No, No, Nanette (1940)
Perky young Nanette attempts to save the marriage of her uncle and aunt by untangling Uncle Jimmy from several innocent but ensnaring flirtations. Attempting one such unentanglement, Nanette enlists the help of theatrical producer Bill Trainor, who promptly falls in love with her. The same thing happens when artist Tom Gillespie is called on for help. But soon Uncle Jimmy's flirtations become too numerous, and Nanette's romances with Tom and Bill run into trouble. Will Uncle Jimmy's marriage survive, and will Nanette find happiness with Tom, Bill, or somebody else?
- Herbert Wilcox
- Frank Mandel
- Otto A. Harbach
- Vincent Youmans
- Emil Nyitray
- Ken Englund
Rating: 6/10 by 4 users
Alternative Title:
Country:
United States of America
Language:
English
Runtime: 01 hour 36 minutes
Budget: $0
Revenue: $0
Plot Keyword: musical, based on play or musical
Roland Young steals most of this otherwise rather procedural vehicle for Anna Neagle. He is her uncle "Jimmy". He is an happy fellow, married to "Susan" (Helen Broderick) and he is also a bit of a sucker for a lost cause. It falls to the young "Nanette" (Neagle) to try and extricate him from his latest faux-pas by convincing Broadway producer "Trainor" (Victor Mature) to give a part in his latest show to "Sonya from Syracuse"... She also tries to tap up accomplished writer "Tom Gillespie" (Richard Carlson) to help out too - but, as you might expect, complications set in when she starts to fall for both men, end they reciprocate with enthusiasm. It is only a matter of time before "Susan" cottons on to her husband's innocent flirtations but can "Nanette" avert marital disaster and maybe even find love for herself? There is certainly plenty going on here and Victor Mature actually seems to be enjoying himself, but the story is all too flimsily held together. It's all just a bit too busy, and the dialogue - well there is just too much of it. Anna Neagle was married to the producer, and he obtained a three film Hollywood deal for his wife then promptly installed her in roles that were a far cry from the delicate, more considered roles she had hitherto undertaken in Britain. Whilst not exactly out of her depth here, she isn't great either and as the story trundles on, I rather lost interest. Zasu Pitts adds a little humour as the maid, but the production is all rather basic and is not really much to write home about.
