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Offbeat fashion student Betsy Hopper and her strait-laced investment-banker fiancé, Jake Lovell, just want an intimate little wedding reception, but Betsy's father, Eddie, a Long Island construction contractor, feels so threatened by Jake's rich WASP parents that he blows the ceremony up into a bank-breaking showpiece, sending his wife, Lola, into a financial panic. Pressure from Betsy's extended family to include their joint Jewish and Italian-Catholic heritage in the ceremony doesn't do much to assuage the title character's worries, nor does the lovelorn bitterness of her older sister, Connie, who's single, her parents assume, because she has the audacity to pursue the unfeminine profession of police officer. With all of his funds tied up into the money pit of a house he's building, Betsy's dad has to turn to his crooked brother-in-law, Oscar, for financial assistance, and soon a soft-spoken but menacing young mobster named Stevie Dee is supervising Eddie's construction project and ...Written by
At the construction site in New York, George and Stevie Dee never wear protection helmets, which is a standard procedure involving authorized and unauthorized personnel working or visiting the site (even Eddie uses a helmet and he's a visitor just like Stevie and George are). See more »
A father (Alda) learns that his daughter (Ringwald) wants to get married. He is determined to give her an extravagant wedding even though his construction business is not doing well and he is in bad need of money.
If this thing had been played to it's full potential this might have been a real slam bang wedding satire. All the ingredients are there: feuding in-laws, disagreements on religions, seating arrangements, fashion styles, cost, and of course all those other unforeseen catastrophes. Unfortunately, like with all of Alda's films, he never plays anything out. He starts with something interesting and then pulls back just as it is about to get good. Some keen insights into the wedding process are lost. The climatic wedding 'disaster' is limp and only half of what it could have been. The needless story thread involving Alda's 'initiation' into a Italian crime family is both dumb and highly sterotyped.
The films lone payoff is the appearance of Bishop. He plays Alda's dead father and appears sporadically as 'visions'. Some of his observations are funny. Pesci also gives his part a lot of energy in a role that is slightly atypical for him. Yet none of it is enough to make it memorable.
3 out of 10.
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