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June Bride
June Bride
June Bride
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June Bride
Theatrical release poster
Directed byBretaigne Windust
Screenplay byRanald MacDougall
Based onFeature for June
1944 play
by Graeme Lorimer
Sarah Lorimer
Elaine Tighe
Produced byHenry Blanke
StarringBette Davis
Robert Montgomery
Fay Bainter
Betty Lynn
CinematographyTed D. McCord
Edited byOwen Marks
Music byDavid Buttolph
Production
company
Release date
  • October 29, 1948 (1948-10-29)
Running time
96 minutes
CountryUnited States
LanguageEnglish
Budget$2,021,000[1]
Box office$2,434,000[1]
$1.5 million (US/Canada rentals)[2]

June Bride is a 1948 American comedy film directed by Bretaigne Windust. The screenplay, which was based on the unproduced play Feature for June by Eileen Tighe and Graeme Lorimer, was nominated for the Writers Guild of America Award for Best Written American Comedy. The film starred Bette Davis and Robert Montgomery. The Warner Bros. release marked the screen debut of Debbie Reynolds, although her appearance was uncredited.

Plot

[edit]

Foreign correspondent Carey Jackson returns to New York City when his newspaper's Vienna office is closed and is offered a job on a women's magazine called Home Life. He accepts the position only because it will put him in daily contact with editor Linda Gilman, whom he once loved. Linda is averse to the idea because of his leaving her three years earlier, but agrees to hire him if he will keep their relationship on a strictly professional level.

The two head for the Brinker home in Crestville, Indiana, to prepare a feature story about eldest daughter Jeanne's wedding to Bud Mitchell for the June issue. Linda wants Carey to write a simple story about the young couple, but he insists on looking for an angle, which presents itself in the form of Jeanne's younger sister Barbara (nicknamed "Boo"), who confesses she always has been in love with Bud, the brother of Jeanne's former beau Jim, who was dumped by Jeanne when he joined the Army. At first Carey proposes they ask an officer he knows to order Jim home for the wedding, but thinks better of it, knowing he will lose his job if the wedding plans are disrupted. Boo, however, secretly telephones Carey's friend and arranges a leave for Jim.

Complications ensue when Jim arrives home and Carey tries to get rid of him while Linda, unaware of the reality of the situation, intervenes and makes him stay. Jim and Jeanne elope, Linda fires Carey, Carey feigns interest in Boo to make Bud jealous, and the scheme succeeds, with Bud proposing to Boo. Despite losing his job, Carey writes his story, Linda realizes he always knew the truth about the couples, and the two reconcile.

Cast

[edit]

Production

[edit]

Paramount Pictures also considered producing a film version of Tighe and Lorimer's play which Tighe, the editor of House and Garden, had considered adapting into a stage musical.[citation needed]

Bette Davis wanted either Dennis Morgan or Jack Carson for her co-star, but director Windust and producer Henry Blanke convinced her to accept Robert Montgomery as her leading man, arguing he had a larger fan base. Blanke later admitted they believed the mid-forties Montgomery would make 40-year-old Davis look younger, but after watching the rushes, he realized the casting achieved the opposite effect, with Davis making Montgomery look younger.[citation needed]

June Bride was filmed during the 1948 Presidential campaign. A line of dialogue delivered by Mary Wickes referring to the desperately-needed refurbishment of the old-fashioned Brinker home, a dowdy house crammed full of Victoriana kitsch, was filmed twice, once as "How can I convert this McKinley stinker into a Dewey modern?" and the second time with the name Truman substituted for Dewey. When the film opened in New York City in late October, Dewey seemed a sure win, so the Dewey line was retained. When Truman unexpectedly won the election, a revised reel was sent to theaters. Davis, a staunch Truman supporter, sent Montgomery, who had headed the Hollywood Republican Committee to elect Dewey, a gloating telegram.[citation needed]

