Cinq mariages à l'essai

A previous person described this film as "fluff." This is a perfect word to describe it, and should contain a capital "F."

But it's also entertaining and interesting. It has a host of 1930's and 1940's actors (and some pre-dating talking pictures), as well "youngsters," Mitzi Gaynor, Marilyn Monroe and Lee Marvin (latter in an uncredited bit part).

The premise is pristine, and the "plot" revolves in a silly fashion around the supposed customs of that period, with people scurrying about with issues which wouldn't warrant any dramatic presentation today.

The thin plot involves several couples whose marriages were ruled invalid by the governor, since they were married by a justice-of-the-peace, near the end of the year sometime back, with his certification not valid until the following January 1st.

Rogers and Allen are a pair with a morning "couples" radio program (seemingly consisting of nothing but sponsor plugs and inane "nasty-nice" banter), with a sham marriage for purely economic purposes. Bracken and Gaynor are a young couple who need to be remarried before his army unit embarks, or else their expected child won't be legitimate, but (according to his sergeant) "a foul ball." Golddigger Gabor (not a stretch here) literally faints when the letter from the governor arrives at her wealthy husband's (Calhoun) office, while her lawyer is discussing her plundering his assets during a divorce settlement (precipitated by a set-up when a fully-clothed impostor, who resembles a conservatively-dressed elementary teacher poses as his wife in a hotel room, for about three minutes, while her confederates note the incident).

Although released in 1952, this is strictly a "40's" flick. Even then, certainly the governor would simply have effected a special edict making these unions legitimate, and even if not, Gabor, however devious her purpose, would have been able to claim some sort of common-law entitlement, or rights under whatever passed for "palimony" then.

Still, it's now a nostalgic piece, with nearly all the thespians gone, except for a couple or so, including Zsa Zsa, now 90, plus however many years are still fudged from her birth date.

WE'RE NOT MARRIED was a terrific film--highly enjoyable and in a format very reminiscent of a great old film, IF I HAD A MILLION (1932). Both stories have many small stories that are all connected by a common theme. In MILLION, a variety of strangers are given a million dollars and the impact of this on their lives is explored. Here in WE'RE NOT MARRIED, the theme is that six marriages turn out NOT to be legal! It seems that the justice of the peace jumped the gun and married these couples just before his license took effect! You hear about the first case they discovered and then the rest of the film follows the remaining five couples. Most of the stories are comical and even the more serious ones still have a funny twist.

Each story is excellent, though probably the weakest of these is the one, unfortunately, that gets the most attention when you look up the title on IMDb. This is because it happens to co-star Marilyn Monroe. While she is just fine in the film, she really has little to do other than to look pretty and her role is one of the smaller ones in the film--so naturally publicity department guys plastered her all over posters and video cases!! In fact, no one star dominated in the film--it was truly a group effort. And, fortunately, none of the stories were poor and a few were simply terrific (especially the Louis Calhern/Zsa Zsa Gabor one as well as the Eddie Bracken/Mitzi Gaynor ones).

By the way, one of the other better skits has an interesting story. The Fred Allen/Ginger Rogers story is quite good, but Fred ALSO used this bit on the radio and made it a good bit funnier. Along with Tallulah Bankhead, Fred did the same sappy and commercial ridden bit on the radio. Then, he did the same bit again with Tallulah assuming the couple were having a really, really bad day. They slap the kid and call her names, they shoot the canary and have a thoroughly miserable morning. Having this story end this way in the film would have been great, but instead a more conventional ending was used. And by the way, I am NOT old enough to remember this radio bit--but I heard it on a record album a while back featuring great radio bits.

It's a clever premise, but the results have dated rather badly. Unfortunately, the comedy level never reaches the sparkle it needs, though the opening vignette (Rogers and Allen) comes close. Perhaps that's not surprising given Director Goulding's credits, which suggest he's more at home with Bette Davis melodrama than with material of this sort. Also, I'm surprised a big-budget studio like Fox didn't film this in Technicolor, which would have added a lot to the atmospherics. Instead, we get dour gray tones that undercut the light-hearted mood, making the movie look older than it is. But then, 1952 was a year Hollywood was looking to retool in the face of TV's onslaught. The following year would see an explosion of wide- screen color beyond the reach of the livingroom tube. As a result, this comedy venture may have been caught in the transition.

