots and some revisions. It was a box office hit when it came out in July. And, Harlow's close friends in the cast of "Double Wedding" completed it under emotional duress for its release in October of that year.
All of the cast have outstanding roles. The sets, filming and other technical aspects are very good. The IMDb Web site gives the plot and other reviewers discuss it and the script. I'll just give some of the funny lines and history on the delay in the film's completion. Myrna Loy's role is one of her biggest dialogs in her pairings with William Powell. And this may be her funniest role ever.
Loy's Margit Agnew delivers persiflage at will toward Powell's Charles Lodge. She calls his living style, "adolescent Bohemianism." Her many put-downs leave one chuckling long after the film is over. And, she has one line, consisting of 81 words, which may be the hardest line that any actor has ever had to memorize. It's a gibberish genealogy she recites to Mrs. Bly, about the young man chosen to marry her sister, Irene.
Margit, "Waldo's a sort of distant relative of ours. Mother, you know, was a Leslie. The son of her brother, Edward Leslie, married one of the Boyer girls, Anne Boyer. Anne's sister Hermione married Steve Carroll, divorced Steve and married Elmer Beaver who had three brothers, Andrew, Paul and Alexander. Andrew was married twice. His first wife was a Brewster. His second wife was the widow of Morton Thomas, nee Caroline Cook. Andrew and Caroline were the parents of Waldo. Get it?" Mrs. Bly, "Nope!" Obviously, a viewer wouldn't be able to get it either - to write it down like this, without DVD technology. This must be the longest silly genealogy recitation in filmdom.
Here are some favorite lines. For more humorous dialog, see the Quotes section under this IMDb Web page on the movie.
Irene Agnew (played superbly by Florence Rice) to Charles, "You just don't understand her. She's different form you and me. She's a businesswoman. We're Bohemians." Waldo (played very well by John Beal), "Why do Bohemians have to stay up all night?"
Mrs. Kensington-Bly (played excellently by Jessie Ralph), "It begins to look more and more like a hothouse." Margit, "Or a nut house."
Charlie, "I was a professional guide in Paris at the time. I used to show people through the sewers." Margit, "I can think of no one better qualified."
Judge Blynn (played wonderfully by Donald Meek), "Would the bride and gloom please join hands." (sic)
Waldo, "To know Charlie is to love him. He's got yumpf." Irene, "He's got a monopoly on it."
Margit, "You were the best (police detective) on the force, Keough?" Keough, "Yes, Miss Agnew." Margit, "My, my! How we all missed being killed in our sleep."
Margit, "You dissolute, conceited....uh, vagrant." Charles, "Did you hear what she called me? A vagrant."
Charlie, "Did you want to talk about something?" Margit, "Yes. Do you take dope?"
Waldo, "He thinks everybody ought to live in an auto-trailer." Margit, "Oh, he does?" Waldo, "Yes, he calls it the covered wagon of the future."
Margit, "Oh, you're the most revolting, cheap, four-flushing..."
Charlie, "Who rang that gong?" Margit, "I did." Charlie, "Oh but you mustn't. It's for the telephone."
Margit, "Check the lunatic asylums. He's probably missing from one of them."
Charlie, "People often say what they mean when they're out of their mind."
Waldo, "Well, I'd like a shower." Margit, "Showers make your hair fall out."
Claire Lodge, "If you want to keep Charles in love with you, don't try to change him. Just make up your mind you're in an asylum. And married to the head lunatic."
Here's another dialog sequence that's hilarious prattle between Margit and her gardener, Angelo (done very well by Henry Taylor). Margit, "Angelo?" Angelo, "Yes, Miss Agnew?" Margit, "The paper says cloudy, probably rain. You won't have to water the garden today. How's your bambino?" Angelo, "Don't water the lawn. The bambino? Oh, he's fine." Margit, "So you can use that time to get rid of all these weeds. Be sure he gets his cod liver oil." Angelo, "Yes, Ma'am. Pull the weeds and oil the bambino. Yes, Ma'am."
Some reviewers have noted the delay in completing this film, and the strain particularly on William Powell and Myrna Loy over the death of Jean Harlow. She and Powell were planning to be married, and Loy was a close friend. Harlow was just 26 years old when she died June 7, 1937, from kidney failure. She had been ill on and off for the past year, but her illnesses had variously been diagnosed as influenza and an inflamed gallbladder. Only toward the end was she diagnosed with kidney failure, for which there was no treatment at the time. Her kidney problems may have stemmed from the Scarlet Fever she had as a child.
For her short career, Harlow was well liked by people all across the movie industry. MGM closed its studio the day of her funeral. At the time of her death, she was starring with Clark Gable in "Saratoga." The film was finished using three doubles for distance shots and some revisions. It was a box office hit when it came out in July. And, Harlow's close friends in the cast of "Double Wedding" completed it under emotional duress for its release in October of that year.
- classicsoncall
- Oct 16, 2018
- Permalink
Double Wedding is a wonderful comedy loaded with great dialogue and wit. This was just one of the 14 movies Powell and Loy teamed up for. It was during the filming of this movie that Powell's fiancee Jean Harlow died. Filming was halted for six weeks and Powell returned to finish the movie. He then went to Europe for a year before teaming with Loy again in 37 for another Thin Man movie.
While it is certainly not the best of the Loy-Powell pairings, this film is still a delight to watch. The characters they portray are contrasts. Loy is the uptight heroine who schedules everything in advance and wants to be in control of everything, including her sister. Powell is the amiable bohemian everyone adores because he enjoys life and hasn't a care in the world. The two are introduced and the comedy of opposites attract ensues.
- ClaudetteColbertFan
- Dec 15, 2018
- Permalink
- mark.waltz
- Mar 4, 2010
- Permalink