"A Wedding" falls under the category of films that have to be experienced more than once to be appreciated, or perhaps even enjoyed. I saw it in the theater when it came out; I was a kid and the movie was billed as a mainstream comedy but far from laughing at what I witnessed I was disturbed by it. Raised on Disney films and related pablum, nothing had prepared me for the black humor, cynicism and nihilism that makes up what is, in my opinion, Robert Altman's most enduring work. It certainly isn't a film I'd recommend to anyone looking for light romantic fare (try "Father Of The Bride" and please, do wake me when it's over). It gets better every time you see it, certainly. The problem might be, as I've heard from non-fans of the films of Ken Russell, for those who didn't enjoy a movie the first time why on earth would they revisit it? I didn't see "A Wedding" again until I was older but when I did the film was on TV and possibly censored (there's a lot PG-rated cursing and some non-sexual but surprisingly lengthy--and superfluous--nudity), making it less of a shock to my then-conservative system. But viewing the film again I began to make sense of what at first appears to be chaos, a film that shows a world stuffed with hateful, base people acting in the worst ways humans can, and presents it for laughs. The same thing would happen when I discovered the films of John Waters some time later. I think a film like "A Wedding" goes down easier at home than in a theater, even more so after repeated viewings, where you can study the movie the way it should be studied, as an "art" film and not a mindless Hollywood comedy.
"A Wedding" is, of course, a record, in real time, of a wedding event where the daughter in a nouveau riche family marries the son from a family with "old" money and just about everything goes awry. Along the way we are introduced to a never-ending cavalcade of family members. One might complain that it's good no guests showed up, it's hard enough to tell who everyone is even after a couple viewings, but I think that's the fun of repeat viewings--untying the tangled knots. I'm reminded of the film "1941" from a few years later; I didn't get that movie either until I realized the "plot" is basically one crash after the next. This is true of "A Wedding" as well; if you try to find a comfortable comedy plot line or look for single characters to follow you will be frustrated...you're much better off just relaxing and enjoying the big, rambunctious ride and allowing it to take you where it will go...you'll be dropped off safely when the ride is over, to be sure.
Roger Ebert, who gave the film a positive review, likened watching the movie to being an invisible guest at the ceremony and after seeing the movie dozens of times I can think of no better description. I also come up short while thinking of another movie that is similar in presentation. Certainly Altman did overlapping dialog before and after this film. I'm no great fan of his work but agree with many that when he hits the mark he hits it well...and when he phones it in it's a whole lotta no fun. Altman was fond of creating over-long movies where the plot revolved around groups of people intermingling with no apparent (at first) goal. Others, like P.T. Anderson, have picked up the mantle of this technique and run with it. But I'm hard-pressed to think of any movie that so effectively sticks you in the center of the "action" (such as it is; very little happens, it's like a filmed play), even when you dearly wish you could run away screaming.
But the real genius of the film to me is the line it walks between humor and horror. On the one hand you have Carol Burnett using her (brilliant) stock tools to illicit the familiar kinds of laughs you'd have found on her variety show at the time; on the other you have her in a truly uncomfortable situation followed by a moment of unflinching, devastating tragedy, where she plays it straight and hints at some of the serious acting work she'd perform in future roles. The cast of mostly-knowns (either then or now) is composed of dignified, familiar actors playing against type as a rogues' gallery of grand grotesques, but the more you examine these strange, mostly unpleasant people the more you (uncomfortably) begin to realize they're pretty much accurate portraits of the people you know (or are).
Finally, the mounting tension of wondering what on earth can possibly go wrong next (culminating in a convulsive fit and an act of infidelity) leaves you on the verge of going numb...but strangely satisfied. Just as in real life, there are no happy endings, there is seldom a satisfying resolution to the conflicts we experience and very little of what happens in the world makes sense. It all just sort of "is." But if you're lucky, you get a filmmaker like Robert Altman to point a camera at it all and help us to gain understanding of the world around us, or at least to laugh at the absurdity of it, even if we're crying at the same time.
"A Wedding" is far from perfect but is also a film I can't recommend enough, that is, at least, to serious lovers of cinema. I'm afraid it would be entirely lost on those expecting merely a "comedy," but there are plenty of those types of films out there--this one is for the rest of us.
"A Wedding" is, of course, a record, in real time, of a wedding event where the daughter in a nouveau riche family marries the son from a family with "old" money and just about everything goes awry. Along the way we are introduced to a never-ending cavalcade of family members. One might complain that it's good no guests showed up, it's hard enough to tell who everyone is even after a couple viewings, but I think that's the fun of repeat viewings--untying the tangled knots. I'm reminded of the film "1941" from a few years later; I didn't get that movie either until I realized the "plot" is basically one crash after the next. This is true of "A Wedding" as well; if you try to find a comfortable comedy plot line or look for single characters to follow you will be frustrated...you're much better off just relaxing and enjoying the big, rambunctious ride and allowing it to take you where it will go...you'll be dropped off safely when the ride is over, to be sure.
Roger Ebert, who gave the film a positive review, likened watching the movie to being an invisible guest at the ceremony and after seeing the movie dozens of times I can think of no better description. I also come up short while thinking of another movie that is similar in presentation. Certainly Altman did overlapping dialog before and after this film. I'm no great fan of his work but agree with many that when he hits the mark he hits it well...and when he phones it in it's a whole lotta no fun. Altman was fond of creating over-long movies where the plot revolved around groups of people intermingling with no apparent (at first) goal. Others, like P.T. Anderson, have picked up the mantle of this technique and run with it. But I'm hard-pressed to think of any movie that so effectively sticks you in the center of the "action" (such as it is; very little happens, it's like a filmed play), even when you dearly wish you could run away screaming.
But the real genius of the film to me is the line it walks between humor and horror. On the one hand you have Carol Burnett using her (brilliant) stock tools to illicit the familiar kinds of laughs you'd have found on her variety show at the time; on the other you have her in a truly uncomfortable situation followed by a moment of unflinching, devastating tragedy, where she plays it straight and hints at some of the serious acting work she'd perform in future roles. The cast of mostly-knowns (either then or now) is composed of dignified, familiar actors playing against type as a rogues' gallery of grand grotesques, but the more you examine these strange, mostly unpleasant people the more you (uncomfortably) begin to realize they're pretty much accurate portraits of the people you know (or are).
Finally, the mounting tension of wondering what on earth can possibly go wrong next (culminating in a convulsive fit and an act of infidelity) leaves you on the verge of going numb...but strangely satisfied. Just as in real life, there are no happy endings, there is seldom a satisfying resolution to the conflicts we experience and very little of what happens in the world makes sense. It all just sort of "is." But if you're lucky, you get a filmmaker like Robert Altman to point a camera at it all and help us to gain understanding of the world around us, or at least to laugh at the absurdity of it, even if we're crying at the same time.
"A Wedding" is far from perfect but is also a film I can't recommend enough, that is, at least, to serious lovers of cinema. I'm afraid it would be entirely lost on those expecting merely a "comedy," but there are plenty of those types of films out there--this one is for the rest of us.