La sposa ribelle

Van Johnson and June Allyson team up with young Butch Jenkins in The Bride Goes Wild, really a rather inaccurate title. She doesn't go wild at all, in fact Allyson's a very proper young lady. But she does have a rather wild wedding through no doing of her own at the climax.

She's an illustrator who is hired by a publishing company to do pictures for a series of children's books that are published under the name of Uncle Bumps. The character of Uncle Bumps as described seems to be a more civilized version of Gabby Hayes. But like Mark Twain is a creation of Samuel Langhorne Clemens, Uncle Bumps is the pseudonym for Van Johnson who's a rather wolfish sort and just eagerly contemplating how to get better acquainted with June.

Allyson's a frustrated mom wannabe so Johnson borrows young Butch Jenkins from an orphanage, a kid with some behavioral issues. Today he'd be on all kinds of meds, but back in the day that wasn't available.

As Johnson is running into a creative dry spell, young Jenkins proves to be something of a muse. And he does actually draw Johnson and Allyson closer together despite the fact they have some long term involvements, he with Arlene Dahl and she with Richard Derr.

I think you see where this is going. I wish The Bride Goes Wild, misnamed title though it has was run more often. It's a nice family comedy and Jenkins has some real appeal as a child star. Allyson and Johnson were teamed many times by MGM and this film is a perfect example of their chemistry together.

The movie's more a collection of sometimes funny schtick than a satisfying whole. The premise of Johnson being a rather obnoxious author of children's books shows promise, especially when he tangles with prudish illustrator Martha (Allyson). In order to win Martha back Greg (Johnson) schemes with publisher Mc Grath (Cronyn) to adopt a kid (Jenkins) who turns out to be a little hellion. As they say, complications ensue. On the whole, the film's series of skits tends to crowd up without building comedic impact. For example, the climactic car ride appears more frantic than funny.

Johnson manages the madcap pretty well, while Allyson gets a straight-man role unfortunately subverting her usual sparkle. At the same time, that required restraint undercuts the pairing of its usual compelling chemistry. Of course, buck-toothed Jenkins steals the film with little boy antics for which he was so well suited. Still, his frustrated desire to be adopted does provide a poignant note. However, for me, seeing Cronyn in a slapstick role takes some getting used to since I identify him with the scary Nazi-like warden in the prison classic Brute Force (1947). He was quite an actor.

On the whole, the comedy's a decent time-passer with enough set-ups to generate a few laughs from most anyone. But a well-crafted, efficient slice of madcap, it's not.

Bumpy film with good stuff strewn about here and there, but it's far from a seamless ride. Doesn't often add up to more than it's various parts until the peculiarly funny ending. The leads are swell and Hume Cronyn, as an effete fussbudget, is a surprise. Richard Derr, a gorgeous hunk of man-meat if there every was one, plays a klutz.

The Bride Goes Wild (1948)

This is a common kind of entertainment film using a catching, breezy plot and high profile actors, but filmed with bright simplicity and without attempting too much more that the basics.

And all of these basic goals are met here—cheerfully, and rather enjoyably. That is, if you take it for what it is, this is a warm and well made romantic comedy. It excels most for the sweet and subtle acting by June Allyson, and by the surprise depth of the buck-toothed boy character in the movie, Jackie Jenkins. The leading man has never been a favorite of mine—Van Johnson, but he holds up his end well enough.

The plot is a clever set up, reminding me for some reason of the mixed-up plot of "Christmas in Connecticut," which has the same lighthearted feeling. People pretend to be one thing and get into a comical—and romantic trap—by trying to maintain the farce. Everyone is lying, in a way, even the innocent woman who at first is purely innocent. (She ends up pretending, or changing you might say, for different reasons, which the audience appreciates.)

This is no screwball comedy. It lacks the insanity, and the wit, and maybe even the inevitability (even though you know how it ends, more or less). It's a good romp with some excellent acting to shore up the feeble plot. There are lots of great moments, and even an oddly spectacular bit of nonsense near the end where a whole room full of character actors get truly nutty at the same time. Quite funny.

June Allyson doing her thing. This time, she's a down-home gal and ace illustrator who wins a contest for her artwork to be used in a new children's book penned by the beloved Uncle Bumps, a modern-day Hans Christian Andersen. Turns out Uncle Bumps is really a hard-drinking, free-wheeling bachelor who dislikes children--yet he is so taken with this uptight artist once he meets her, he attempts to woo her under an alias. Why? It doesn't matter, for this is a vehicle for Allyson and Van Johnson (movie favorites at the time), and the script treats their characters like human bumper-cars just to keep star-watchers on their toes. Johnson's ruse is soon exposed, forcing him to emulate an honorable guy--which includes 'borrowing' an orphan to pose as his son. June threatens to dislodge him from the ranks of celebrity by reporting him to her cousin, a banner of controversial books and plays (she actually seems to proud to know such a person). Throw in an obnoxious hometown beau waiting in the wings, a wedding overcome with ants, and Hume Cronyn as a publisher on the brink of a nervous breakdown, and you have all the ingredients for a laughless family fracas done with neither style nor merit. *1/2 from ****