The film's success proved to be an oasis for Davis and Warner Brothers; her previous two pictures were box-office disappointments. It was the first comedy film Davis had made since 1941. In that year, she starred in two comedies: The Bride Came C.O.D. and The Man Who Came to Dinner. As a result, Davis was given a new, four-picture contract with a salary of $10,285 a week, making her the highest-paid woman in the United States at the time.[3] June Bride was also reunion for Davis and two prominent cast members - Fay Bainter, who in 1938, along with Davis, won an Oscar for Jezebel, and Mary Wickes, who was featured in both The Man Who Came to Dinner in 1941 and Now, Voyager in 1942. In addition, the two young actresses who played the Brinker sisters - Barbara Bates and Betty Lynn - were also cast in two future Bette Davis films. Although she had no scenes with Davis, Barbara Bates was memorably featured in the last scene of the classic 1950 Twentieth-Century-Fox Oscar-winning film All About Eve as Phoebe, a young ruthless, opportunistic actress very much like Eve Harrington (played by Anne Baxter). In 1949, Betty Lynn was cast as Davis's daughter in the RKO film Payment on Demand, filmed that year but not released until 1951. June Bride was the penultimate Warner Brothers film for Bette Davis. In 1949, Davis made Beyond the Forest against her will and after the film was completed, she and Warner Brothers parted company after eighteen years.

Davis reprised her role of Linda Gilman in an August 29, 1949, Lux Radio Theatre broadcast co-starring James Stewart as Carey Jackson. Irene Dunne and Fred MacMurray assumed the roles in a second Lux adaptation on December 28, 1953, and Marguerite Chapman and Jerome Thor starred in a Lux Video Theatre telecast on August 25, 1955.[4]

Critical reception

[edit]

In his review in The New York Times, Bosley Crowther described the film as "a delightful vehicle [and] a sophisticated thing, largely dependent for its humors upon a complex of wry attitudes...[It is] also a pretty solid story of good old home-town folks, never too soggy with sentiment and just a shade satiric around the edge."[5] William Brogdon of Variety wrote the film is "a sometimes subtle, sometimes wacky takeoff on home magazines and human nature. It has a starting hurdle as characters are set up, but once on its way never lets itself or the audience down. Bretaigne Windust's direction is always lively and extremely able at milking a line or situation, whether satire or antic, in filming the potent script by Ranald MacDougall."[6] Time magazine wrote "Thanks largely to some bright dialogue and an artful performance by Robert Montgomery, this is the best Bette Davis picture in some time."[7]

Box office

[edit]

According to Warner Bros records, the film earned $1,882,000 domestically and $552,000 foreign.[1]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

June Bride

View on Grokipedia
from Grokipedia
June Bride is a American film directed by Bretaigne Windust and produced by The story centers on Linda Gilman, a driven editor played by , and her former lover Carey Jackson, portrayed by Robert Montgomery, who are forced to collaborate on a about a small-town despite their ongoing professional rivalry and unresolved personal tensions. The film, running 97 minutes, explores themes of rekindled romance amid comedic family dynamics and journalistic antics, with supporting performances by , , and . Adapted from the unproduced play Feature for June by Eileen Tighe and Graeme Lorimer, the screenplay by shifts the wedding setting to winter to heighten dramatic irony for a "June" bridal edition, subverting traditional expectations of seasonal nuptials. Released on October 28, , it received mixed reviews for its witty banter and star chemistry but was critiqued for formulaic plotting, earning a 55% approval rating from aggregated critic scores. Though not a commercial blockbuster, the picture contributed to the postwar wave of screwball-inspired comedies, highlighting Davis's versatility beyond dramatic roles.

