This movie is an overlooked gem, and deserved better than what it got. I remember it coming out in theatrical release in the late 1960s, and it received very good reviews but for some reason it quietly died off; or so it seems. The director, in the commentary on the DVD, tells why this occurred and that was basically due to a change of management at MGM shortly after this movie was released. Now, it can be appreciated with the new DVD technology.

The technology used to film this movie was very sophisticated for its time and gave results that would challenge the technology of today. Film cameras instead of video cameras were used by the skydivers; nevertheless they obtained tremendous aerial shots that are thrilling even today. It is hard to believe that these scenes were filmed thirty six years ago.

The documentary film on the DVD about the making of this movie is absolutely essential to fully enjoy and understand the skydiving associated with this movie; including the "Bat Wing" stunt skydiving that forms a sort of particular drama with this movie. A better film documentary film about this movie, which I doubt exists or will be shown, would be about the making of the love scene between Burt Lancaster and Deborah Kerr. The had a love scene, of sorts, in the 1953 movie, "From Here to Eternity". That scene, on the beach, is quite well known. However, due to the Code restrictions then not really that much could be shown.

I believe that one unspoken reason this movie was made was to allow a reunion between Lancanster and Kerr. Also, she was willing to be naked in a movie, very rare for the late 1960s. Those would be the primary reasons why she was in the movie as she was actually somewhat miscast due to her accent; a definite British accent in Kansas is somewhat incongruous (nowhere in the movie are we told that she is, say, a war bride or a British girl who somehow otherwise married a Kansas man).

Having said that I am actually very glad they cast her! Nowadays I look a lot like her and worry about whether or not I can find another husband (divorced and looking). Debby showed that a girl could still get a gorgeous hunk like Burt even when she was 48! You guys just can't imagine what us middle aged gals feel when we see Debby and Burt finally doing the wild thing in that living room! It gives us hope that we can still get a man! Deborah Kerr still had a great body at 48, and that is why I think she did not mind doing the nude scene. I think she was not near as nervous showing off as Burt was and certainly not near as nervous as the director. Her performance was certainly a highlight of this movie.

Puzzling was the performance of William Windom; who portrayed her husband. His role is somewhat out of place; and I don't understand why his fine acting skills weren't use more than they were. His role is disjointed at best and it is hard to understand how the character is supposed to fit within this movie. There are absolutely no husband-wife dynamics shown between him and Kerr. Even in the most disjointed of marriages (such as the second of my two marriages) there is generally some sort of attachment between the two even though they may both be in the divorce court! Interestingly enough, when Lancaster was on this film he had just gone through a divorce. His wife was upset due to all the flings he had been through while married to her. Well, it is easy for this gal to see why he was not totally loyal to his wife; he had all those sexy women throwing themselves at him! And, if I had been around that area when this film was being made I would have been one of them! He was a good looking fellow then! Debby, you were a lucky gal!


Although this film wasn't a career high for either of these great performers it did demonstrate that there was majic between them. If you check Kerr's biography, this film isn't list on her film chronology. In fact, it is hardly mention on any other site other than IMDb's. I think it was because she appeared nude. She was 48 when this film was released. I think she is one of the greatest beauties that ever graced the screen.


The motel scene(shot in Wichita, Kansas on South Broadway) was filmed across the street from where I lived. In one shot you can see my house and the bar next door. Being a curious person, I wandered over early in the morning to see the "movie stars" up close. Was I surprised! Burt Lancaster and Deborah Kerr did not look too good in the early morning light with no make-up and in their bathrobes. In fact I had to be told who they were. I loved the movie, by the way. I did enjoy watching all of the people and how they worked with other. And Burt Lancaster and Deborah Kerr looked a lot better after a couple of cups of coffee and some make-up. I recommend this movie to anyone.


Dialog which is a little "off", and a certain kind of pointlessness pervade this film. Lancaster is a suicidal parachutist but we're never told why, nor do we get hints (why he's suicidal, not why he's a parachutist). Kerr's attitude is perplexing, unclear. Half of the time one is either wondering what a particular dialog was about or why a character said something or reacted in a certain way.

The aerial sequences are the highlight of the film... Basically, this is a mediocre drama, but whenever one stumbles on a mediocrity and Frankenheimer's name is attached to it  it's never a surprise.

