Wedding Present

  • 1936
  • Movie
  • NR
  • Comedy

A newspaper screwball comedy that didn't have enough screwballs or enough comedy, this bears about the same amount of resemblance to the real practices of journalists as NIGHT AND DAY (also starring Grant) bore to the real life of Cole Porter. Bennett and Grant (just coming off their success in BIG BROWN EYES) are cast as a pair of reporters working for...read more

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A newspaper screwball comedy that didn't have enough screwballs or enough comedy, this bears about the same amount of resemblance to the real practices of journalists as NIGHT AND DAY (also starring Grant) bore to the real life of Cole Porter. Bennett and Grant (just coming off their

success in BIG BROWN EYES) are cast as a pair of reporters working for city editor Bancroft. Grant's practical-joking antics cause Bancroft to lose his voice and finally exit his job, so Grant is elevated to the position of boss. He changes into an ogre and cracks the whip over his pals in the

reporters' room, and his pomposity causes Bennett to leave. She soon announces that she's going to marry stick-in-the-mud Nagel, a writer who specializes in inspirational books. Grant tries to win her back but she is adamant. Grant begins drinking and now worries about what to buy for a wedding

present. He knows she likes excitement, like fires and police calls, so he sends black-and-whites, fire engines, and hearses to the home where Bennett and Nagel are to be wed. At the conclusion, he arrives in a wagon from a psychiatric hospital and kidnaps her. (A similar scene was also in THE

GRADUATE, if you recall.) The movie ends with the two united, something that wasn't doubted by the audience for one second. It was Grant's final film in his five-year contract with Paramount, although he came back several more times on a single-movie basis. Ed Brophy gets whatever laughs there are

as a punchy pal. Ben Hecht and Charles MacArthur did it far better with their re-creation of newspapering in "The Front Page."

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  • Rating: NR
  • Review: A newspaper screwball comedy that didn't have enough screwballs or enough comedy, this bears about the same amount of resemblance to the real practices of journalists as NIGHT AND DAY (also starring Grant) bore to the real life of Cole Porter. Bennett and… (more)

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