Development and Pre-Production

Origins and Adaptation

The screenplay for June Bride derived from the unproduced play Feature for June, authored by Eileen Tighe, Graeme Lorimer, and Sarah Lorimer, which was copyrighted on August 15, 1944. Tighe, an editor at House & Garden magazine, drew inspiration from her professional experiences in staging lifestyle features, centering the narrative on a magazine team fabricating a wedding story for publication. The play remained unproduced on stage, despite initial plans for a musical version that never materialized. Warner Bros. acquired the rights in the mid-1940s, aligning with the studio's pursuit of light comedic properties to meet postwar audience demand for escapist entertainment following . Screenwriter adapted the material, retaining the working title Feature for June during early development before shifting to June Bride for release, while emphasizing the play's premise of contrived matrimonial scenarios amid professional deadlines. MacDougall's revisions focused on amplifying situational humor and character interplay to suit cinematic pacing, transforming the stage-bound script into a vehicle for star-driven comedy without altering the foundational plot of editorial orchestration of a June wedding. This fidelity to the source preserved the play's satirical take on media fabrication, though the unproduced nature of the original limited direct comparisons of tonal shifts.

Casting and Key Personnel

Bette Davis portrayed the central character Linda Gilman, a editor, after expressing a strong interest in a light comedic role to rebound from the critical and commercial disappointment of her prior drama Winter Meeting (1948), which became ' largest financial loss for her up to that point. Producer Henry Blanke and director Bretaigne Windust selected Robert Montgomery for the role of Carey Jackson, Davis's on-screen romantic foil and former colleague, emphasizing his established comedic timing from films like (1941) to balance the ensemble's domestic humor and enhance box-office appeal despite Davis's initial reservations about the pairing. The supporting cast was assembled to depict Midwestern family intricacies, with as the widowed matriarch Paula Winthrop, providing emotional depth through her Oscar-nominated pedigree in maternal roles. played Barbara "Boo" Brinker, the impulsive younger sister, while embodied the pragmatic father Whitman Brinker, their selections prioritizing relatable everyman portrayals to ground the film's small-town wedding in authentic relational tensions. Additional performers like as Jeanne Brinker and as Carleton Towne contributed to the ensemble's chemistry, reflecting Windust's focus on naturalistic group dynamics during the 1948 Pasadena shoot. Bretaigne Windust directed, drawing on his Broadway experience for the screwball elements adapted from Ranald MacDougall's screenplay, while producer Blanke oversaw adaptations to suit the leads' strengths amid Warner Bros.' post-war shift toward accessible comedies. This personnel alignment prioritized practical execution over auteur flourishes, enabling efficient coverage of the script's interpersonal conflicts.

Production Process

Filming Locations and Techniques

Principal photography for June Bride occurred from May to July 1948 at studios in . The production relied almost entirely on soundstage sets to replicate small-town exteriors and interiors, including the magazine office and wedding venue, minimizing on-location shoots typical of studio-bound comedies of the era. This approach ensured logistical efficiency amid ' post-World War II emphasis on controlled, cost-effective filming to meet release deadlines. Cinematographer Ted McCord captured the film in standard black-and-white 35mm format, prioritizing practical lighting for dialogue-driven comedy sequences within confined interior spaces. Techniques focused on straightforward medium and close shots to highlight ensemble interactions and Bette Davis's expressive performance, without experimental effects or deep-focus innovations common in contemporaneous prestige dramas. Set design and matte work simulated rural backdrops, aligning with the studio's resource allocation for mid-budget vehicles rather than high-profile spectacles. The schedule's adherence to union guidelines prevented overruns, facilitating a timely completion ahead of the 1948 premiere.

