Behind every beautifully lavish wedding, there is usually a disgruntled parent whose responsibility is to bankroll the entire event, which is generally done with a combination of the insistence on giving their offspring a memorable day and the frustration of realising both the cost and time that goes into one of these endeavours. Yet, it is all usually done without hesitation, even if it can be quite an ordeal. Hollywood has produced enough stories about fairytale romances that result in magnificent weddings, so it seems appropriate that there are a couple of companion films that look at this idea from a different perspective, which is where Vincente Minnelli and screenwriters Frances Goodrich and Albert Hackett got the inspiration for Father of the Bride. This film follows a self-professed family man and dedicated patriarch Stanley Banks as he navigates the sometimes challenging process of funding a wedding. Set between the initial announcement of his daughter’s engagement and the final moments of the wedding he and his dedicated wife almost exclusively finance, the film explores the trials and tribulations of a pair of middle-class individuals who work laboriously to give their beloved daughter the wedding of her dreams, told through a variety of obstacles and pratfalls they encounter along the way. Not the colourful spectacle that many would expect from Minnelli, but a film that has the same sense of wit and wonder that usually defined his work, Father of the Bride is a delightful, irreverent comedy with many charming ideas woven in between a placid, touching story of family and the lengths to which we will go to help our loved ones realise their innermost desires. A lovable ode to family, configured as an off-the-wall comedy that is far deeper than it seems on the surface, Father of the Bride has aged remarkably well, and remains one of the most effective comedies of this era, at least in terms of ambition and the intent to leave a pleasant impression that lasts much longer than any narrative details we find throughout.

Father of the Bride was made at a very particular point in American history – the country was still recovering from the aftermath of the Second World War, and several social and political issues shaped the culture. As a result, we find that many films hyper-extended themselves to be based on old-fashioned values, prioritizing concepts such as family and the patriarchy. Some were more effective than others, and much of the success of these films tends to emerge when we look at the extent to which they base themselves around beliefs and conventions. This film in particular is one of the stronger entries primarily because it is willing to playfully mock these systems, rather than upholding them as sacrosanct, infallible institutions that can never be lampooned in fear of challenging the status quo. Minnelli was a very creative filmmaker, and adamant in his desire to craft films that contain layers of meaning, rather than simply depending on conservative beliefs and conventions that would usually come with these stories. As a result, he’s a terrific match for this film, which proves to be a very touching story of fatherhood more than anything else – we’ve seen enough stories of the happy couple planning their big day, but not nearly enough from other perspectives of the people involved. The conventional idea of the father as the primary breadwinner, and thus the person essentially tasked with facilitating the wedding in terms of finance and support, is embedded deep in this film, which uses its premise as a means to examine the abundance of challenges that come with being a parent as your child grows up and begins their own life. It’s a much more subtle affair as far as Minnelli’s work tends to go, but there is a heartfulness that drives the narrative and helps make it so incredibly poignant, unearthing fascinating details about the experience of guiding your offspring to the next stage of their lives, a daunting process for any parent, but one that is essential and perfectly represented in this film and its style of storytelling.

The role of Stanley Banks is the foundation of Father of the Bride, and requires an actor who is not only gifted but could represent the American way of life through the simplest and most effective of means. Few actors have represented their country with more steadfast commitment than Spencer Tracy, who is the very definition of the salt-of-the-earth American actor who embodies the spirit of the era while still being extremely talented, enough to not be restricted to one-dimensional pandering to conservative values. His performance in this film may not be his greatest work in terms of complexity or nuance, but it sees the actor bringing a sense of true humanity to the proceedings, and his terrific sense of humour, particularly his gruff but lovable persona, makes the character all the more appealing. The only downside is that Tracy doesn’t have the benefit of a very strong actor accompanying him – Katharine Hepburn was courted, but the role of the family’s matriarch ultimately went to Joan Bennett, who is certainly a wonderful actor, but far too serious for the tone this film ultimately chose. The highlight of the supporting cast is a young Elizabeth Taylor, who is splendid as the besotted daughter who is insistent on getting married, not being too concerned about it being a hasty decision. She and Tracy have terrific chemistry, and we genuinely feel as if they are related, most of the film’s strengths come from the sense of familiarity that exists between them. Neither found themselves defined by their performances here, but it’s strong, solid work that feels authentic and meaningful, having a sense of consistency that compensates for the slight shortcomings that come about through the narrative. 

Considering the subject matter, Father of the Bride could have gone in any number of directions in terms of tone, especially since Minnelli was equally adept at both comedy and drama. This was especially key based on the more serious side of the narrative. It’s easy to limit our understanding of this film to a one-dimensional, comedic riff on marriage and its many obstacles, but we soon come to realize there is much more depth beneath the surface, which is where a lot of the nuance is found. As a whole, the way the director handles the emotions is masterful – there are countless hilarious scenes, and the oscillation between borderline slapstick humour and more witty wordplay that satirizes the placid domesticity that we usually only find in the most idealistic versions of the American Dream makes for a profoundly funny film, albeit one that is exactly as predictable as we’d expect. These moments are then undercut by a sincere sense of melancholy that persists throughout, gradually and methodically exploring the lives of these characters as they go about the sometimes overwhelming experience of planning a wedding. There are moments of overt sentimentality that can be viewed as somewhat overwrought, but it is to be expected based on both the topic being explored and the time in which the film was made – more caustic, realistic depictions of these subjects were not commonplace at the time, and there was an expectation of easily-digestible themes that could be accessible to all viewers, delivering a simple but effective message that carries immense weight and heartfulness. It’s cliched at times, but never inappropriately so – it all feels quite genuine and earnest for the most part, and it helps that it is anchored by performers who can handle the sometimes unwieldy tone and ensure all of its ideas are delivered with precision and charm, which is more important than anything else.

Father of the Bride has spawned several remakes over the years across cultures, which is not difficult to explain – despite the cultural specificity of this film in particular, its themes are universal enough to be adapted to just about any culture and period, where the concept essentially still resonates with the right approach. However, as entertaining as some of these homages may be, it seems only logical to conclude that none of them contain the heart and soul of Minnelli’s original, which is such a wonderfully quaint, heartfelt comedy that never takes itself too seriously, but still has a sense of gravitas that anchors it within a recognizable reality. Many charming elements allow this film to be extremely effective – the humour is sharp but meaningful, the performances are solid and the overall message is impactful, having a sense of authenticity that allows it to be more than just a wacky, off-the-wall comedy. Domestic humour is difficult to get right, and some elements of the film have not aged particularly well, but the unique humour and abundance of charm make up for these flaws, and allow Father of the Bride to be nothing short of a total delight in terms of both content and execution, and a wonderful diversion from the sometimes more dour explorations of these themes.