To me, the Allen-Rogers sequence is the best. It's actually a rather scathing look at entertainment make-believe and the relentless assault of commercial advertising. In private life the two are barely speaking, while on radio they play a pair of happy marrieds who trade comic barbs in between pushing the sponsors' goofy products. It's rather deftly and bitingly done, even though the 57-year old Allen looks like he's been on a two-week bender. In passing—note that even though we see a number of living rooms, no TV's are in sight, only radios! This was Hollywood in its final stage of denial.

The other vignettes are mildly entertaining, with a look at a number of performers on the way up the ladder-- Monroe, Marvin, Wayne, Gaynor. Especially satisfying is the delicious opportunity the letter provides Calhern to turn the tables on the gold-digging Gabor and her grasping attorney. At least the screenplay had the good sense not to reconcile these two at the end. But notice how the script insists the others be reconciled in typical 50's happy ending style. This certainly rings hollow in the case of the feuding Allen-Rogers. Given a second chance, it's hard to see how they could possibly stay together. In the case of Douglas-Arden, the most incisive of the vignettes, they may be totally bored with one another (check the dinner scene), but are too complaisant to actually change. That strikes me as maybe not the funniest, but at least as the most realistic of the episodes.

Anyway, whatever the comedy lacks in sparkle, it is revealing of its time—radio, beauty pageants, war in Korea (implied in Bracken's troop ship). But I'm afraid that the clever premise plays better than the mild results.

Back in the '50s, a common sitcom episode was the married couple finding out that they're not legally married.

"We're Not Married," a 1952 film, has five such couples, including Fred Allen and Ginger Rogers, Marilyn Monroe and David Wayne, Eve Arden and Paul Douglas, Eddie Bracken and Mitzi Gaynor, and Louis Calhern and Zsa Zsa Gabor.

There were several episodic, anthology-type films from this period. "We're Not Married" deals with five very different couples and what the notice of non-marriage means to each couple. There's a wealthy man (Calhern) married to a gold digger (Gabor), a bickering husband and wife radio couple (Allen and Rogers), a couple in a slump (Paul Douglas and Eve Arden), an ambitious young woman and her husband (Monroe and Wayne) etc.

The best is the Calhern-Gabor, and Allen and Rogers make a good team and give bright performances. There are some funny sequences throughout.

Mores have changed a lot since this film, but it makes for pleasant watching with good direction by Edmund Goulding.

Just watched this on Netflix Streaming. In this one, Victor Moore plays a justice of the peace who presided over six weddings before his license to do so took effect. That means none of those couples are legally married. An explanation of one of them is provided in discussion so only five is seen as depicted on screen: Fred Allen and Ginger Rogers are the first we actually meet and see attempting to get hitched just before they start their morning radio show. They're the funniest as they argue just before airtime before then acting all lovey-dovey plugging various sponsors. Reminds me of an actual skit Allen did with Tallulah Bankhead on his actual radio show in which they also played a married couple on the air doing both the lovey and bickering version of their banter that I heard once on a long playing 33 1/3 rpm record back in the late '80s. The next segment has Marilyn Monroe as a Mrs. America contestant while hubby David Wayne is taking care of their baby and doing housework. Then there's Eve Arden and Paul Douglas as a slightly boring couple with Douglas doing a little fantasizing with other women when he gets his letter. The next one has Louis Calhern as a Dallas oil executive (talk about coincidence as this is my next review concerning original "Dallas" cast members in my movie/TV appearances list in chronological order though the cast member I'm referring to here was Wayne who was the first Digger Barnes there) who gets a divorce summons from Zsa Zsa Gabor (known for many such cases herself in her real-life future). And, finally, there's Eddie Bracken as an Army man who doesn't want his pregnant wife-Mitzi Gaynor-to birth an illegitimate child while he's away. Like I said, the first segment was the funniest with the Monroe/Wayne, Calhern/Gabor, and Arden/Douglas ones also providing some laughs but the most touching is the last one. By the way, it's fascinating seeing Lee Marvin in that one not playing a tough guy. In summary, We're Not Married is quite a good mix of various short stories put in one feature.