There Goes the Bride

The perky and thoroughly charming Jessie Matthews is being sold off in marriage by her parents to Basil Radford, so the sensible French girl runs off to Paris, where everyone speaks like stage English people. Her purse is stolen and she winds up in the hands of a suspicious Owen Nares, who has a suspicious fiancée, for whom Miss Matthews is naturally mistaken by his gullible and mostly drunken friends.

Miss Matthews sings two songs, dances almost not at all. Like many of Miss Matthews' leading men, Mr. Nares seems frightened of women. David Niven is credited as an extra in what is supposed to be his first appearance onscreen, but I didn't spot him. Henry Koster is co-credited with the script in which the idiot plotting is barely justified and then ignored. I enjoyed it.

"There goes the Bride" is essentially and simply a farce (albeit one set -- for no very clear reason -- in France). As such, the plot makes about as much sense as in any other of the many films in which the heroine proves herself irresistible by making the leading man's life a complete misery; and it contrives to be considerably less irritating than most of them.

As the pert and wilful Annette, Jessie Matthews is all big eyes and eloquent reaction; it is interesting to note that she has already established the character without any real dialogue to speak of until after the first few scenes. In fact, for an early sound film this shows a notable willingness to tell its story through visuals in addition to the laughs obtained by an often genuinely funny script; there were moments when the audience were literally shouting with laughter.

It has to be said that Miss Matthews, in her first leading screen role, sometimes overacts. If she were not already in possession of top billing one might assume that she is doing her best here to steal the show! However, it is hard to say where the actress's cinematic inexperience begins and the impudent Annette's 'putting on an act' ends; certainly her charm is more than enough to excuse any exaggeration. Conversely, Owen Nares has been criticised for lack of charisma, although I couldn't see it -- I did notice one or two flat line readings on his part that sounded as if they should have gone for a retake.

All in all I found this surprisingly good entertainment: undemanding fluff in a polished production that manages to be witty without being annoying, ridiculous without stupidity, and sneaks in a good deal of conscious naughtiness into the bargain. I'm frankly amazed that this apparently rated a 'U' rather than an 'A' ('Adult') certificate on release, as I'd have thought parts of it were quite risqué!

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."

Although this is a talkie it has some silent film stars in it and it still has a very silent movie feel to it. The music, for one, and the overacting.

It would have worked much better if it had been a silent.

Never seen Jessie Matthews in anything before and she looks really cute, is built like Olive Oyl, and can clearly dance.

But that voice. Horrors! So plummy she makes Joyce Grenfell sound like something off EastEnders. It's absolutely unbearable and adds to the fact that, at least in this film, she just can't act. Overacting like in a silent film. It really is excruciating.

Owen Nares as the male lead reminds me of Basil Fawlty and everyone has those unbearable cut-glass accents.

The one bright spot was. Roland Culver as a drunk Jacques - an absolute delight.

One of the songs rips off 'Makin' Whoopee'.

This is Jessie Matthews second sound film.Whilst she exhibits much gusto and enthusiasm she rather overacts at time and her technique is lacking.I was fortunate enough to see her give a lecture with Michael Balcon at the NFT some 40 years ago.She explained that it was Victor Saville who had helped to give her the confidence to appear in front of the cameras.Anyway having said that she is rather oddly matched with a rather stuffy Owen Nares who was 17 years her senior at the time.Nares was a popular leading man of the 20s and 30s and who was by this time heading into the twilight of his screen career.There are some enjoyable,if unmemorable musical numbers.There is only one brief dance from Jessie.This film was issued as part of the "British Classics Collection" some years ago,and is still to be purchased second hand.If you are a fan of Jessie Matthews or of 30s films it is worth seeing,if only to observe a talent in embryo