“You know, weddings are the happiest events I could possibly dream of — and yet somehow, when they’re over, it’s always so sad.”
Interestingly, the characters one would consider most central to the event — that is, the bride (unknown, braces-clad Amy Stryker) and her groom (Desi Arnaz, Jr.) — are among the most peripheral; only gradually do we learn what brought them together, and they never become fully developed protagonists. While their future happiness is threatened a few times throughout the film — by Arnaz’s former high society girlfriend (Pam Dawber), by Stryker’s wigged-out sister (Mia Farrow), and, later, in an infamous shower scene, by Arnaz’s military academy roommate — this isn’t really the primary thrust of the story; there isn’t one.
The most humorous of the film’s many subplots concerns beefy Pat McCormick’s relentless pursuit of Carol Burnett (mother-of-the-bride) — not out of lust, as we might expect, but from a pure conviction that she is his long-lost soul-mate. While Burnett’s cinematic performances are often (as here) over-the-top, she does a hilarious job showing her character’s gradual shift from absolute lack of comprehension to giddy acceptance of McCormick’s overtures.
Meanwhile, deeper familial dramas (such as Nina Van Pallandt’s drug addiction, and the truth behind her marriage to Vittorio Gassman, who seems to have mafia ties) are handled with both humor and sensitivity. Part of Altman’s genius lies in the way he treats all his characters — no matter how minor — with respect; we sense that each has an interesting story to tell, if only we had the time to spend with them.
Redeeming Qualities and Moments: