Father of the Bride (released in theaters on Dec. 20, 1991) saw director Charles Shyer and co-writer Nancy Meyers taking on the daunting task of remaking the 1950 Spencer Tracy classic and he created a definitive modern touchstone for family comedies. By trading mid-century formality for 1990s excess and warmth, the film became an instant essential in the American comedy canon.
George Banks (Steve Martin) is a man with a comfortable life in San Marino, California, until his daughter Annie (Kimberly Williams) returns from a semester abroad in Rome with a shocking announcement: she’s engaged to Bryan MacKenzie (George Newbern).
While his wife, Nina (Diane Keaton), is overjoyed, George spirally descends into a mid-life crisis fueled by overprotectiveness and the astronomical cost of a modern wedding.
The house is quickly overtaken by the flamboyant, heavily accented wedding coordinator Franck Eggelhoffer (Martin Short) and his assistant Howard Weinstein (B.D. Wong), who transform the Banks’ home into a chaotic construction zone.
Between a disastrous dinner with the eccentric MacKenzie parents and the mounting logistical nightmares, George struggles to stay sane.
All the while, his young son Matty (Kieran Culkin) watches the family dynamic shift.
Ultimately, George must learn that the wedding isn’t about the catering or the cost per plate—it’s about the bittersweet transition of letting his little girl go.
Martin delivers a masterclass in physical comedy and suburban exasperation, perfectly balanced by Keaton’s grounded, luminous performance.
Williams makes a glowing debut, capturing the sincerity needed to keep the movie from becoming too cynical.
However, it is Short who provides the film’s most iconic energy; his “Franck” is a whirlwind of comedic brilliance that remains one of the most quoted characters of the 90s.
Peter Michael Goetz and Kate McGregor-Stewart also star as Bryan’s parents.
Eugene Levy has a brief appearance as a singer auditioning for the wedding.
The film would be followed by Father of the Bride Part II, released Dec. 8, 1995.
Kimberly Williams in Father of the Bride (Photo/Touchstone Pictures)
Reception for Father of the Bride
Father of the Bride grossed $7 million on its opening weekend, finishing second behind Hook ($9.6 million) and topping The Last Boy Scout ($5.6 million).
The film would gross $89.3 million in its theatrical run.
Roger Ebert gave the film three out of four stars in his review.
Lasting Legacy
Father of the Bride has left a lasting footprint on popular culture:
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The Blueprint for Wedding Comedies: It set the standard for the “wedding planning” subgenre, influencing everything from My Big Fat Greek Wedding to 27 Dresses.
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Aesthetic Iconography: The Banks’ white colonial house became a literal dream home for a generation of moviegoers, symbolizing a specific brand of cozy Americana.
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The “Father-Daughter” Narrative: It remains the go-to film for weddings, frequently cited during real-life toasts for its poignant depiction of a father’s love and reluctance to see time pass.
The film’s legacy is its heart; beneath the jokes about “tuxedo-tight” sneakers and hot dog buns lies a deeply relatable story about the passage of time and the enduring strength of the family unit.
