IMDb RATING
6.3/10
1.3K
YOUR RATING
A lounge singer is sent by a count to pose as a wealthy socialite.A lounge singer is sent by a count to pose as a wealthy socialite.A lounge singer is sent by a count to pose as a wealthy socialite.
Mary Philips
- Maria
- (as Mary Phillips)
Rafael Alcayde
- Hotel Clerk
- (uncredited)
Nino Bellini
- Cosmos Club Waiter
- (uncredited)
Agostino Borgato
- Cordellera Bar Waiter
- (uncredited)
Adriana Caselotti
- First Peasant Girl
- (uncredited)
Robert Cauterio
- Hotel Clerk
- (uncredited)
Irene Coleman
- Cosmos Club Hat Check Girl
- (uncredited)
Gino Corrado
- Cosmos Club Croupier
- (uncredited)
‘Snow White’ Stars Test Their Wits
Storyline
Did you know
- TriviaDuring filming, an electrician fell from the catwalk high above the set, narrowly missing the film's star, Joan Crawford. Shooting was temporarily halted while the man was rushed to hospital. Crawford refused to resume production until she was assured that the man would be fully cared for, that he would remain on salary, and that his family would be provided for. Crawford also called the hospital each day afterwards for reports on his condition.
- Quotes
Rudolph 'Rudi' Pal: In my opinion, most people prefer sardines to caviar because most people haven't tried caviar.
- Crazy creditsDuring the opening credits, a music box is shown playing a tune in the background.
- ConnectionsFeatured in The Romance of Celluloid (1937)
- SoundtracksWho Wants Love?
(1937)
Music by Franz Waxman
Lyrics by Gus Kahn
Sung by Joan Crawford (uncredited) at the Cordellera Bar
Played throughout as part of the score
Featured review
I've never been a fan of Joan Crawford, so it's always a surprise to find a performance of hers that really wins me over. I liked her in Grand Hotel (as 'Flaemmchen,') and I liked her again, very much, as Anni, the cheap night-club singer masquerading as a lady. Often seen in hard and brittle roles, Crawford has a very different look in this film, and expresses a vulnerability that brings her character to life. (Billie Burke is also notable, in the small but juicy role of the acid-tongued Contessa. And Franchot Tone has never been more likable.)
The Bride Wore Red is certainly built according to studio formula, but it also embodies all the earnest craftsmanship that characterized the studio system. The film at times seems clichéd, but it fully redeems itself through genuine empathy for the characters. And through its very strong premise: a 'scarlet' woman driven by hunger for the good life, who is given a slim chance of joining the upper class - provided she's cold and deceitful enough.
Until the final act, I really felt that the film could have gone either way: warm-hearted romance or bitter tragedy. The delicate balancing act makes it hard to achieve a satisfying pay-off. But the ending does succeed, thanks to a couple of nicely orchestrated scenes, and to the talent and charisma of Ms Crawford. These do make us believe that Anni could only choose as she does.
I was a bit sorry the film didn't delve just a little deeper into the moral and social dimensions. Anni's real problem is not what she wants, but rather what she may have to give up in order to get it. That distinction is not made entirely clear, leaving the film a bit too reliant on the old cliché that 'wealth doesn't bring true happiness.' But there's more going on here. Anni's 'tragic flaw' is not the hunger itself, but her willingness to give up honesty, morality and even true love. This distinction becomes almost subliminal, but it's there, and gives the film a slightly sharper edge. Anni is a character we can identify with and possibly admire, even when she's doing something despicable.
If you're in the mood for a traditional, old-style Hollywood entertainment, you won't go wrong with The Bride Wore Red. This is one of the good ones, a film I'd gladly watch again any time.
The Bride Wore Red is certainly built according to studio formula, but it also embodies all the earnest craftsmanship that characterized the studio system. The film at times seems clichéd, but it fully redeems itself through genuine empathy for the characters. And through its very strong premise: a 'scarlet' woman driven by hunger for the good life, who is given a slim chance of joining the upper class - provided she's cold and deceitful enough.
Until the final act, I really felt that the film could have gone either way: warm-hearted romance or bitter tragedy. The delicate balancing act makes it hard to achieve a satisfying pay-off. But the ending does succeed, thanks to a couple of nicely orchestrated scenes, and to the talent and charisma of Ms Crawford. These do make us believe that Anni could only choose as she does.
I was a bit sorry the film didn't delve just a little deeper into the moral and social dimensions. Anni's real problem is not what she wants, but rather what she may have to give up in order to get it. That distinction is not made entirely clear, leaving the film a bit too reliant on the old cliché that 'wealth doesn't bring true happiness.' But there's more going on here. Anni's 'tragic flaw' is not the hunger itself, but her willingness to give up honesty, morality and even true love. This distinction becomes almost subliminal, but it's there, and gives the film a slightly sharper edge. Anni is a character we can identify with and possibly admire, even when she's doing something despicable.
If you're in the mood for a traditional, old-style Hollywood entertainment, you won't go wrong with The Bride Wore Red. This is one of the good ones, a film I'd gladly watch again any time.
- How long is The Bride Wore Red?Powered by Alexa
Details
- Release date
- Country of origin
- Language
- Also known as
- The Bride Wore Red
- Filming locations
- Austria(Alpine exteriors)
- Production company
- See more company credits at IMDbPro
Box office
- Budget
- $960,000 (estimated)
- Runtime1 hour 43 minutes
- Color
- Aspect ratio
- 1.37 : 1
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