MartinHafer This British film begins with a father practically selling his daughter to a man in order to make a big business deal take place. Not too surprisingly, the bride soon runs away—after all, there appears to be no romance whatsoever—just a sleazy business deal.Shortly after this interesting start, the film falls apart for me. That's because the runaway bride is now on a train and it sure looks as if she's trying to rob a man. So what does the man do when he awakens? Does he call the police? Well, considering she refuses to account for what she was doing or who she was, his actual course of action in the film makes absolutely no sense—none. Instead of turning her in, he takes her with him and gives her 24 hours to tell him who she is! When she does tell him the truth, she inexplicably gets him to agree not only NOT to turn her in but hide her for 24 hours—at which point, he new husband will be on his way to South America. Who thought this was a viable plot for a movie?! Certainly not any sane person and the film completely lost me at this point. A radical rewrite was needed, as the plot simply made no sense at all and the film was a waste of time.

rhoda-9 Jessie Matthews made one wonderful film (Evergreen) and several lightweight, moderately amusing ones. But this is an utter atrocity. She is given very little opportunity to dance (she was a nice enough singer, but an exquisite dancer), and no dancing partner.The leading man, Owen Nares, looks and acts like a stuffed shirt, and the plot is not just lightweight but so ridiculous that one becomes irritated by its contempt for the audience. Jessie plays a bride who runs away on the day of her wedding because she never wanted to marry the groom (a wedding would help her father financially). She has to dodge people who are looking for her and will forcibly make her return and go through with the wedding. What kind of sense does this make? A forced marriage is invalid, and forcibly taking someone from where they are is kidnaping. And why would the groom want to marry a woman who doesn't want him? Owen Nares at first mistake her for a thief and threatens to call the police, then decides to keep her with him, in his home (he has no sexual designs on her, and is insulted when she suggests he might). This makes as little sense as the rest.Despite what the other commenters say, there are no funny lines. The script is as dull as it is inane. The whole thing seems to come from the world of very primitive musical comedy in which people would act in a silly or naughty way, even if it made no sense, and men would get excited by seeing girls show their legs.

kidboots When Jessie was filming this movie she was at the studio from 7am until 6pm, then travelling to the Gaiety Theatre in London, where she was starring in the stage production of "Hold My Hand", getting home at midnight. Next morning she would be up at 6am to start over. Director Albert De Courville was an eccentric slave driver. So if Jessie Matthews was accused of over-acting she was probably close to hysterics.She was always grateful to De Courville for giving her a chance in "There Goes the Bride" because none of the studio bosses wanted her. When they saw the finished film that was another story - Victor Saville thought she was the find of the year.Jessie is a delight in this comedy of mistaken identity. She plays Annette Marquand, an heiress, who runs away on the day of her wedding. She meets Owen Nare (almost 20 years her senior) who mistakes her for a thief, after an incident on the train. She is mistaken for his fiancée by his friends and they host a party for her. Then his real fiancée turns up.It is a bright little comedy that Jessie runs away with.There are some musical numbers. "I'll Stay With You" - Jessie sings and dances at the apartment. At the party with the great Carroll Gibbons and His Savoy Orpheans providing the music Jessie sings "I'm Looking for You" and is a big hit. (David Niven can be glimpsed standing around the table at the party). I don't know why it was set in Paris when they are all so terribly British.

Igenlode Wordsmith "There goes the Bride" is essentially and simply a farce (albeit one set -- for no very clear reason -- in France). As such, the plot makes about as much sense as in any other of the many films in which the heroine proves herself irresistible by making the leading man's life a complete misery; and it contrives to be considerably less irritating than most of them.As the pert and wilful Annette, Jessie Matthews is all big eyes and eloquent reaction; it is interesting to note that she has already established the character without any real dialogue to speak of until after the first few scenes. In fact, for an early sound film this shows a notable willingness to tell its story through visuals in addition to the laughs obtained by an often genuinely funny script; there were moments when the audience were literally shouting with laughter.It has to be said that Miss Matthews, in her first leading screen role, sometimes overacts. If she were not already in possession of top billing one might assume that she is doing her best here to steal the show! However, it is hard to say where the actress's cinematic inexperience begins and the impudent Annette's 'putting on an act' ends; certainly her charm is more than enough to excuse any exaggeration. Conversely, Owen Nares has been criticised for lack of charisma, although I couldn't see it -- I did notice one or two flat line readings on his part that sounded as if they should have gone for a retake.All in all I found this surprisingly good entertainment: undemanding fluff in a polished production that manages to be witty without being annoying, ridiculous without stupidity, and sneaks in a good deal of conscious naughtiness into the bargain. I'm frankly amazed that this apparently rated a 'U' rather than an 'A' ('Adult') certificate on release, as I'd have thought parts of it were quite risqué!