Jessie Matthews was a very talented actress, singer, dancer and comedienne whose career in the limelight of films was short. She made 14 movies in the 1930s, most of which were very good and showcased her diverse talents. The rest of her 33 film and TV credits are spread out and spaced over five decades. For some reason for which I have yet to read a reasonable explanation, her popularity ended with World War II, and she never had another comedy or musical vehicle to star in or even have a significant part in.
Matthews did entertain Allied troops at home during the war, and she continued stage and local performances after the war. In the 1970s, she found some success in TV series and shows. But that was mostly in acting and voice work that didn't use her many talents.
I have watched several of the films that Matthews made, and she is very good in each one - superb in some. But not all of the films themselves have been that good. "There Goes the Bride" is one of those. Without Matthews, this would be a total flop. The plot is very simple, but the screenplay is very weak and the rest of the entire cast are poor. Owen Nares, who plays the male lead, Max, is so wooden that he often seems to be walking on stilts in the slightly jerky motion when he moves. His character is so indecisive most of the time, that one looks to Matthews' Annette Marquand for the sparkle and life in any and every scene.
While the movie is clearly meant to be a comedy, it has dark overtones in its stagy appearance. So much of the story takes place in Max's home, and with just the two characters, that the mostly despondent-acting Max drags the film down. The rest of the cast are mostly forgettable. Carol Goodner plays Cora, Max's fiancé. Jerry Verno plays Clark, his chauffeur. Winifred Oughton is the housekeeper, and Lawrence Hanray plays the police chief. David Niven, Basil Radford and George Zucco have bit or uncredited parts such that I didn't notice or recognize them.
Matthews has a couple of good songs, including one toward the end with full orchestra, that liven the film up some. But for her, this film wouldn't rate more than three stars. Nor would it be a comedy. About the only people who would stay with this film very long would be fans of Jessie Matthews and die-hard old-time movie buffs (such as me, in both instances).
Here are the best of very few lines of any consequence in this film.
Max, "Well, if you're a thief, I'm a fool." Annette, "You could be a fool without my being a thief." (The very next line spoken by Max is an example of the poor script for this film - it should end with her comment there, but instead, Max has another lame line.) Max, "That's very, very true. But I don't want to be one."
Annette, "What are you doing?" Max, "Now, you're going to remain in here. I'm not going to let you loose again. I have a moral responsibility - to the public."
Cora, to the police chief, "She stole my dress." Police Chief, "Where is it now?" Cora, "Where I left it." Police Chief, "Where you left it?" Cora, "She stole my fiancé." Police Chief, "Well, that's not a crime. That's a woman's business."