What IS surprising, to say the least, is that Le Grande Dame of British Cinema actually shows her breasts! I am referring to Deborah Kerr. This completely threw me away; the absolutely last thing I expected to see in this film was Kerr topless. And now the big question is: how did Frankenheimer convince Kerr - of all actresses - to bare her bosom in 1969?... And at the age of 48?... Did they drug her (like they did with Julie Andrews's character in "S.O.B.")? Or is she really that dumb to be duped by a slime-ball such as Frankenheimer that "it's all for the good of the ART"? Whatever the answer, one thing is for sure: Frankenheimer must have special talents we know nothing of! (Certainly very little directorial talent, but otherwise) His power of persuasion must be immense. What a diplomat he would make. They should send this guy to the Middle East. Or Kashmir. Or the Balkans. Or East Timor.


Most books of movie reviews agree with the other reviewer here, they like it a lot. Well I just saw this movie and I thought it was pretty awful. The incredible cast (Hackman, Lancaster, Windom, Kerr, Bonnie Bedelia, Sheree North) is just wasted. The dialogue is spoken with so many long pauses the movie would be 30% shorter if you edited it to sound like real people talk.

And to accept the plot, you must accept these premises:

- Professional sky divers are scared every time they go up.

- Professional sky divers would risk their lives to pop the chute too low to the ground to give the crowd a thrill.

- It's dangerous to jump with a "cape" because you will think you can fly and forget to pull the rip cord.

Does any of this sound reasonable to you?

I will say this, there are some spectacular aerial photography scenes at the start and end of the movie, and yes Debbie looks great for 48!


What was Mike Retigs secret? This is the motivation for the sex scene that occurs later in the scene.

I connect very deeply with that mystery. I have sky-dived, and I have loved and lost, And I have love now.

This movies theme is similar to the story with Kirk douglas as a Trapeze artist who does one last trapeze act with the woman he loves WITHOUT a net. The difference is that Burt Lancasters character is going to miss the handhold and embrace the consequences. Very profound, yet the true dialogue is not in the DVD and may only exist in the book. But having similar experiences right down to people often intentionally mistaking using my quietness to provoke a fight by saying I "contempt" humanity like Burt Lancaster's character. This remains a powerful film, and makes Burt Lancaster's morally ambiguos character portrayal a reason I like films with actors who can portray that on film.


I saw this film on television perhaps 24-25 years after its theatrical release and caught what must have been close to the original 1969 theatrical release or cable version. I was shocked by a brief, partial nude scene that exposed Debra Kerr's breasts (Burt Lancaster on the couch with Kerr). Now I have absolutely nothing against seeing breasts on film - but this had to go down as a contender for the least appealing appearance of a woman's breasts in a film (ranking right up there with Olivia de Havilland in 'The Adventurers"). Yikes! The general rule should thus be: with some very rare exceptions, women over 45 should NOT appear nude on film.


I almost missed this one because I was turned off by the commercials and previews, with their emphasis on the silliest parts (the dancing donkey, etc.). What a mistake that would have been -- I'd have missed one of the driest, archest, loveliest scripts in years. Emma Thompson can do more with a slightly quirked eyebrow and a quiet "Hm" than most actresses can with an entire Shakespearean soliloquy. The whole cast, children and adults alike, is pretty near perfect, some of the best of the British theater even in the tiniest roles (Derek Jacobi, Imelda Staunton et al). The kids are tough and tart, without a simper in the lot, unlike most US child stars.

Don't let the trailers keep you away -- this is well worth seeing, sort of what Lemony Snicket should have been but wasn't.


Saw the film this morning at a Sunday Times preview and I'd like to think that more than a few of you will be eating your words when you see the finished product. It's beautifully put together, with lots of humour, the attractive Colin Firth and many superb performances. Celia Imrie creates a colourful character in Mrs Quickly, Imelda Staunton is fantastic as the cook (Mrs Blatherwick) and Angela Lansbury is expertly cast as Aunt Adelaide (despite the feathered dress making her look like a turkey!) As guessed at on another thread, Nanny McPhee does teach the children - that manners matter, you should be responsible for your actions, and that actions have consequences. It isn't dumbed down, there's certainly no 'dopey dialogue' - and there's also no annoying Americanisms as beset Charlie & the Chocolate Factory.

