Double Wedding (1937)

Double Wedding (1937) stands as a classic example of 1930s screwball comedy, bringing together the legendary screen duo William Powell and Myrna Loy in one of their most spirited and eccentric pairings.

Known primarily for their effortlessly charming dynamic in the Thin Man series, Powell and Loy display a more overtly combative and theatrical energy here. The film, while perhaps lesser-known than The Thin Man or Libeled Lady, sparkles with rapid-fire banter, quirky plot twists, and MGM’s signature production polish.

Set against the backdrop of a collision between bohemian chaos and uptight bourgeois decorum, Double Wedding is both a romantic farce and a gentle satire on class, creativity, and conformity.

Plot Summary

Myrna Loy plays Margit Agnew, a fiercely organized and controlling businesswoman who has made it her mission to micromanage the lives of her younger sister Irene (Florence Rice) and their family. Margit runs a successful fashion house, prides herself on efficiency, and believes her sister should marry the dull but dependable Waldo (John Beal), a mild-mannered, socially acceptable man.

Enter Charlie Lodge (William Powell), a bohemian artist who lives in a trailer, paints abstract murals, and has a penchant for theatricality, mockery, and irreverent philosophy. Irene falls under Charlie’s spell, and when Margit attempts to break up their budding romance, she instead finds herself drawn into an escalating war of wits with Charlie—who, mischievously, shifts his attention from Irene to Margit herself.

The battle of personalities between Margit and Charlie forms the crux of the story, culminating in comic misunderstandings, mistaken engagements, and a glorious twist on the classic “will-they-won’t-they” trope.

Performances

William Powell as Charlie Lodge

Powell was already a household name by 1937, known for his quicksilver wit, urbane charm, and dry delivery. As Charlie, he plays against type somewhat—more flamboyant and eccentric than his usual suave detective roles. His Charlie is part philosopher, part clown, part provocateur. Powell’s command of comedic rhythm is masterful, and he imbues Charlie with just enough sincerity to make the role more than a caricature.

Myrna Loy as Margit Agnew

Loy’s transformation from the exotic femme fatales of her early career into the smart, no-nonsense heroine of screwball comedies was complete by the time of Double Wedding. Here, she is icily competent and sharply articulate, playing Margit with steeliness that gradually melts as Charlie dismantles her carefully constructed worldview. Loy's comedic strength lies in her subtle reactions and perfect timing, especially as her character loses control over the situation.

Their chemistry remains magnetic. Whereas Nick and Nora Charles were playful and affectionate, Charlie and Margit clash like fire and ice—setting the screen alight in a different but equally compelling way.

Supporting Cast

Florence Rice as Irene is sweet and naive, the ingénue caught between expectations and desire.

John Beal as Waldo is deliberately bland, a comedic punching bag who symbolizes bourgeois dullness.

Jessie Ralph, as the family matriarch, provides some delightful moments with her wide-eyed commentary and occasional tipsy wisdom.

Direction and Style

Directed by Richard Thorpe, a studio workhorse known for his efficiency, Double Wedding is tightly paced and visually polished. While not known for a distinctive directorial style, Thorpe knew how to let his stars shine and how to frame comedic interactions for maximum effect.

The film’s screwball energy is well-captured through quick cuts, exaggerated situations, and rapid dialogue that often verges on the absurd. Scenes are visually balanced between the sterile refinement of Margit’s world and the colourful chaos of Charlie’s mobile home studio, which serves as a metaphore for their contrasting lives.

Themes and Subtext

At its core, Double Wedding plays with familiar themes of:

Order vs. Chaos

Tradition vs. Individualism

Conformity vs. Creativity

Charlie represents the unbridled spirit of the artist, living life by whim and inspiration, while Margit embodies the meticulous, organized planner who has sacrificed personal happiness for professional success. The romance between them is a tug-of-war that becomes a reconciliation of opposites, suggesting that balance—not control or anarchy—is the key to a fulfilled life.

There’s also a subtle commentary on gender roles: Margit’s authority and independence were unusual for female characters at the time. Though the film ultimately “softens” her, it does not punish her for her intelligence or ambition—a small but progressive nuance for 1930s Hollywood.

Production Notes and Legacy

While Double Wedding was a success at the box office and enjoyed favourable reviews upon release, it is often overshadowed by Powell and Loy’s other collaborations. However, it has endured as a classic example of the screwball genre and is treasured by fans for its high-energy performances and stylised absurdity.

It’s also notable for a tragic off-screen event: during filming, Powell’s longtime partner, actress Jean Harlow, died suddenly at age 26. Production was halted for a brief period, and Powell reportedly returned to the set heartbroken but determined to complete the film. His performance, though lively, carries moments of subtle melancholy that lend emotional weight to the character.

Quotable Dialogue

The film is peppered with fast-paced, hilarious exchanges. Highlights include Charlie’s philosophical rambles about art and freedom, as well as Margit’s cutting retorts. One of the most memorable lines comes when Charlie declares:

“You’re not living. You’re existing. Life’s a thing to be spent, not saved.”

This serves as a thesis for the film’s central argument: that life is richer when lived passionately and spontaneously.

Reception and Influence

Upon release, Double Wedding was praised for its sharp wit, sparkling dialogue, and the charisma of its leads.

Critics appreciated the film's energy and the evident chemistry between Powell and Loy.

In retrospect, it is now considered an essential—if underappreciated—entry in both actors’ filmographies and the broader screwball canon.

Final Verdict

Double Wedding is a delightful, if slightly offbeat, romantic comedy that plays to the strengths of its iconic leads. It may not have the polish of The Thin Man or the emotional depth of Libeled Lady, but its charm lies in its bold characters, spirited pacing, and zany premise. William Powell and Myrna Loy once again prove why they were among the most beloved screen pairings of Hollywood’s Golden Age.

For fans of classic Hollywood, romantic farce, or unconventional love stories, Double Wedding is a must-see.