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Thanks for the memories!

It's funny watching the elements come together in this complicated scam. On one hand, the set-up isn't quite as complex as it seems, but there's an easy sense of fun in every exchange.

The film makes a home in your brain and the only cure is to see it again.

It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

Cary Grant and Joan Bennett are hotshot reporters for a big metropolitan newspaper in this film. They are the best at what they do, and they know it. They also are in love and plan to get married. Grant plays Charlie Mason and Bennett plays Monica "Rusty" Fleming. One of the problems for the rest of the newspaper staff – the editors and other reporters, is that these two come and go as they please. So, the editor can never find them and doesn't know if the next story will get covered or not. They always happen to make it and scoop all the other papers. One other problem they have is their penchant for pranks. Not little things, but elaborate ones. So, they get a few dozen keys and tie notes on each one. "If found, please return to Peter Stagg, City Editor …" George Bancroft plays Stagg, and we see dozens of keys being returned and a line of people waiting to turn their found keys in to the city editor. So much for fun. After Charlie saves the life of a guy who seems to be drowning, his life takes on a patron. William Demarest plays Smiles Benson, a gangland boss of some kind, whom Charlie saved. Things get hectic and frantic after the city editor quits and the publisher makes Charlie city editor. He knows all the gimmicks of the reporters, so they can't pull anything on him. Now he becomes a slave master. When Charlie puts off the wedding, Rusty finds another man. Conrad Nagel plays Roger Dodecker. Smiles comes to Charlie's aid and for a wedding present for Rusty, Charlie calls in a national calamity on the Dodecker address. Fire trucks arrive, police cars, ambulances, vans from the psychiatric hospital. It's mayhem on the street, and Rusty rushes out to cover the fire or whatever. That ends her wedding to Dodecker. Smiles has his gopher, Squinty (played by Edward Brophy) take the rap for all the false-alarm calls. It's his gift to Charlie for saving his life. "Wedding Present" had possibilities to be much better. It is funny, but it's disjointed and choppy in places. And, the plot has the hero breaking the law big time with the false alarms that could lead to serious accidents. A better screenplay would have helped it immensely. One thing that is never clear is why Smiles was in the ocean a short distance from shore. Did he swim out there in his clothes? Did he fall off a dock? A boat? The studio set this one up but didn't do a job covering it in the script. The fine cast and some of the humor make this a fun film to watch, but just once.

In so many ways, this film seems to have strong elements from one of Cary Grant's best films--HIS GIRL Friday. While the Friday plot is taken from the Pat O'Brien/Adolph Menjou film, many elements about the characters seemed to have been taken from WEDDING PRESENT--with Cary playing pretty much the same character in both films and Joan Bennett playing a part very similar to the one later played so well by Rosalind Russell.Unfortunately, despite these similarities, WEDDING PRESENT is from from being a classic film. While up until the terrible ending I would have given the film a 6, by the time it was over the film barely earned a 4--while HIS GIRL Friday is clearly a 10 and one of the best films of the era.The film begins with Cary and Joan wacky highly respected newspaper reporters (just as in Friday). They are about to get married, but it all falls through thanks to Cary's being too much of a comedian--and Joan realizes that he'd make a lousy, but fun, husband. Despite the breakup, they spend much of the first half of the movie together on various adventures and this is by far the best part of the film. I particularly loved the scenes with Gene Lockhart as the Archduke (this was perhaps the best supporting role of Lockhart's long career).The problem, though, is that the momentum wasn't maintained after a while. When Cary became the boss at work and Joan walked off the job, the film became a mess. In particular, the ending. In a very irresponsible and unfunny ending, to stop Joan from marrying another man, Cary calls in tons of false alarms--reporting fires, most-wanted criminals who were spotted, illnesses, mental patients, and a ton of other problems at the fiancé's home. This certainly wasn't funny--just very cruel and irresponsible. And, in a Hollywood twist, Cary gets away with this AND gets the girl. In the process, Joan treats her fiancé and his family like dirt. What a selfish and nasty way to end a film!! Had they shown Cary in prison for a year for calling in all the false alarms and inciting panic, then I might have enjoyed the ending!Overall, not a great film and at best a time-passer. While I love Cary Grant films, I also have to admit that occasionally he had a disappointing film like this one or ONCE UPON A TIME or KISS AND MAKE-UP. Of course, he also had HIS GIRL Friday, ARSENIC AND OLD LACE, NORTH BY NORTHWEST and a ton of classic films to make us all forget about these few duds.

One thing I absolutely love about films from the 30s is the now obsolete devices around which some films are centered. Locomotives and ships of course. They're a bit obvious. Then, they were symbols of technology and modernity. Technology as physical power — something in everyone's cinematic imagination then — now made quaint by microchips we cannot even see. And films are the worse for it.Another device is the newsroom. We don't have these today in the same way. Reporters and cops don't mix it up as they used to. We don't actually "get the story," instead get some sort of manufactured fiction that glues facts together in appealing ways.But 70 years ago there was a magical confluence of what it meant to make or discover stories, what it meant to "see," and what it meant to be an American. Mixed in there was this notion of an alert woman.Its hard to impress on youngsters beyond a cartoonish awareness that women in society and film were extremely limited in options. Homemaker, secretary, teacher, nurse. Whore. If a woman was intelligent and witty and active, she was a reporter.Seeing and discovering was sexy. Its lost today, that effect. This is post-code; "Picture Snatcher" is a better example where the sexiness is darned explicit.Imagine a film that presents a woman far beyond your experience, what you know from real life. Imagine her witty and sexually available outside marriage, at least temporarily so. Smart, full of humor and ready to play severe and grand jokes. Its impossible to do today where Angelina can fight, Tilda can control and Julianne can affect.But just imagine the cinematic power of a newsroom with such juice. The folding, of course with them writing stories and we seeing stories simultaneously. Our admiration of her just as Grant's and both of us conspiring in creating a spectacle around her.(For those who haven't seen it the story is Cary and Joan are lovers — copulation is obvious — and both are star reporters. They decide NOT to marry as not to "ruin things." He advances to control the paper (the story) and she becomes engaged to a book writer. The books in question are vapid "self-help" books that lack the vim of "real" stories. Grant, drunk and with the help of a gangster pal, conspires to give her firetrucks, policecars, ambulances, even a hearse, all responding to the house where she will wed. That's the present: life.) Oh how I wish we had such power to pull from in film today! Where's the sex in story, the newsroom of today? Ted's Evaluation -- 2 of 3: Has some interesting elements.

Screwball comedy reminiscent of His Girl Friday - which also starred Cary Grant. Zany reporters (Grant, Joan Bennett), an editor who can't live or without them, and some strictly-for-laughs gangsters. An open manhole gag worthy of any silent comedy, too. But the ending is a bit implausible. You can't really get away with that much malicious mischief, can you?