User reviews

Though They All Kissed The Bride dated a bit with the outbreak of World War II, it still holds up well today. Joan Crawford did a very fine job stepping in for Carole Lombard as the trucking company CEO who gets brought down romantically by the charming Melvyn Douglas.

It's easy to see why Harry Cohn wanted Douglas in the part, the film is a domestic version of Ninotchka. Douglas is a crusading reporter writing an article about the abuses in a trucking company where they seem not to have heard of the Wagner Act. Joan Crawford is the daughter of the firm's founder who steps in to run the place after dad's demise.

Don't let her sex fool you, she's all business until she meets up with Melvyn Douglas. In fairness to her, Crawford is stepping up to the plate with an apparently scatterbrained Billie Burke for a mother and a princess débutante in Helen Parrish as a sister not capable of doing much of anything.

In an eerie parallel in real life, after her fourth husband Alfred Steele from Pepsi Cola died, Crawford went into the business world with a vengeance and her years in Hollywood turned out to be a training ground for that new field of endeavor.

Best moment is Crawford and Allen Jenkins winning a jitterbug contest when she goes to the company banquet incognito.

Though I can see this film would have suited Carole Lombard better, Joan Crawford does just fine in this bright comedy.

Joan Crawford and Melvyn Douglas star in "They All Kissed the Bride," a 1942 battle of the sexes film also starring Allen Jenkins, Helen Parrish, Billie Burke, and Roland Young. Crawford plays a ruthless business woman, M.J. Drew, after the scalp of a critical reporter, Mike Holmes (Douglas) who is getting inside information from one of her employees. Unfortunately for M.J., when the two meet, it's instant chemistry, though each one doesn't know who the other is.

This is a light, entertaining movie with some great moments (particularly the jitterbug competition). It's particularly interesting to see the message hammered home in so many of these films: M.J. is a tough business woman because she's "frustrated" and has "never been a woman." Crawford does an excellent job in something a little different for her. She's not an actress with a light touch, but it works well here. She plays her part very seriously, and because it's an amusing script and well-directed, she comes off as quite funny. Her clothes are amazing, and she looks fabulous. Melvyn Douglas - how many of these breezy comedies did he just sail through before anyone realized what a profound, magnificent actor he was? He didn't get the opportunity to show his stuff until old age - and then, watch out.

Very entertaining. Predictable, but fun.

This is certainly not one of the more famous films made by Joan Crawford in her long career, but I wish it was because in many ways she parodies the hard as nails image she strongly cultivated in films. The movie begins with the fascist-like Crawford at a board meeting for a corporation she heads. You can tell right away that she is the stereotypical hard working, sex loathing, female image common in some 1940s films. In fact, in many ways, she seems like a 1940s version of Scrooge--though perhaps a bit less likable!! Into this rigid and career-driven world arrives Melvin Douglas--a writer who is doing a book on the way this corporation mistreats the employees. Crawford is angered by this, but considering it's all true and her actions fuel the fire, there isn't much she can do. Douglas also enjoys baiting and irritating Crawford--once again, because she makes this so much fun! In many ways, this film is reminiscent of the wonderful DEVIL AND MISS JONES, as later, Crawford attends an employee function and is accepted with open arms--because they have no idea she's their hated boss! And, like this other film, it's a good comedy with plenty to make audiences happy. The only serious deficit is that the ending is drawn out way too long and could have benefited from a trimming.

All the actors were just fine, though I was particularly impressed by Bilie Burke's supporting role. Unlike most of her films, she was much more restrained and less annoying than usual--this time, she was a very welcome addition.

By the way, a few final observations. First, when the doctor was describing the symptoms of falling in love, he actually described symptoms of schizophrenia! Also, there is a mistake in that the alarm that CONSTANTLY goes off at night on the trucks only occurs at the beginning of the film. Later, at the same time of night, the alarm is strangely silent.