Direction and On-Set Dynamics

Bretaigne Windust's direction of June Bride emphasized the screenplay's foundation in the unproduced play Feature for June by Eileen Tighe, Graeme Lorimer, and Sarah Lorimer, translating its stage-derived verbal sparring into cinematic comedy through tight exchanges and timing. The approach leaned on the play's satirical take on and wedding rituals, prioritizing rhythmic banter over elaborate to capture causal tensions in interpersonal dynamics, such as the leads' ex-lovers' conflicts, which drove the film's humorous momentum. On-set dynamics were marked by friction between and Robert Montgomery, whom Davis characterized in her 1962 autobiography The Lonely Life as a persistent scene-stealer, exacerbating their professional clashes during rehearsals and takes. This reported animosity, including Davis's accusations of upstaging, contributed to the raw authenticity of their bickering sequences, potentially enhancing comedic realism but straining production cohesion amid the 1948 Warner Bros. schedule. Editor Owen Marks supported Windust's vision by streamlining cuts to sustain comedic pace, favoring fluid transitions in dialogue-heavy scenes over experimental montage, as reflected in the film's 97-minute runtime and focus on narrative propulsion. No major script deviations were documented, with logs indicating adherence to Ranald MacDougall's to preserve the play's of escalating mishaps.

Narrative and Themes

Plot Summary

Linda Gilman, the no-nonsense editor of Home Life magazine, hires Carey Jackson, a recently unemployed foreign and her former lover, to join her staff despite their history of romantic tension and professional clashes. To create an idealized feature story for the magazine's issue, Linda assigns Carey and the team—including photographers and assistants—to document a quintessential in a typical American family setting. They travel to the Kirby household in , where young bride Jeanne Salinger is preparing to marry Bud Mitchell, the son of family friends. Upon arrival, the intrusive coverage exposes underlying issues: Carey investigates the couple and uncovers premarital indiscretions, including evidence of their before and hints that Jeanne harbors unresolved feelings for Bud's brother, Linden, complicating the match. Carey's relentless probing disrupts preparations, igniting conflicts, sibling rivalries, and attempts to conceal scandals like prior elopements and coerced s. Linda pushes for a polished, aspirational to suit the magazine's audience, while Carey advocates revealing the unvarnished truth, leading to heated arguments between them and chaos among the Kirbys, such as staged photos gone wrong and near-cancellations of the ceremony. As tensions peak on the day, confrontations force disclosures—Jeanne affirms her commitment to Bud after resolving past entanglements, secrets are aired without total ruin, and the event proceeds in a more authentic form. In parallel, Linda and Carey reconcile their differences, with Linda acknowledging Carey's perspective, rekindling their romance amid the resolved festivities.

Character Analysis and Portrayals

Bette Davis's portrayal of Linda Gilman depicts a career-driven editor whose cynicism toward romance—"through with love"—serves as a veneer over her vulnerabilities, revealed through polished yet tense interactions that prioritize professional . This interpretation shifts Davis from her predominant dramatic oeuvre toward comedic sophistication, employing wry delivery and subtle facial cues to convey the character's between self-sufficiency and relational pull, as evidenced by her "socko" handling of stereotyped magazine-world . Robert Montgomery embodies Carey Jackson as a worldly, glib reporter whose adversarial with Linda stems from shared cynicism and professional , fostering chemistry grounded in realistic bickering rather than contrived . Montgomery's accentuates the character's pragmatic adaptability via sharp banter and heightened comedic flair, notably in a superior inebriated sequence that exposes raw interpersonal edges without romantic idealization. Barbara Bates's Jeanne Salinger represents impulsive youth whose erratic choices precipitate relational discord, contrasting the leads' seasoned and underscoring folly's consequences in domestic settings. Her solid enactment in this minor role injects authentic youthful energy and humor, enhancing the film's satirical edge without descending into .

