FATHER OF THE BRIDE II
A film review by James Berardinelli
Copyright 1995 James Berardinelli
RATING (0 TO 10): 5.4
United States, 1995 U.S. Availability: 12/8/95 (wide) Running Length: 1:46 MPAA Classification: PG (Nothing offensive) Theatrical Aspect Ratio: 1.85:1
Cast: Steve Martin, Diane Keaton, Kimberly Williams, Martin Short, George Newbern, Kieran Culkin, B.D. Wong, Jane Adams Director: Charles Shyer Producer: Nancy Meyers Screenplay: Charles Shyer and Nancy Meyers based on the screenplay for FATHER'S LITTLE DIVIDEND by Frances Goodrich and Albert Hackett Cinematography: William A. Fraker Music: Alan Silvestri U.S. Distributor: Touchstone Pictures
The curious thing about FATHER OF THE BRIDE II is that not only is it the sequel to a remake, but it's the remake of a sequel. As such, it's a perfect illustration of stretching an idea too far. Certain premises lack the necessary material for a multiple features, and this is one such example. As FATHER'S LITTLE DIVIDEND (upon which this screenplay is based) paled in comparison to the original FATHER OF THE BRIDE, so this production is an uninspired follow-up to its immediate predecessor.
FATHER OF THE BRIDE II is proof that there's a limit to how much life can be coaxed from a feel-good formula. While the 1991 Steve Martin movie was good for ninety-plus minutes of undemanding fun, the second chapter is stale and overflowing with treacle. Shot by cinematographer William Fraker with warm, golden tones, it's a celebration of suburbia as the ultimate culmination of the "American Dream."
The overriding theme of this film is identical to that of the first FATHER OF THE BRIDE: letting go of a child. Previously, Steve Martin's George Banks had trouble accepting that his daughter, Annie (Kimberly Williams), was ready to enter into a marriage with nice guy Brian MacKenzie (George Newbern). Here, when Annie announces that she's pregnant, George finds it difficult coming to grips with the realization that the baby will cement Brian and Annie's family, further distancing him from his beloved daughter. A secondary issue is briefly raised about George coping with the approach of his fiftieth birthday, but it's quickly dropped after George learns that not only is he about to be a grandfather, but his wife Nina (Diane Keaton) is going to have their third child.
I have often said that, in a comedy, much silliness and sappiness can be forgiven in the service of solid humor. But, while FATHER OF THE BRIDE has a few genuinely funny moments, it spends entirely too much time trying to be dramatic. The result is that the recycled sentiment becomes overwhelming -- so much so that Martin himself jokingly refers to his clan as the "schmaltz family." Trite lines like "Thanks for marrying me, Nina" and "Life isn't gonna get much better than this" pepper the screenplay.
Martin and Keaton are appealing separately and together, but their relationship got all the development it needed in part one; here, they're treading water, trying to keep the film afloat by sheer screen presence. It's not enough. Kimberly Williams all-but-fades into the background. Outside of her scenes with Martin, she's pretty much invisible. Would that the same could be said about the duo of Martin Short and B.D. Wong (reprising their roles from part one), whose exaggerated accents and mannerisms go far beyond being irritating -- and scenes with these two are supposed to be comic highlights... To add insult to injury, Eugene Levy is on hand as a caricature of a greedy Arab who's almost as offensive as Short's Franck Eggelhoffer. One bright spot is Jane Adams' on-target portrayal of a competent obstetrician.
In the Age of Family Values, FATHER OF THE BRIDE II will be welcomed with open arms by the likes of Newt Gingrich and Bob Dole (who will probably praise it without seeing it). There's nothing "morally indecent" about the film -- no profanity, no sex outside marriage, and a healthy dose of hugs and smiles. That FATHER OF THE BRIDE II isn't a particularly engrossing motion picture won't make much difference to that crowd. Or, judging by the enthusiastic audience response, to the portion of the American public that laps up whatever Hollywood puts out, regardless of how unoriginal and artistically empty the product is.
- James Berardinelli (jberardinell@delphi.com)
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