I was startled by this movie, because as a rule Joan stuck to a pattern. In the 20s, she was a flapper. In the 30s, a shopgirl. 40s, put-upon drama queen and so on. This movie, a 1942 film, doesn't conform to any Joan pattern. It's a comedy, with Joan actually being funny. The plot is simple, with Joan being a stern trucking company owner who is "transformed by love." How is this done? A very frantic jitterbug, lots of mistaken identity, and a delightful drunk scene. Listen to Joan try to say "speech of acceptance" while more than a bit tipsy. This is a very good movie and highly recommended by this Joan fan.

One of Joan Crawford's better comedies. Comedy was not her strong suit and she didn't do many of them. This is a good one. Originally written for Carole Lombard before her death. Joan had big shoes to fill as Lombard was one of the screen's best comediennes. The story is about a no-nonsense owner of a trucking company (Crawford) who falls for a cocky reporter (Melvyn Douglas) out to bring her down. Douglas is good but I can't help but feel it's a part written for William Powell or Clark Gable in the '30s. Nice support from Roland Young, Allen Jenkins, and Billie Burke. Like I said, one of Joan's better comedies. She's very good. Terrible hair though.

Have always liked comedy (trying to appreciate all kinds too, while preferring some to others admittedly) and romance individually. There are many cases where they have gelled beautifully together and made for very good and even classic films. Alexander Hall is not one of my favourite directors but what has been said of his work, not enough, has been generally watchable. It is also hard to resist a cast as talented as the one we have here in 'They All Kissed the Bride'.

If one has more used to seeing Joan Crawford in melodrama, which in her prime she was wonderful at, and not seen enough of her comedy-romance work (which to me was a good deal more variable), they may worry as to whether Crawford would fit a role that sounds on paper better suited to Carole Lombard, who if she had not died so tragically would have played it perfectly. It is not just Crawford, we have the ever debonair Melvyn Douglas and the likes of Allan Jenkins, Roland Young and Billie Burke. 'They All Kissed the Bride' represents all of them well and deserves a lot more credit. Is it perfect? Absolutely not. Is it worth watching? Absolutely yes.

'They All Kissed the Bride' is on the long-winded side in the latter stages, with the too drawn out ending especially going on for a lot longer than it needed to and it was like the writers weren't sure how to end it. The material does lack freshness in spots, especially in the final quarter when the film does lose energy which was there in the first two thirds.

Also thought that 'They All Kissed the Bride' would have even better if Crawford's character was more likeable and less one dimensional and was developed more in terms of going more on a journey.

Put this more down to the writing actually than Crawford, who actually gives it absolutely everything without being over-the-top or unbalancing the film like she could do in her comedy endeavours dependent on her material. Douglas is typically suave and debonair with his usual witty comic timing. The supporting cast are even better, with sterling support from Jenkins (very funny, really sells it in the jitterbug sequence), Young (ditto with so much energy) and Burke (appreciated her restraint here). Hall's direction keeps things light on the feet and going at an energetic pace, without being entirely distinguished.

Writing is sophisticated and witty on the most part, although the momentum is not always consistent, with lines that makes one smile. The story is not perfect but is mostly bright and breezy with a good deal of charm and scenes that stick in the mind for a while. The jitterbug sequence is priceless. 'They All Kissed the Bride' is well made visually, with nice style and atmosphere.

Summing up, worth the look. 7/10

Joan Crawford was an underrated comedic actress. In the 1920s and 1930s, some of her biggest hits were comedy films, including UNTAMED (her first talkie) and FORSAKING ALL OTHERS. She also went on to give a classic comedic performance in THE WOMEN as man-eater Crystal Allen, and played very well in the underrated all-star comedy hit WHEN LADIES MEET. Most of Crawford's comedies were extremely popular, which is why it's a little surprising that she is better known for her dramatic post MILDRED PIERCE work.

THEY ALL KISSED THE BRIDE is a breezy, fun movie, in which the leading stars and supporting actors all shine. The story engaging, yet light and airy. Crawford is photographed and performs beautifully, and Melvyn Douglas is at his peak as a charismatic romantic lead.

The film is not a major classic, but it's the enjoyable kind of old Hollywood fare that anyone who loves older movies can appreciate. It is an optimistic and happy movie that will appeal to people looking for a dose of positive inspiration and '40s pop culture.