Central Themes: Family, Marriage, and Social Norms

The film June Bride underscores the viability of traditional heterosexual as a foundation for social stability, depicting resolved interpersonal conflicts within units as mechanisms for relational endurance rather than grounds for dissolution. This portrayal aligns with causal mechanisms where commitment and mitigate transient , fostering long-term partnerships empirically linked to lower societal fragmentation in the era. Post-World War II data reflect this emphasis, with U.S. rates peaking at 16.4 per 1,000 population in 1946 amid widespread cultural affirmation of matrimony as a postwar anchor. By , marriages occurred at a rate of 211 per 1,000 unmarried women aged 18-64, indicating robust institutional support for monogamous unions over individualistic alternatives. Contrasting urban professional detachment with rural communal ties, the critiques elitist skepticism toward domestic norms, presenting small-town settings as repositories of wholesomeness where familial obligations prevail over personal . preparations' inherent disarray serves to highlight commitment's redemptive role, portraying chaos not as but as prelude to reaffirmed bonds, a motif resonant with realities where rural values buffered against metropolitan cynicism. Contemporary observers noted the story's solid evocation of "good old home-town folks" with a light satirical edge, avoiding while endorsing normative family structures. These themes eschew premature relational pessimism, instead positing reconciliation as empirically viable amid postwar demographic trends favoring marital formation over prolonged singledom. The film's resolution favors stability through heterosexual pairing and kin solidarity, reflecting causal realism in which such norms empirically correlated with the Baby Boom's onset and temporary rate stabilization post-1946 spikes. This avoids anachronistic , grounding social norms in verifiable patterns where marriage rates far exceeded modern figures, underscoring the era's data-driven optimism for institutional matrimony.

Release and Commercial Aspects

Premiere and Distribution

June Bride held its New York premiere during the week of October 30, 1948, at the Strand Theatre, accompanied by live stage performances from and his orchestra. The film was distributed domestically by , Inc., with a general U.S. release on November 13, 1948. Warner Bros. rolled out the film through its theater network, starting with major city engagements before broader expansion to regional and rural venues, aligning with standard post-war distribution practices for romantic comedies. In a timely adjustment during the 1948 presidential election period, the studio expedited revised prints to theaters, changing a dialogue reference from to after Truman's victory. This logistical response ensured factual accuracy in screenings amid the film's focus on American family life.

Box Office Performance

June Bride earned $2,434,000 in gross revenue, enabling the film to and marking a financial rebound for following the flops of Winter Meeting (1948) and her preceding projects, which incurred substantial studio losses. This performance, however, lagged behind Davis's peak earners like Now, Voyager (1942), reflecting tempered expectations for a mid-tier amid her shifting career trajectory. The picture's domestic focus, bolstered by Davis's established draw and Robert Montgomery's comedic pairing, capitalized on post-World War II preferences for escapist humor over dramatic intensity, though it faced stiff competition from higher-grossing 1948 releases such as The Treasure of the Sierra Madre and Johnny Belinda. International earnings were negligible, consistent with Warner Bros.' emphasis on U.S. markets for B-pictures of the era, and no significant theatrical reissues occurred until television broadcasts proliferated in the 1960s.

Reception and Evaluation

Contemporary Criticism

Bosley Crowther of The New York Times praised June Bride as a "delightful vehicle" providing "refreshing entertainment," highlighting the "urbane dialogue which has more bounce and bubble" in scenes featuring Bette Davis and Robert Montgomery as sparring ex-lovers. He commended their portrayals of "smart worldlings with a lovely talent for the comic touch," particularly Montgomery's handling of a drunken sequence, and noted director Bretaigne Windust's "volatile directing" that sustained the film's comedic energy despite extended dialogue-heavy scenes. Variety's William Brogdon echoed the appreciation for the leads' chemistry, describing Davis's performance as a "delightfully slicked up personality" and Montgomery's as "glib," resulting in "socko interpretations" that sharpened the romantic banter and propelled the narrative forward once initial character setups were established. The valued the film's lively direction and its satirical take on home magazines intersecting with small-town family dynamics, crediting supporting performances for adding "humor and heart-tug" to the resolution centered on marital reconciliation. Critics also noted limitations in execution, with Crowther observing that the picture fell short of a "chef-d'oeuvre of humorous invention" due to "lengthy walk-talk scenes" that occasionally diluted pacing. Brogdon pointed to a "starting hurdle" in early character introductions and characterized the central romance as a formulaic "off-again, on-again" dynamic, predictable in its progression toward reunion despite the witty surface. While some outlets dismissed the work as minor fare lacking groundbreaking originality, others appreciated its solid entertainment value as uncomplicated affirming family norms.

