Bridal Suite

In London, idly rich Robert Young (as Neil McGill) sobers up with a shower and rubdown. He remembers it's his wedding day, but arrives too late for the ceremony. It's just as well, because Mr. Young goes to Switzerland and meets attractive blonde Annabella (as Luise Anzengruber). For the first time Young thinks he's really in love. He wants to end his selfish playboy ways and marry Annabella, but Young's family expects him to wed his London fiancée. After this film, bride the French actress Annabella took a break from movie-making and spent some time with new real-life groom Tyrone Power. "Bridal Suite" succumbs to the limited appeal of Young and Annabella as a romantic couple.

**** Bridal Suite (1939-05-26) William Thiele ~ Robert Young, Annabella, Walter Connolly, Billie Burke

I started watching Bridal Suite and thought, this looks like a vehicle that Robert Montgomery could have made a meal of. Then read Trivia, and it was intended for Robert Montgomery originally. Robert Young makes this character very unappealing. He behaves like a thoughtless lech, and speaks harshly in an attempt to be "light." His singing is awful. Annabella versus Luise Ranier is more of a puzzle.

The supporting cast redeems it, as was often the case with a clinker of this vintage: The darling Billie Burke; Walter Connolly, Gene Lockhart, Felix Bressart, and, very briefly, Arthur Treacher. Worth watching for their collective professionalism and craftsmanship alone. Produced by the accomplished and unjustly obscure Edgar Selwyn, for MGM.

MGM B-movie with a lively cast, but more entertaining than amusing. The 70- minutes has elements of screwball comedy, popular at the time. However, the Young- Annabella pairing proves more likable than funny. Contrast this with the Grant-Hepburn pairing in Bringing up Baby (1938). The differential may well be due to the directors: the legendary Hawks in the latter, a relative unknown Thiele in the former. In short, the actors sparkle here, but there's little overall synergy that would build chuckles instead of spreading them out.

Young plays a rich man's wastrel son who likes binges better than his wedding day, which he has drunkenly forgotten. As a result, his fed-up dad (Lockhart) disowns him, while a desperate mom (Barnes) sends him to Switzerland for analysis and therapy. There, he meets charming hotel worker (Annabella) and tries to seduce her. She's tempted but senses his irresponsible nature. The question is whether he will ever change his worthless ways.

I agree with others-- the phony mountain sets are nevertheless both impressive and scary. But then, MGM didn't skimp, even with programmers. Note too, that there's a class element underlying the plot. The script makes clear that Young's character is deformed by an easy life of family wealth, while Annabella's solid values are rooted in a strong work ethic. And catch that episode aboard ship, where a richly attired Young strays into steerage only to get roughed up by working class men. After all, it is 1939 and class issues are a lively concern.

All in all, it's an unexceptional 70-minutes, most notable for a lively and colorful cast.

Spoiled carefree American playboy Neil McGill (Robert Young) misses his own wedding... again. He falls for mountain innkeeper Luise Anzengruber. She backs off after hearing about his marriage engagement. She goes on a mountain hike with Doctor Grauer and become trapped by an avalanche.

Abbie needs to be horrible in order for the audience to root for Neil to get together with Luise. I don't think the movie sets that up enough at the beginning. Robert Young is the amiable type but he's not really the romantic playboy type. His most well known works are Father Knows Best and Marcus Welby on TV well after this movie. It's not a recipe for romantic heat. Again, he's amiable with enough comedic touch and that helps.

Before the paternalism and the pipe, Robert Young played charming, rich wastrels and heavy-drinking womanizers, all charming and sympathetic. MGM put him in quality B+ productions of which this is one, a light romantic comedy that borders on screwball with Young the screwy one. He is in top form, as is the entire excellent cast. MGM's typical blitheful avoidance of little old WWII, alluded to twice in jest, as the setting shifts from wartime England to Switzerland to transatlantic liner is a big downer. That and supposed-to-be-funny-but-never-is Arthur Treacher in a small role. Oh, and the whole lame and overworked premise that honest work will cure Young of his scalawag ways, though it provides Annabella material for her one and only laugh in the finale. It's big enough to keep you happily laughing as the end credits appear.

Incidentally, how many movie feature musical numbers with zithers. The Third Man, of course, and Sunnyside Up with Janet Gaynor (an extremely great movie musical moment) and this movie (not so memorable).