Just watched a rather fuzzy print on YT but thoroughly enjoyed it. If you have a taste for classic screwball don't miss this. Great ensemble, brisk silliness. Crawford fits well surprisingly.

Joan Crawford (MJ) heads a trucking company and is a no-nonsense boss who demonstrates strong leadership. She is, of course, lacking one thing. And this comes in the shape of reporter Melvyn Douglas (Mike). However, Douglas isn't so impressed with the way that Crawford runs her operations and is determined to expose her. They both fall for each other in this gentle comedy.

The film is OK if a little boring. My wife found it more interesting than I did. Crawford wears some cool outfits, especially the slinky black outfit. It's as if she's covered in sparkling Christmas lights. It's also interesting to see how they ripped off Dynasty and that other famous Joan – Collins - who has obviously provided the inspiration here as the powerful woman in charge. Crawford is good as is truck driver Allen Jenkins (Johnny) who later became Officer Dibble and went on to patrol Top Cat's patch.

Joan Crawford is a businesswoman who owns her own trucking company, and Melvyn Douglas is a reporter determined to write a book about her. As this is a light comedy one knows that these two will fall for each other sooner or later, and that complications will abound. Crawford is quite good as the lady executive, and Douglas most expert in the kind of role he had played dozens of times before. Both stars are in their prime, and just young enough to pull this slight story off. This movie is no classic but is extremely pleasant to watch. Made in the early days of World War II, it is the kind of picture that would soon go out of style, as the pressures of war would produce a different kind of comedy, less subtle and sophisticated, more obvious and at times more outrageous. They All Kissed the Bride is light and leisurely in tone, coming as it did between the end of the great Depression and the start of global war, its refusal to take itself too seriously must have been a tonic in its day, and if one is in the right mood it can still work its magic.

Mj drew has inherited a trucking firm, and she runs a pretty tight ship... ping company. She's brutal, and only cares about the profits. But when a writer starts writing about her cold heart, she tries to do something about it. Then we go off on a side story about her sister getting married. The sound and picture quality are pretty bad in parts, at least the copy I saw on tubi streaming. The best parts are the fun co-stars in here... melvyn douglas, allen jenkins, billie burke. And of course, roland young (Topper !). Douglas gets in a few good cracks, but sadly, jenkins, burke, and young were mostly background props in this -- a shame. They were all hilarious in so many films. It's not bad, considering the bumps in the road during production! Directed by alex hall. He was nominated for mister jordan, and had started in the silents. Some interesting trivia in the Trivia section here, which explains a few things. It's okay.

In this lively and occasionally witty comedy Joan Crawford loosened up as much as she ever would on screen; interestingly, it took a loan out to Columbia to accomplish the transformation. Here she plays the chairman of the board of a huge trucking company, inherited from her father, who unexpectedly falls in love with a muckraking reporter (Melvyn Douglas) who has been printing unflattering stories about how she runs her business. Instead of the sterile and talky duds that weighed down Crawford's career, this off-the-beaten-track entry contains moments of genuine comic imagination of the wacky variety. It's the kind of film that would have been perfect for Lucille Ball or Rosalind Russell (actually it was supposed to star Carole Lombard, but she died in a plane crash before filming began) but Crawford rises to the occasion. Allen Jenkins, Mary Treen, Billie Burke and Roland Young are their typically entertaining selves.

I found this film to be very enjoyable and it is hilarious to see Joan Crawford do that jitterbug dance number. Very rare that we get to see her in that situation.