Modern Reassessments and Achievements

In the , retrospectives have highlighted "June Bride" as an underrated entry in the tradition, with bloggers and film enthusiasts praising its sharp dialogue and realistic portrayal of tensions in romantic partnerships, elements that resonate with contemporary audiences seeking grounded depictions of adult relationships amid lighter fare. A 2016 analysis noted the film's prescient handling of professional friction between ex-lovers, crediting it with elevating a standard magazine story premise through authentic character dynamics rather than contrived . Turner Classic Movies has aired the film multiple times, including on June 16, 2025, and June 29, 2025, underscoring its status as a niche classic preserved for classic film programming. releases, such as the 2015 DVD, have sustained availability for collectors, reflecting ongoing demand despite no blockbuster theatrical revival. User-driven metrics further affirm this appeal, with an rating of 6.8 out of 10 based on over 2,280 votes as of 2025, indicating consistent viewer appreciation across generations. Among achievements, the film showcases Bette Davis's uncommon venture into , where her crisp delivery of sardonic lines marks a successful departure from her dramatic roles, contributing to her leverage for a lucrative contract renegotiation with post-release. Robert Montgomery's performance, lauded for impeccable comedic timing in physical gags and verbal sparring, complements Davis effectively, with 2016 and 2024 reviews emphasizing his sway in inebriated scenes as a highlight of understated precision. Reported on-set tensions between Davis and Montgomery, while documented in biographies, have been overstated in some accounts as detrimental; however, the final product's cohesive ensemble chemistry and output —evident in sustained ratings and airings—demonstrate that any did not undermine the film's technical and performative merits.

Criticisms and Limitations

Critics have pointed to miscasting as a key limitation, particularly Robert Montgomery's portrayal of the assistant editor Carey Jackson. At age 44, Montgomery's more restrained, dramatic persona—honed in roles like those in (1941)—clashed with the character's need for roguish charm and levity, resulting in a performance that some reviewers felt undermined the comedic momentum. , similarly typecast from her dramatic triumphs, delivered a stiff and dour turn as magazine editor Linda Gilman, underutilizing her talents in lighter fare and preventing the film from achieving first-rate comedic heights despite isolated bright spots. The screenplay, adapted by from an unproduced play by Eileen Tighe and the Lorimers, suffered from formulaic plotting and sappy sentimentality, with character arcs resolved too hastily in the 97-minute runtime, limiting depth and contributing to uneven pacing—evident in Variety's observation of hurdles in initial character setup that the film struggles to overcome. These issues reflect broader constraints of the late-1940s studio system, where prioritized efficient, audience-friendly comedies adhering to familiar tropes over innovative storytelling, though such formulas ensured commercial viability amid escapist demands.

Cultural and Historical Context

Reflection of Post-War American Values

The 1948 film June Bride exemplifies the post-World War II emphasis on marital stability and formation in the United States, portraying a traditional in small-town as a symbol of societal recommitment following wartime separations. This depiction aligned with the era's demographic surge in marriages, which reached a peak of 16.4 per 1,000 people in , driven by returning servicemen eager to establish households amid economic prosperity. The film's focus on preparations underscored the cultural prioritization of family units, with married-couple households comprising 78.8% of all households by 1949, reflecting a broad societal shift toward domesticity after years of disruption. The narrative's optimistic tone mirrored the GI Bill's role in facilitating family-centric recovery, as the Servicemen's Readjustment Act of 1944 enabled millions of veterans to access low-interest home loans and education benefits, which in turn supported higher rates of and childbearing by promoting economic and suburban homeownership. By affirming commitment through rituals like the June wedding—a longstanding amplified by eagerness for normalcy—the film countered the uncertainties of global conflict, presenting marital bonds as a causal anchor for personal and communal resilience. This resonated with heartland values, where Midwestern small towns like the film's setting embodied enduring social cohesion and , bolstered by agricultural stability and community ties in the late 1940s.

