If you have a soft spot for 1930s British cinema that smells like old velvet and hair tonic, Marry Me is exactly the kind of thing you’ll enjoy on a rainy Tuesday. If you’re looking for high-stakes drama or anything that moves faster than a polite stroll, you’re probably going to hate it. It’s light, it’s fluffy, and i...
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Comparing the cinematic DNA and archive impact of two defining moments in cult history.
Wilhelm Thiele
F. Martin Thornton
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"If you have a soft spot for 1930s British cinema that smells like old velvet and hair tonic, Marry Me is exactly the kind of thing you’ll enjoy on a rainy Tuesday. If you’re looking for high-stakes drama or anything that moves faster than a polite stroll, you’re probably going to hate it. It’s light, it’s fluffy, and it’s about as complex as a cup of tea. Renate Müller is really the only reason this thing works at all. She has this way of looking at the camera that makes you think she’s in on t..."
Desmond Carter, Anthony Asquith, Franz Schulz, Ernst Angel, Armin Robinson, Angus MacPhail, Stephen Zador, Frank Eyton, Robert Gilbert
United Kingdom
