IMDb RATING
5.7/10
6.2K
YOUR RATING
A millionaire playboy goes to Las Vegas and comes out married to a woman he barely knows.A millionaire playboy goes to Las Vegas and comes out married to a woman he barely knows.A millionaire playboy goes to Las Vegas and comes out married to a woman he barely knows.
- Awards
- 1 nomination
- Director
- Writer
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaAccording to Premiere Magazine, Kim Basinger and Alec Baldwin, who moved in together during the filming, made life miserable for the crew with their demands and their attitude.
First and foremost, there were Alec Baldwin's violent temper tantrums in which he threw a chair, smashed camera lenses, punched a wall and ripped a cellular phone from a Disney executive's hand. Things had already gotten off on the wrong foot when Disney Chairman Jeffrey Katzenberg when first meeting Baldwin reportedly joked "We could get a gate guard to do the same job as you." Baldwin naturally, didn't take kindly to the joke.
As for Basinger, she was accused of habitual lateness (she kept production waiting on the set due to her elaborate morning routine, which included washing her hair with only Evian water and shampoo), flashing the crew, talking filthy on open walkie-talkies, refusing to shoot in sunlight, and demanding that no one look at her. Stories also included Basinger's feud with Simon over her dialogue (Basinger at one point told Neil Simon, "This isn't funny. Whoever wrote this doesn't understand comedy." Simon denied the incident. But he only visited the set one more time during filming) and a prima-donna attitude that ultimately resulted in the firing of the original director of photography because she didn't like how she looked in the test shots that he had taken. One person from the set claimed that at one point, Basinger pushed the director, Jerry Rees aside and tried to direct a musical number herself. Basinger also wouldn't settle for having her makeup touched up between close-up shots. Instead, she had to have her makeup completely removed and re-applied between takes, something that made filming take about 20x longer than it should have. In other words, retakes would take hours instead of minutes. Not only that, but Basinger wanted to shut down production so she could fly to Brazil to consult a psychic.
It was also on the set that Basinger and Baldwin began a hot, steamy on-set romance. Allegedly, the crew miked the trailers to record them having sex and they then played them back so that Basinger and Baldwin could hear. One crew-member commented, "Honest to God, if I were destitute and living on the street with no food and somebody offered me a million dollars to work with Alec and Kim, I'd pass. Their actions were vile, deplorable, despicable."
- GoofsThe film opens in San Francisco, 1956 and the on the wall of the nightclub (Dexter's) is an advertisement for KJAZ FM. That radio station did not sign on in San Francisco until August, 1959.
- Quotes
Phil: You know what the odds are on that? Impossible to one.
Featured review
A rom-com disaster
My review was written in March 1991 after a screening on Manhattan's UES.
Just when audiences got over Disney's "Scenes from a Mall" the distributor is unleashing "The Marrying Man", a stillborn romantic comedy of staggering ineptitude. Industry badmouthing of the stars during production was just a preview of the terrible picture.
Author Neil Simon reportedly has disowned this film, which offers little in the way of comedy or diversion. An awkward flashback structure tells of egotistical toothpaste heir Alec Baldwin falling in love with chanteuse Kim Basinger on an outing in 1948 with his buddies to Las Vegas.
Instead of marrying his beautiful girlfriend back in L. A., Elisabeth Shue, Baldwin is forced into a shotgun wedding with Basinger by Armand Assante as Bugsy Siegel, Basinger's main man. Key plot point that this is Bugsy's "revenge" for catching Baldwin in the sack with his girlfriend is impossible to swallow. Also unbelievable are the duo's several breakups and remarriages.
Lack of chemistry between the two principals is only the first problem of "Marrying Man". Obvious re-hoots result in an unwieldy package that has the film climaxing with perhaps 30 minutes to go, making it play like an original and a sequel spliced together. Director Jerry Ree, who previously helmed the animated feature "The Brave Little Toaster", has the usually dependable cinematographer Donald Thorin light interiors as if for film noir rather than comedy.