Legacy and Enduring Influence

"June Bride" has maintained availability for modern audiences through and broadcast preservation efforts. The film was released on DVD by in 2015, allowing access to its black-and-white presentation in the original 1.33:1 . It streams on , with no free options reported as of recent listings. (TCM) has aired it multiple times, including in June 2023 as part of a "June Brides" theme alongside films like Royal Wedding (1951), and in centennial programming in 2023, underscoring TCM's role in sustaining interest in lesser-known comedies. The film's bickering ex-lovers—editor Linda Gilman and reporter Carey Jackson—exemplify the couple dynamic prevalent in and post-war romantic comedies, reinforcing workplace romance trends that explored tensions between professional independence and personal relationships without pioneering new subgenres. No direct remakes or major adaptations followed, limiting its overt influence to niche echoes in lighter ensemble rom-coms favoring verbal over dramatic . Among classic film circles, "June Bride" retains appeal for its straightforward affirmation of marital norms, where the female lead prioritizes family over career, a resolution that garners appreciation in enthusiast discussions for its candid depiction of traditional commitments amid post-World War II domestic ideals, rather than lightweight . Absent major controversies, it evades revisionist critiques by embodying era-specific causal priorities—stable home life as societal anchor—without yielding to later ideological overlays.

References

  1. https://www.nytimes.com/1948/10/30/archives/june-bride-with-bette-davis-and-robert-montgomery-opens-at-the.html
  2. https://www.tcm.com/tcmdb/title/1133/june-bride
  3. https://www.imdb.com/title/tt0040499/
  4. https://www.rottentomatoes.com/m/june_bride
  5. https://theblondeatthefilm.com/2016/06/01/june-bride/
  6. https://nighthawknews.wordpress.com/2016/01/28/best-adapted-screenplay-1948/
  7. https://silverscenesblog.blogspot.com/2024/06/june-bride-1948.html
  8. https://www.imdb.com/title/tt0040971/
  9. https://www.imdb.com/title/tt0040499/fullcredits/
  10. https://variety.com/1947/film/reviews/june-bride-1200415833/
  11. https://www.imdb.com/title/tt0040499/locations/
  12. https://www.imdb.com/title/tt0040499/fullcredits
  13. https://www.imdb.com/title/tt0040499/releaseinfo
  14. https://diaryofamoviemaniac.wordpress.com/2016/06/07/june-bride-1948/
  15. https://catalog.afi.com/Catalog/moviedetails/25602
  16. https://ourworldindata.org/marriages-and-divorces
  17. https://docs.iza.org/dp3313.pdf
  18. https://annaklaw.com/us-divorce-rates-by-year/
  19. https://www.journals.uchicago.edu/doi/10.1086/593087
  20. https://warnerbros.fandom.com/wiki/June_Bride
  21. https://www.facebook.com/TheMovieGal/posts/bette-davis-and-jim-davis-in-winter-meeting-1948bette-davis-is-a-successful-poet/1554487122165514/
  22. https://www.amazon.com/June-Bride-Bette-Davis/dp/B00Y7R9GUW
  23. https://www.imdb.com/title/tt0040499/reviews/
  24. https://www.imdb.com/user/ur36968774/legacy/?ref_=up_lg
  25. https://usafacts.org/articles/state-relationships-marriages-and-living-alone-us/
  26. https://slate.com/culture/2003/02/how-the-gi-bill-and-the-fha-solidified-the-traditional-family.html
  27. https://www.justwatch.com/us/movie/june-bride
  28. http://laurasmiscmusings.blogspot.com/2023/05/tcm-in-june-highlights.html
  29. https://deadline.com/wp-content/uploads/2023/03/WB100.pdf
  30. https://fixquotes.com/movies/june-bride/
  31. https://www.facebook.com/CulturalLensofTime/posts/bette-davis-and-robert-montgomery-starred-in-the-1948-romantic-comedy-june-bride/616708894788623/
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