Brides Are Like That (Warner Bros.) (1936)

SHOULD SCORE WELL Hollywood, Jan. 16.—This is a light domestic comedy taken from Barry Connors’ stage success, ‘‘Applesauce.”’ It is played with intelligence and zest and affords pleasing average entertainment. As teams, Alexander and Miss Louise, and the Lockharts, use the situations furnished by the plot to establish themselves in the front rank as comedy performers. Joseph Cawthorn turns in another tongue-twisting characterization which is good for many laughs while Purcell as the rejected suitor and Kay Hughes as the momentary rival of Miss Louise furnish good contrasts. Director William McGann has followed closely the technique of the stage production and has timed nis scenes expertiy. Ben Markson’s adaptation is clever, with fresh dialogue well spotted. Bryan Foy supervised production. The picture is good, wholesome family entertainment and should score well with general audiences. SURE TO PLEASE SUMMARY: Quick tempo and smart dialogue, coupled with clever acting by the entire cast, make this a bang-up comedy. It is nicely directed, and contains cute situations. It should appeal to all classes. Newlyweds and elders will remember their own honeymoon, and youngsters will have ideas of their own. Alexander, Louise and Lockhart lead the cast for acting honors. Concentrate on the title and do everything to build up the bride idea. Contact the various merchants dealing in everything pertaining to title tie-ups. Contest for best rules for happiness, and voting for most popular young man about town. Free admittance for brides during showing. Newspapers for best recipes submitted by recent brides. —SHOWMEN’S TRADE REVIEW SENDS AUDIENCE OUT IN HAPPY AMUSEMENT —MOTION PICTURE HERALD SHOULD PLEASE ANY KIND OF THEATRE GOER The ingredients utilized have often proved their entertainment and commercial value. Always it’s homey, humorous domestic comedy plus romantic interest. Treating ordinary human beings, the story is told and acted in a thoroughly human and natural manner. Together they give it an atmosphere of believability. It is not pretentious in any way, but name values are better than average and production settings are adequate. The picture’s worth to both showmen and audiences is where both want it—in the action and dialogue as they appear upon the screen. Just plain amusement, the show moves to a lively pace in action, dialogue and situations. It’s the kind of show that can be offered to family audiences with confidence. ; Previewed at Warner’s Hollywood Theatre. The paying preview audience, which had just seen ‘‘Captain Blood,’’ was enthusiastic in expressing approval of ‘Brides Are Like That.’’ The consensus of patron lobby comment was that the show should please any kind of theatre goer.—McCarthy, Hollywood. —MOTION PICTURE DAILY We've reprinted these amazing previews so that you'd realize why the trade's — ‘in the knowers’ are calling “Brides Are Like That’ the surprise show of the year. Don't make the mistake of giving it just another campaign. It deserves more than that. And you needn't take our word for it. If the reviews don't convince you, —brother, you owe it to yourself to have this picture screened before you start promoting it. Modest array of names and production will limit this exceptionally fine domestic-romantic comedy to program support for more arrogant pictures in most spots, but that is no indictment of its merit as enchanting entertainment. In fact, it comes as near perfection in sprightly, heart-warming comedy as the average diversion seeker will find. And if it doesn’t return handsomely on the investment it will be because of inadequate selling. For Ross Alexander and Anita Louise, and for Director McGann the picture certainly marks hightide. To expound the amusing tribulations of a young bridal pair beset by the harsh practicalities of a world represented by their elders and guardians, two youngsters couldn't have been found in the film roster who might better have done the job than Alexander and Miss Louise. This is intelligent use of talent by Warners-First National, and the two young leads have taken every advantage of the opportunity. Miss Louise complements with charming appeal as the ingenue torn between the ardent lovemaking of the glib young man and the practical, plodding doctor, Richard Purcell. She reveals fine, facile talent. William McGann’s direction is always crisp, well in hand, alert to every value, deftly balanced and timed. And in both direction and writing, a lilting cheeriness and buoyancy has been kept as essential quality, to send audiences out in happy amusement. —VARIETY DAILY A Warner Bros. Picture @ Country of origin U. S. A. Copyright 1936 Vitagraph, Inc. All rights reserved. Copyright is waived to magazines and newspapers.