Be sure and catch this the next time it is on television.

a really fun movie. lots of stuff going on in each scene. a joy to watch. very good pacing. tight script.

joan is really really excellent in this comedic role. i am a fan of joan crawford (i like her more with more study) but not a huge fan relative to some other classic stars. so in other words she stands out more then usual in this role. very sexy looking in some of the gowns also as a bonus.

melvyn douglas is also a hoot in this.

the banter between douglas and crawford is believable and a LOT OF FUN. it has a touch of the screwball comedy mixed in with plenty of other comedy.

an acting and comedic tour de force.

supporting cast is quite solid, the story a lot of fun.

worth your time to seek out.

regards, jsq

Crawford was great in several dramatic roles including A Woman's Face, The Damned Don't Cry and Mildred Pierce. In the early 40s she was offered some bad scripts and some films she wasn't suited for. This film is one of them. Joan, like her rival Bette Davis, had no talent for comedy. Crawford was pretty much unintentionally funny after 1951 and in Mommie Dearest, but never intentionally.

Melvyn Douglas can usually brighten up any film. Not this one. It is just dumb, not funny.

I think Columbia Pictures through these two actors who were so great in A Woman's Face the year earlier could save a bad script.

I liked the chem between Crawford and Douglas. Really liked it. Really, really liked it.

I was so happy to see this lovely film again after first seeing it almost 60 years ago, it is a delightful comedy, remaining quite fresh even after all these years. It was particularly wonderful to see those great supporting actors who consistently made all those films so successful e.g. Roland Young and Alan Jenkins (the perennial side kick). It to me will remain a great joy and privilege to have been able to see this happy film once more.

This is a wonderfully wacky comedy romance with a first-rate cast. But, if ever there was a comedy film made at the wrong time, this is it. Although its U.S. box office was nearly $3 million, "They All Kissed the Bride" was way down the list for 1942, at 100th place in ticket sales. Ahead of it was a plethora of films in all genres from adventures to Westerns. Even a Sci-Fi horror film finished the year higher ("Cat People").

When this film appeared in theaters in June of 1942, the U.S. was six months into World War II, and much of the rest of the world had been at war for nearly three years. War and related films were naturally of great interest to civilians and those on the home fronts. But of equal interest were comedies and musicals that entertained and gave respite from the worries of war. The top box office film for the year was Walt Disney's "Bambi," at $18 million. Right behind it is the big Academy Award winning picture of the year, "Mrs. Miniver," that won six Oscars out of 12 nominations. Many outstanding musicals, comedies and war films followed in a year of many very good films.

So, why did this very witty, clever, funny and superbly acted comedy romance not fare much better than it did? The only logical explanation is the plot. The story of "They All Kissed the Bride" centers around a hard-boiled woman boss of a business, and an author who is writing about big businesses and the common workers they employ. In the middle of a world war, with almost no unemployment and everyone rallying for the cause, businesses and worker disputes were the furthest things from anyone's mind. So, funny or not, the plot wasn't a big lure for attendance. And, the only slight reference to there even being a war on is toward the end concerning a government war contract for a mill.

But, the good news is that this film's plot is not outdated, and without the worries of that time, modern audiences can now watch it and relish the wonderful humor. The only fault I find with the film is its title. The title refers to a single early scene of a reception line after a wedding in which guests give the bride a kiss and shake hands with the groom. That has little to nothing to do with the gist of the movie. "The Writer and the Female Tycoon," would have been a better title.

Besides the wonderful barbs and witticisms in the dialog, this film has some very funny antics and scenarios. There's a recurring issue of the Drew women supposedly having a liver problem. The symptoms are knees giving out and their getting shaky and light headed around men they are attracted to. Another is when the leads have reverse evenings when one falls asleep on the other and then wakes up in the morning in the other's bed and some sort of sleepwear. These are riotously funny. Joan Crawford gets a tremendous workout in a hilarious frenetic dance scene with Alan Jenkins. A number of funny scenes involve "spotters" (trucking company "police") nabbing Jenkins for company violations.

I noticed one frequent reviewer called this film a "domestic" take on the 1939 comedy satire, "Ninotchka." But, how anyone can compare the plot of this film with that of "Ninotchka" is beyond me. The only resemblance in the two films is in their male lead - Melvyn Douglas.

