GamerTab That was an excellent one.

ReaderKenka Let's be realistic.

Teddie Blake The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

Payno I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

vincentlynch-moonoi Van Johnson and June Allyson were good together...if the material was good. Not so good when the material was stupid. And this material is the latter.In the early parts of the film, Johnson seems downright creepy. He's supposed to be a bit of a playboy, but here he seems like more of a letch. Playing with Allyson's hair in a creepy way, blowing in her ear when she's clearly not inclined. Later in the film there's a bit of slapstick, which Johnson actually does quite well at, but it just seems so out of place in the film. Of course, later in the film he's sort of reformed once he begins falling in real love with Allyson.And then there's Allyson. Well, somehow I just didn't find Allyson that funny as a drunk.Perhaps the problem here is the plot and how they characterized Van Johnson's role. A children's' book writer who hates kids and is a playboy. It had potential. Unfulfilled potential, and the ultimate outcome was so obvious from the beginning.If the film is saved by anyone, it is -- perhaps a bit, at least -- by Hume Cronyn as the publisher, and by Butch Jenkins, the child actor who portrays a child sort of "rented" to pretend Johnson has a son. More disappointing is a rather poor role for the very talented Una Merkel (although this was in the period of her career when she wasn't too popular). Arlene Dahl also had a disappointing role here; Dahl was quite a good actress, but never made it beyond supporting roles or starring in B pictures.This film had potential, but turned out rather disappointing. It has its moments...for example a rather funny Indian sequence. But overall, this seems like a very long 98 minutes.

bkoganbing 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.

jotix100 June Allyson and Van Johnson were paired by their studio in several pictures. Once MGM type-casted someone, or Hollywood, for that matter, an actor, or an actress, went to appear in other films performing, basically, the same role. Which seems to be the case with "The Bride Goes Wild", directed by Norman Taurog, a veteran film director who always made pleasant movies.The premise in this film is just an excuse for presenting all these players in a comedy typical of the times. After all, the times were hopeful and happy right after the WWII and a semblance of normalcy was the intention. This is a silly comedy that wouldn't have been made today.In the other comment submitted to this forum, the contributor links what appears to be a gay subtext to all one sees in the movie, and in many aspects, it makes sense. Hollywood was notorious for being a gigantic closet where gays were safely kept even though everyone seemed to realize what really was going on.June Allyson and Van Johnson are given the same roles to play. Butch Jenkins, a child actor, appears as Danny, the orphan that Greg Rawlings, the Van Johnson character, is passing as his own son. Arlene Dahl doesn't have much to do. Hume Cronyn, Una Merkel and Richard Derr play the supporting roles.Watch the film as a curiosity as long as you don't have any expectations.

petershelleyau This 1948 MGM comedy is enlivened by the sight gags utilised by director Norman Taurog, and the performance of June Allyson as Martha Terryton, a Vermont school teacher who is made an illustrator for `wild' New York children's book writer `Uncle Bumps' aka Greg Rawlings (Van Johnson). The screenplay by Albert Beich employs the standard contemptuous ploy of a man deceiving a `prudish' woman in order to romance her. Greg pretends to be the father of 8 year old delinquent orphan Danny (Butch Jenkins) to improve Martha's perception of him, after their initial meeting where she has been repelled by his advances. This set up is made to be exposed as the climax, with the middle section devoted to supplying reasons that will help Martha make the right choice. The romance is given another angle in that she has an `understanding' ie engagement with school manual training teacher Bruce Johnson (Richard Derr) so that he exists as the sane alternative to Greg. What gives the screenplay an unintentional subtext is our hindsight of Johnson's sexual preference, with the word `gay' used in its original innocent context. The subtext is particularly noticeable in the scenes between Greg and his publisher John McGrath (Hume Cronyn), from the actors performances (note how Cronyn squeals at the sight of a small snake) and one scene shot on a balcony. Johnson is bare-chested wearing a swimming costume, and Taurog frames the actors so that the line of the balcony ledge makes Johnson appear to be naked next to Cronyn. The subtext can also be read in Greg's fetishist attraction to Martha's long hair, and when Martha shows Greg her sketches of Bruce, where he asks `No nudes?'. Johnson's different behavior toward the Allyson as the prudish virgin and Arlene Dahl as Tilly, Greg's alleged `married' vampy girlfriend. Like the later Rock Hudson and even Cary Grant, Johnson's less stereotypically masculine persona plays off better with a less stereotypically female.Beich's narrative allows for physical comedy, including much leg kicking by Danny, water splashing, prat falls, Greg being injured by Bruce's use of Greg's typewriter, traps at a woodland camping site, a snoring fat man on a bus, ants at a wedding, Martha offering her forehead for Bruce to kiss because of the disparity in height between Allyson and Derr, and `wild' driving, featuring terrible rear projection. John's car needing to be towed after it has stalled during his search for Greg provides for a nice link when Greg borrows the car of the tow truck business, and John's car is attached with John still inside. There is also a witty sea-themed bar with a mermaid cigarette girl, a waiter dressed in a deep-sea diver's outfit, and a gag with a fake octopus. Beich also gets a laugh from the first meeting between Greg and Danny, where they observe each others freckles. Beich and Taurog also have fun playing with Allyson's persona. At first she makes Martha's pouting prudishness funny, her mouth somewhat reminiscent of Judy Garland in her good girl roles. What makes Greg's `No nudes?' line so funny is Martha's `Certainly not!' reaction. Allyson's sociopathic smiling is paralled with her hilarious faux-crying after Greg has got her drunk, and she also scores laughs from her parody of Dahl's vamp acting, including wearing duplicate clothes. As if to mock Greg, Martha gets her haircut for her make-over, though before that she wears a provocative Helen Rose sheer blouse under a white suit, which gives the impression of being low-cut. Taurog does wonders with an obviously small budget. The black and white photography may have been made to down play the freckles of Johnson and Jenkins, but it merely makes them look bruised. Jenkins is very likeable, but Johnson becomes tiresome, and Dahl acts like she studied baby vamp under Lana Turner.