Count Armalia believes that the luck of birth is all that separates the rich from the poor. To test his theory, he sends Anni, who is a singer in a dive, to a ritzy resort for two weeks. ...
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Judy O'Brien is an aspiring ballerina in a dance troupe. Also in the company is Bubbles, a brash mantrap who leaves the struggling troupe for a career in burlesque. When the company ... See full summary »
Roy Del Ruth
Oxford Professor Richard Myles and new bride Frances are off on a European honeymoon. It isn't your typical honeymoon though, for they are on a spying mission for British intelligence on ... See full summary »
Rags-to-riches Hennessey meets newlyweds Jessie and Eddie from his old neighborhood. Eddie plots to have Jessie divorce him, marry Hennessey, divorce Hennessey, then bring Hennessey's money... See full summary »
Count Armalia believes that the luck of birth is all that separates the rich from the poor. To test his theory, he sends Anni, who is a singer in a dive, to a ritzy resort for two weeks. With fancy new clothes and ersatz status, Anni decides that she likes the rich life. But with time running out, she needs a rich husband and Rudi is the one she chooses. Only it takes longer than two weeks for Rudi to dump his fiancée and propose to her. In the weeks that she has been there, she finds that she loves Giulio, the postman with the small house and the donkey cart. But will she give up love for wealth....Written by
Tony Fontana <email@example.com>
Three cast members in studio records/casting call lists did not appear or were not identifiable in the movie. These were (with their character names): Anna Demetrio (Signora Milani), George W. Jimenez (Signor Calla) and Abe Dinovitch (Yodeller). Child actor Bill Burrud is listed as a cast member in some contemporary newspapers, but he was not seen either. See more »
Despite the provocative title and the first few scenes, which suggest this might be an interesting variation on Shaw's "Pygmalion," we're actually back in Joan Crawford's MGM universe, where one suitor isn't enough if you can have two, and where Adrian can be counted on to provide a drop dead gown at regular intervals.
This airless, relentlessly phony picture did Crawford no favors. For a major star she is remarkably inexpressive. Her face, so strong, angular and meticulously made up, is striking enough to get all our attention, but this curiosity is never repaid. We search Joan's face looking for fleeting expressions, varying moods, complex emotions but we get only a single mask of anxiety. Crawford in this period seems incapable of shaping a performance or giving a character flesh, blood and heart -- she just sleepwalks from scene to scene looking as perfect and lifeless as a mannequin (coincidentally the title of her next film).
If glamor without rhyme, reason or variation is your idea of entertainment, you are welcome to it, but I thought THE BRIDE WORE RED was both strange and boring. By the way, the eponymous dress is kind of tacky but undeniably spectacular, and it sure looks red, even in black and white.
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