Anyway, "They All Kissed the Bride" is a very funny and entertaining film. Joan Crawford and Melvyn Douglas make the perfect sparring characters who fall for each other. It would have been nice to see Carol Lombard in the lead female role, as originally planned before her untimely death in an aircraft crash while promoting American war bonds. But, Crawford does very well in the role of Margaret J. (aka, Maggie, aka, "M.J.") Drew. A very good supporting cast has some well-known leading and supporting actors of the day - some with meaty roles. Allan Jenkins is Johnny Johnson, Roland Young is Marsh, and Billie Burke is Mrs. Drew. Others add to much of the humor

Crawford and Douglas were paired in four films, of which this is their only comedy. Comedy was a forte of the talented Douglas, but it was not so for Crawford. She was best at drama and mysteries. But of the several comedies Crawford was in, two are superb. This is one of those and the other is "Love on the Run" of 1936, in which the bulk of the humor is provided by Clark Gable and Franchot Tone.

After watching several Melvyn Douglas comedies, I've noticed a nuance about them. All of his characters in these films are eating something in rather long scenes. Here it's hotdogs. In "He Stayed for Breakfast" of 1940, it was chicken and steaks. In "Ninotchka" of 1939, it was lunch with Greta Garbo. And in "Good Girls Go to Paris" of that same year, it was tea and toast.

Here are a few big laugh lines in the film.

Vivian Drew: I had a flat tire. Margaret Drew: You've got a flat head. Mrs. Drew: That's not true, Margaret. None of the Drews were flat-headed, except Uncle Ellereth.

Michael Holmes: M.J.? You're her? Margaret Drew: Yes, the old bag, that tire character.

Margaret Drew: Why don't you do something about that glandular condition of yours?

Michael Holmes: Are you sure when Margaret was born they didn't make a mistake at the hospital and give you the wrong brat? Michael Holmes: Shall I open the door? Margaret Drew: No, the door's too far away.

Margaret Drew: Are you a man or aren't you? Marsh: Well, my birth certificate says male - I hope I won't have reason to regret it.

Most comedy films Joan Crawford attempted to do honestly aren't that good (and this is from the point of view of a fan). True, the material was often second or third-rate, and she was often given the role after a better comedic actress turned it down, but she didn't have a light touch with her acting. That's not a bad thing, as her melodramas (quite a few of them) are amazing, but it isn't good for comedy.

I can see how the film is dated, as most of the comedy revolves around the "all businesswomen should stay at home and have babies and not be businesswomen", but it wouldn't be funny if it were the other way around. The odd thing is that Joan looks like Joan, and Joan sounds like Joan, but she doesn't act like Joan. Her comedic timing is surprisingly good, especially if you consider that the role was written for Carole Lombard (she was killed in a plane crash just before shooting started).

Melvyn Douglas is unfortunately cast as another one of his free-soul gigolo-esque caddish mustachioed men, but watching this film, you see how this is the man that made Theodora (Irene Dunne) go wild and Garbo laugh. His chemistry with Crawford is amazing, and he brings out a sweeter side in her character. The support of the rest of the cast is good, but they don't overshadow the two leads. Billie Burke is less annoying than usual, and it is easy to see her as Joan Crawford's mother.

The plot is something about a steely female called M. J. Drew who is head of a trucking company. She apparently hates men, as proven by the way she treats her workers. One day, along comes a man called Mike Holmes- he doesn't know who she is at first, and tries to flirt with her. She starts to feel funny and goes to the doctor several times- but is the doctor right? Has her ice-cold heart been warmed by the love of a man she pretends to hate?

Ending honestly was a little rushed, but it fit. It was satisfying.

(Sorry, I went the cheesy tagline route.)

One last thing I noticed...

The title is misleading- the bride who is being kissed is not Crawford, but the actress who plays Crawford's character's sister. Melvyn Douglas's character shows up to this (unhappy) wedding uninvited, drunk, and starts to flirt with all the women. He is the only one who kisses the bride- but a little later (like a couple minutes), he does kiss Crawford.

So, while a little far-fetched, it is good fun and will probably leave you with a stupid smile on your face. Unless you're hunting for misogyny, in which case you may not want to watch this film.

