boblipton Captain James Gleason orders Lieutenant Ray Milland to get a bottle of French champagne to launch the new aircraft carrier. However, Olivia de Havilland has just bought the last bottle of French champagne in San Francisco for her nuptials with Sonny Tufts, who has spent two years in the Aleutians. How is Milland going to get the champagne and Miss de Havilland in this randomly named film?It's a rather flat romantic comedy directed by the usually very competent Sidney Lanfield, full of random gags and misunderstandings. Miss De Havilland had just spent two years fighting Warner Brothers in court so she wouldn't have to appear in muddled, unfunny comedies, and she had launched her newly serious career auspiciously enough with TO EACH HIS OWN and DEVOTION, only to follow it up with this rote effort. Neither of the leads shows any sparkle; the two comics, Gleason and Percy Kilbride (as de Havilland's father) lack any zest and Sonny Tufts, despite being the object of lust for a brace of screen beauties, remains a dull hunk of beef.

MartinHafer The plot for "The Well-Groomed Bride" is incredibly thin...too thin for an entire movie. This is odd, as Olivia de Havilland had just recently won the right to break her contract with Warner Brothers and was now a free agent...and she made THIS??When the story begins, a navy ship is about to be launched and the Captain (James Gleason) orders his Lieutenant (Ray Milland) to go buy a French Magnum...NOT an easy task considering that the war had just ended and champagne production (and everything else in Europe) was a mess. When he finally does locate a magnum, one of the only ones on the entire West Coast, Margie (de Havilland) has just purchased it. He tries to weasel it off her, but she needs it because her fiance (Sonny Tufts) is returning from the war to marry her...and he's instructed her to find the biggest bottle of champagne she can for the occasion. That is pretty much the entire plot, though in the course of things, the lady and the Lieutenant fall in love...which is pretty much what you'd expect.Is this a bad film? At times (such as when the Lieutenant SLUGS Margie!!), it is. But for the most part it's a forgettable time-passer that starred two actors who simply were too good for this sort of film. As for Sonny Tufts, well, this sort of fluff was pretty much as good as it gets for him and his somewhat sordid career.

mark.waltz It was champagne that brought them together, and I'm wondering how much of the bubbly the screenwriter had when they wrote this, and how much champagne that Olivia deHavilland and ray Milland drank when they signed to make this. Milland, fresh from hiding booze in chandeliers in "The Lost Weekend" was celebrating his Oscar victory perhaps, but deHavilland's first Oscar was a year away. It wasn't for this, one of the more embarrassing examples of screwball comedy and long made after the height of that sophisticated genre.After searching San Francisco for much of the first half for the largest bottle of champagne, rivals Milland and deHavilland end up on his navy ship, arguing with captain James Gleason over why the navy should have the bottle to christen a ship over deHavilland who wants it for her wedding to another Navy lieutenant, that great screen actor of such raw emotional power, Sonny Tufts. It doesn't take Milland and deHavilland long to discover their feelings for each other, leading to more ridiculous complications that bring the film down even more.If the thought of Percy Kilbride and Marjorie Main is a bizarre combination, try Kilbride playing deHavilland's father. Slinky Constance Dowling adds sultry seduction as the woman who initiates a split between deHavilland and Tuft. Her hairstyle here is reminiscent to Lauren Bacall's, already copied by Lizabeth Scott and K.T. Stevens. This seems to be the type of script put together through shuffled word cards, formulating a plot that reeks of desperation for all involved.

telegonus This is not the funniest comedy ever made, but it is proficient, as written by Claude Binyon and directed by Sidney Lanfield, both of whom had done far better work than this; and while it's no masterpiece it's not a total loss by any means. There's a touch of late screwball in Ray Milland and Olivia de Havilland warring over a champagne bottle. And the mood of austerity in the America of the war and immediate postwar years is well-captured, albeit in a stylized and slick fashion. Still, champagne is champagne, and the movie's fetishistic obsession with it is indicative of Hollywood's desire to get back to making more formalized, safer films, of which this is a fairly decent attempt. But it is at its best an aborted effort to capture a mood that was pretty much gone by the time the movie was made, as the mood of the film gives no indication of where the postwar world was heading. Still and all, it's a nice stab at staving off the inevitable.