The first time I watched Father of the Bride I was maybe 7 or 8 and it felt very grown up, I think because it had jazz music in it and none of the main characters were children. I watched it so many times I knew the scenes off by heart, in fact all my Barbie dolls had identical ‘Father of the Bride weddings’ taking it in turns to walk down the aisle in the Barbie as Sleeping Beauty ballgown while I hummed Pachelbel Canon and recited the vows from the film word for word. As soon as I hear the main title sequence I settle in ready to have a cathartic cry and reunite with characters that feel like old family.
The film centres on the wedding of Annie Banks (Kimberley Williams- Paisley) who has met her fiancé while studying abroad in Rome. We meet Annie’s parents, Nina (Diane Keating), the understated, steady foil to Steve Martin’s, short-tempered, overreactive father of the bride, George.
There is an immediate chemistry and warmth between the characters but also with their surroundings, their house is almost another character, and even has a story arc of its own in the second film. Through George’s voice overs we get ‘the world according to George Banks’, and his sarcastic inner monologue often cuts through some of the moments where the film threatens to tip over into schmultz. There is tenderness, twinkly music and gentle close-ups but there is also some cracking physical, farcical comedy played out expertly by Steve Martin.
Outside of the family unit, we meet the flamboyant, L.A wedding planner Franck (Martin Short) and his assistant, Howard (B.D.Wong). Franck becomes George’s nemesis, upselling the wedding at every opportunity and watching George’s blood boil as he tries to reconcile with the costs. Franck is all about what’s chic and across the two (and a half) films we get a sense of some of things Franck thinks are spec-tac-u-lar.
Things Franck thinks are chic:
- Annie having a problem serving veal at her wedding because she has been reading a lot about the inhumane treatment of the calves
- Wearing sweats to your surprise Zoom wedding
- Seafood
- Mother of the bride having a baby at the same time as her daughter
Things that Franck thinks definitely aren’t chic
- Chicken
George is not interested in chic, he is interested in cheap, in which case he may be best going with a totally different wedding planner, as Annie’s wedding costs a staggering $250 per head, which works out at $486 in today’s money. With a total budget somewhere in the stratosphere, George continually tries to find ways to keep the costs down.
George’s Money Saving Tips:
- Don’t pay for hot dog buns you don’t need
- Dig out your tuxedo from 1975 and convince yourself it still fits
- Make a list of guests who can attend but not eat (CUT TO the iconic line: ‘Great wedding Mr Banks, and don’t worry I didn’t eat anything!)
- Hope that some of the guests currently on the guest list are already dead (Sorry Harry Kirby!)
The screenplay is written by Nancy Meyers, and one of her tropes seems to be incredibly wealthy people living as if they are just the comfortable every-person. Now, I get it, these are Hollywood films and we want to see the Hollywood houses (no really we do!) but I would appreciate a reference to the fact that the Banks family are actually ultra wealthy and that there are multiple budget cuts that could have been made to the wedding if money was really a factor, starting with that $1,200 wedding cake.
The film has a gorgeous score and soundtrack which is best utilised in the iconic power montages. This film absolutely nails a montage. There is the basketball montage, which establishes Annie and George’s relationship through their backyard one on one match (Annie is rocking the quintessential 90’s little black dress and white trainers combo) and they play to The Temptations, ‘My Girl’. Then perhaps in the most poignant moment of the film, we see a flashback of Annie’s life, from George’s eyes, from her as a baby, right up to where we meet her at the start of the film, soundtracked with the 1963 track, ‘(Today I Met) The Boy I’m Going to Marry’. You can listen to the whole score on Spotify which I would highly recommend for that quick Father of the Bride fix.
As well as a power montage the film also nails the power sequel. In a rare turn of events, Father of the Bride II is just as good as the first film, delving into the world of first (and third) time parenthood. George, in the midst of a midlife crisis (who would have thought he could get more unhinged) sells and re-buys the iconic family home and we get a satisfying glimpse into what life is like for Annie and Brian after marriage. And if you are wondering who Brian is, and why he is only getting a mention now, he is Annie’s fiancé/ husband and let’s face it, the film may be about his wedding but really the story has nothing to do with him, he could be anybody, it’s all about Annie and George, and occasionally Nina. The same can be said for Matty, Annie’s brother, who is also only getting a mention now. He’s a low maintenance child, conveniently always ‘already asleep’ or ‘having dinner at Cameron’s.’
In lockdown Nancy Meyers and the cast released, Father of the Bride Part 3 (ish), a 25 minute special from Netflix, which premiered on YouTube. The special, focusses on the wedding of younger brother Matty, played by Kieran Culkin, who I kind of hoped would be marrying Cameron, but instead is marrying his long-term doctor girlfriend over Zoom. It was gouda levels of cheesy but it was also joyous to see the cast reunited along with some new faces and to see into the imagined world of the Banks family managing a Zoom call. I really hope this is just the pre-amble to an actual third film, and maybe there is still hope for Matty and Cameron!
Father of the Bride I and II are both currently available to stream on Disney+.
Let me know your favourite moments in Father of the Bride I and II and if there are any chic or cheap moments I have missed!
Midnight Culture 