Good Old Fashioned Romance. Although a little dated, with the plot line that a woman can't have a career and be married at the same time, but overall an enjoyable film. Melvyn Douglas is a great leading man, and also very funny.

They All Kissed the Bride (1942)

*** (out of 4)

Writer Michael Holmes (Melvyn Douglas) sets out to write a book on evil bosses and the poor workers who have to suffer under them. Michael sets his eyes on business woman Margaret Drew (Joan Crawford) who runs several companies surrounding truck drivers. As Michael begins to crack her business practices, the woman finds herself having feelings unlike ever before. THEY ALL KISSED THE BRIDE has sadly been forgotten over the years since it's been rather hard to see but the movie is certainly worth being re-discovered for a number of reasons. It's worth noting that this movie was originally meant for Carole Lombard but that star was killed shortly before the film went into production so Crawford asked to take over the role in respect. MGM let her go to rival Columbia for this picture and legend has it that the actress gave her salary to the Red Cross. Back to the film, it's certainly a very entertaining little gem that is pretty silly but at the same time the cast just makes it so much fun. Crawford was extremely good in the type of role that clearly wasn't written for her. I thought she did a good job with the "tough" boss role but also during the comedy bits when they'd come along. There's a running gag dealing with her getting weak at the knees and she makes this very funny. Douglas is also extremely good in his part and there's no question that the two stars do a fine job playing off one another. Allen Jenkins adds some good comedy as a truck driver and we also get nice turns by Billie Burke and Roland Young. The film actually has quite a few funny scenes but the most memorable is one where Jenkins is drunk and just grabs Crawford and throws her onto the dance floor. The high speed that they're dancing is quite impressive but more so is the fact that Crawford keeps a straight face throughout the whole thing.

Some months after Pearl Harbour was a little late to be putting out a New Deal-style crazy comedy, and it feels like it here.

Alexander Hall was a Broadway veteran whose Hollywood films never seemed to venture out of doors. He helmed a strenuously busy but claustrophobic showcase for La Crawford, after her scenery-masticating dramatic hit in "A Woman's Face"; but when Carole Lombard died, Joan was loaned out to Columbia for this change of pace, donating her fee to the Red Cross because it found Lombard's body.

She plays a "woman in possession", of the genus Barbara Stanwyck, who inherits the family trucking firm, mentors her susceptible kid sister on men and copes with the "Topper" couple, Young and Burke, as distrait presences around the sister's wedding. The score, over-reliant on "You Must Have Been a Beautiful Baby", nudges us to notice what's meant to be funny. Joan strides through the cut-ups: shoulders back, mouth grimly fixed, eyes flaring like a basilisk as ever. Reporter Douglas, the eternal support to strong women, threatens to reveal her company's dark side before warming to the object of his expose. Who'd have thought it?

Joan is in transit, image-wise, between her tragedy queens at MGM and her future, in reduced circumstances, at Warner- where her Oscar-winning but brief comeback in "Mildred Pierce" would finally establish her, middle aged, as an increasingly batty matriarch and dominatrix. It's a switch for which she seems to be preparing in her desk-set background and admonitory scenes with sister Parrish, who's an "innocent young girl" of Hollywood's most artificial sort, all head-dipping and handwaving, gooey-eyed and goggle-mouthed.

Joan's fatiguing jitterbug at the company hop ruefully acknowledges that her jazz-baby days are long gone, and also that even the biggest Hollywood stars have to clown for the war effort- like arch-rival Bette Davis croaking through "They're Either Too Young or Too Old" in "Thank Your Lucky Stars".

With no plot surprises threatening, the audience has to lean on farcical thesping, and there is too little slapstick after the wedding opening to gloss over the silly psychology within this set of conventions. None of the accomplished practitioners seem quite on key, as if war clouds had got to them. Burke had become too engrossed in her grande-dame daffiness, her voice lurching ever higher out of her control: the Glinda persona too must have suddenly seemed irritating and out of date for grown-up movies in wartime, for both she and Young were soon dropping into cameo parts. Douglas would head off to the theatre after rising from private to major in the Army. The picture flopped. The Thirties really were over.