O Papai da Noiva

Delightful MGM comedy from Hollywood's Golden Age. It's going to be a great wedding if can Dad survive it. But every time he thinks he's paid the last expense another one arrives. Sure, he's a prosperous attorney, still the plans just keep growing and growing, as do his humorous frustrations. But then, who wants to disappoint sweetly loving daughter Kay (Taylor), even if her intended, Buckley (Don Taylor), wants to spend their honeymoon in the sub-Arctic for salmon fishing! Now there's every girl's post- matrimonial dream. Good thing Mom (Bennett) furnishes solid family support as the wedding plans totter along.

All in all, the flick's a Tracy showcase. His brand of grouchy humor is perfect for the beseiged Dad; after all, will his patience give out before his wallet does. It's an 18-year old Taylor as the bouncy ingenue, some distance from her feisty, more mature roles, but awesomely pretty nonetheless. And get a load of that over-whelming crowd stampeding the wedding reception - will Dad survive. Good thing it's the stalwart Tracy. I guess my only reservation is that weird dream sequence that just drops into the middle part, too surreal and off-putting, to combine with the humorous flow. Good thing it soon passes.

Overall, I think the movie captures the spirit of the times when post-war prosperity was overtaking Depression era thrift as Dad struggles to adjust to expanding expectations. So catch up with it if you can. It's Tracy at his gruffly humorous best.

"Father of the Bride" is a mainly delightful family comedy which benefits from a strong central performance...

One night at dinner, daughter Kay casually announces her engagement... Father and mother react on cue...

Following practically all the events of Edward Streeter's charming novel, the Oscar-Nominated screenplay is a series of comic and warm set pieces: the loving father asks his daughter to invite his future son-in-law for dinner; girl's parents meet boy's parents; prospective bride quarrels with prospective groom... The vignettes are applied with the light Minnelli touch at its most charming, and they are acted with captivating nonchalance by the incomparable Spencer Tracy in the title role and by the beautiful performances of Joan Bennett, Liz Taylor, and Don Taylor…

As the complaining middle class father, thoughtful to his daughter's welfare and watchful as to the distributing of his money, Tracy is incredibly amusing... Torn by jealousy, Tracy is all good-natured father exhausted by the complete weight of the problems leading up to the happy day...

But it's an ensemble show, and as the typical spoiled daughter of a typical mid-American bourgeois, Elizabeth has one of her joyful screen moments, altering and urging her beloved ones with such gentle, persuasive, winning, and gracious manners

A middle-aged, middle-class, middle-income lawyer has his domestic tranquillity destroyed when his 20-year-old daughter announces that she is going to get married. Stanley Barnes, nominal head of the Barnes household, finds himself increasingly marginalised as the wedding approaches.

Tracy underplays Stanley and judges his performance beautifully. He is the staid old dinosaur at the centre of the hubbub. Whereas Steve Martin in the 1991 version played the father as a manic plunger into other people's swimming-pools, Tracy can raise a laugh by lying motionless in bed, staring into space.

Stanley's wife Ellie is played by Joan Bennett, and hers is the comedy of manners, manoeuvring through the various social minefields which she encounters. She restrains Stanley from yelling in front of the domestic help, harbours doubts about Kay and Buckley (unlike Diane Keaton's character in the remake) and gets nervous and embarrassed in front of the in-laws. It is touching for us to learn that she regrets not having had a white wedding of her own, and this gives her a credible motivation for the spendfest which follows.

This film is surer of itself than is the remake, at least in part because in 1950 the social demarcations were clearer and more solidly-grounded. The Barnes family lives in a bourgeois community in which the 'rules' are universally understood. There has to be an engagement party, and a formal visit to the in-laws. These procedural steps en route to the wedding are unquestioned. In the 1991 version, the notion of 'being middle class' has expanded and grown nebulous. The in-laws are simply richer, not socially superior. The milestones towards the marriage are fumbled for - no-one is comfortable with the protocol. Even the man-to-man talk feels inappropriate.

Interestingly, Stanley is able to get away with being a garrulous bore. Martin strives for the viewer's sympathy, whereas Tracy is assured enough to let his character have shortcomings. He does not need to swing from ballustrades to get laughs, because he has enough presence and authority simply to be what he is, and to allow the humour to arise out of the situation.

Tracy can, however, mime with the best of them. The slightly-too-short waistcoat is great fun, and his silent reactions to the bust-up and reconciliation are marvellous. The film contains lots of goodies, like the expressionist nightmare or the quiet moment when Tracy is alone with the floral displays, seemingly hemmed-in by the frippery of the wedding. Director Minnelli is a master at ensemble 'babble' scenes, and this film has some good ones.

Verdict - light comedy, supremely well-crafted

My favourite performance of Spencer Tracy's from all the work he did in thirty-seven years in the movies - here he plays harassed father Stanley Banks struggling to cope with the comedy of his daughter Kay's wedding. Kay is played by the young and beautiful Elizabeth Taylor, who had just been married for the first time in real life; and her intended is played by Don Taylor, an actor I haven't seen in anything else, and can't really remember doing anything of interest in this. The family is completed by Joan Bennett as Tracy's wife, and Rusty (later Russ) Tamblyn as their youngest child.

Although the movie does play up the comic potential of the wedding situation - the dad dreams of losing his trousers as he walks down the aisle, for example - it also has moments of poignancy, especially in the last few sequences where the parents dance together in the post-party mess of their once-pristine house. This kind of thing puts the movie above the ordinary, and is exactly what was missing in the Steve Martin remake years later.

And don't let me forget Billie Burke and Moroni Olsen as the groom's parents - really funny!

Vincent Minelli deserves all the credit in directing this delicious 1950 MGM comedy. The mere idea of having Spencer Tracy playing the father of the bride, after his many years of portraying heavier characters, is in itself a triumph!

The film was tremendously successful because of the casting of Elizabeth Taylor, in all her beauty. Ms. Taylor is an example why more fathers will go into the poor house when their daughters decide to marry, and must have an elaborate wedding.

Of course, those were other times, poor Stanley Banks didn't have to spend so much money to marry her daughter. Had it been today, it must have cost a small fortune to do a modest ceremony with a few hundred guests. The way they figured the cost of the affair was less than three dollars per person! Incredible!

In a way, this picture points out to the basic problems of having a social event of this magnitude when the parents are well connected, as is the case with the Banks. In fact, watching the reception, we realize most of the people attending the celebration are friends of the parents. We hardly see any young friends of the couple, with the exception of the ones in the wedding party. Imagine having to spend so much money knowing most marriages will end in divorce! Oh well.

Spencer Tracy makes a wonderful father of the bride. He was at the top of his career; he makes us believe he is the man losing his daughter and having to pay for it in the process. Joan Bennett makes a delightful Ellie, the mother of the marrying girl. Elizabeth Taylor not only was beautiful, but in this film, one can't keep the eyes away from her for a second.

The supporting cast was excellent. Mr. Minelli brings all these characters together in a comedy, that although a bit dated, will charm anyone because of the excellent cast in it.