He also shifts uncomfortably from big set pieces to utterly static, talkative exposition scenes in closeup sans background action. Result is grim and pointless.
Basinger, replete with vocal coach and choreography by no less then Jeffrey Hornaday, gives a mechanical impression of a competent singer, while grabbing herself during her ubers in a manner more like the animated Jessica Rabbit (of "Who Framed Roger Rabbit") than Mae West. Unlike her obvious inspiration, Michelle Pfeiffer in "The Fabulous Baker Boys", Basinger fails to integrate the singing stunt organically into her character. Stuck with the role of a handsome cad, Baldwin mugs and poses in embarrassing fashion, resembling his recent "Saturday Night Live" hosting assignments. Nearly every laugh here is achieved by Fisher Stevens, given the brightest lines in Baldwin's circle of male kibitzers.
Casting ploy of having Assante and Robert Loggia portray, respectively, stereotype Jewish gangster and studio chief instead of Italians will give little solace to groups unhappy with the portrayal of Italian Americans on screen.
Just when audiences got over Disney's "Scenes from a Mall" the distributor is unleashing "The Marrying Man", a stillborn romantic comedy of staggering ineptitude. Industry badmouthing of the stars during production was just a preview of the terrible picture.
Author Neil Simon reportedly has disowned this film, which offers little in the way of comedy or diversion. An awkward flashback structure tells of egotistical toothpaste heir Alec Baldwin falling in love with chanteuse Kim Basinger on an outing in 1948 with his buddies to Las Vegas.
Instead of marrying his beautiful girlfriend back in L. A., Elisabeth Shue, Baldwin is forced into a shotgun wedding with Basinger by Armand Assante as Bugsy Siegel, Basinger's main man. Key plot point that this is Bugsy's "revenge" for catching Baldwin in the sack with his girlfriend is impossible to swallow. Also unbelievable are the duo's several breakups and remarriages.
Lack of chemistry between the two principals is only the first problem of "Marrying Man". Obvious re-hoots result in an unwieldy package that has the film climaxing with perhaps 30 minutes to go, making it play like an original and a sequel spliced together. Director Jerry Ree, who previously helmed the animated feature "The Brave Little Toaster", has the usually dependable cinematographer Donald Thorin light interiors as if for film noir rather than comedy.
He also shifts uncomfortably from big set pieces to utterly static, talkative exposition scenes in closeup sans background action. Result is grim and pointless.
Basinger, replete with vocal coach and choreography by no less then Jeffrey Hornaday, gives a mechanical impression of a competent singer, while grabbing herself during her ubers in a manner more like the animated Jessica Rabbit (of "Who Framed Roger Rabbit") than Mae West. Unlike her obvious inspiration, Michelle Pfeiffer in "The Fabulous Baker Boys", Basinger fails to integrate the singing stunt organically into her character. Stuck with the role of a handsome cad, Baldwin mugs and poses in embarrassing fashion, resembling his recent "Saturday Night Live" hosting assignments. Nearly every laugh here is achieved by Fisher Stevens, given the brightest lines in Baldwin's circle of male kibitzers.
Casting ploy of having Assante and Robert Loggia portray, respectively, stereotype Jewish gangster and studio chief instead of Italians will give little solace to groups unhappy with the portrayal of Italian Americans on screen.
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- lor_
- Jun 20, 2023
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Details
- Release date
- Country of origin
- Language
- Also known as
- Mladozenja
- Filming locations
- Stahl House, Case House 22 - 1635 Woods Drive, Los Angeles, California, USA(Charley Pearl's house)
- Production companies
- See more company credits at IMDbPro
Box office
- Budget
- $26,000,000 (estimated)
- Gross US & Canada
- $12,454,768
- Opening weekend US & Canada
- $4,030,749
- Apr 7, 1991
- Gross worldwide
- $12,454,768
- Runtime1 hour 55 minutes
- Color
- Aspect ratio
- 1.85 : 1
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