At first glance, you could imagine Emma Thompson giving a very over the top performance, given the warts, over-sized nose and tooth. Instead she gives a careful and considered performance - everything in the right measure.

Enjoy Nanny McPhee for what it is - a large dose of magical escapism with plenty of laughs for good measure. A few rude words and food fights to keep the kids (and parents) happy, oh and a dancing donkey, but overall a film that is lots of fun. Can't wait for the DVD.


I went to see this film today with my daughter, who is 31 and her 5 year old daughter and it's a long time since I saw such a truly wonderful film in the cinema.(and I go often)

I went as a typical granny, ready to enjoy the day out for what it was, but I said to my daughter at the end that if it had been a DVD, I would happily have watched it again right away.

Apart from the brilliant performances from all involved, this was a beautifully filmed piece of work. The staging and vivid colours used were absolutely perfect and each set was full of things to catch your eye.

I've always liked Emma Thompson, but not in a 'big fan' kind of way, but I must say she gave one of the most understated, beautifully controlled performances, and her wonderful character was magically endearing within moments of her arrival on the scene.

I thought hard before giving a rating for this film, but couldn't find one thing to stop it from being absolutely perfect.


This definitely has to be one of the best films of the year and is something that can be enjoyed by the whole family, from the wee tot to grandparents. Based upon the 'Nurse Matilda' books by Christianna Brand, the film revolves around seven motherless children who have frightened off seventeen nannies much to their over-wrought father's dismay. The children are unruly and their father has his own stresses of desperately searching for a wife before his mean-spirited great aunt cuts off his allowance and everything is falling apart at the seams...until Nanny McPhee enters the house to sort things out. Think of 'Mary Poppins' if Roald Dahl had written the character and you have an idea of what happens next!

The best thing about this film is that while it will appeal to children, it doesn't dumb down or indulge in cavity-inducing sweetness that you tend to see in films produced by Hollywood. There is much humour and fun to be had but there is also a darker tone, what with children being threatened with the Work House and their father speaking to corpses!

The actors are all excellent. Colin Firth was perfect as this dithering man who may be meek but will do anything for his children and Emma Thompson is totally unrecognisable as the lead character of Nanny McPhee (she also deserves much recognition her skills in script-writing this film). But it's Angela Lansbury, as snooty Great Aunt Adelaide, who steals the show with the way she spends much of the film with such a sour face that could curdle the milk! The children also deserve much praise, especially when you consider most of them are not only very young but had never acted before. I certainly hope to see more of young Raphael Coleman, who played the middle son Eric, in future films as he totally threw himself into his character and was the most engaging of the children.

I'd highly recommend this to people who enjoyed 'Charlie and the Chocolate Factory' (both old and new versions) and 'Matilda'. I doubt many will be disappointed with this film!


I took my almost-4-year-old and her two cousins (age 3 and 6) to see this and we all had a wonderful time! The cast was outstanding - Colin Firth marvelously befuddled, Angela Lansbury wonderfully austere, Emma Thompson gruesomely wise and endearing, and all of the children sweet and mischievous without being cloying and horrible. It was clever and never "dumbed down" as some movies peddled as family fare are these days. This film was both funny and touching. The scenery and costumes were also wonderful to look at -lovely use of color. Some reviews have said that the movie tries too hard to appeal to adults, but I disagree. If preschoolers can enjoy it, most children will. I highly recommend it to audiences of all ages.


Seven children, seventeen nannies. Poor dad Cedric Brown (Colin Firth) has all but given up. Suddenly, enter Nanny McPhee (Emma Thompson) using her magical powers (both emotionally and literally) to kick them into shape. Remind you of something? I'd be concerned if it didn't. But thankfully, as Nanny McPhee progresses, it twists and turns in such a pleasant fashion that by the end, you'll be wondering 'Mary who?' Adapted for the screen by Thompson herself, this is a fun and inventive kids film that is guaranteed to make you smile. Firth does his usually stuttering British man shtick, but given he has little to do, makes the most of it. Imedla Staunton, Angela Lansbury and Celia Imrie ham it up shamelessly and are loads of fun. But most of the attention should be directed towards Thompson, an ugly but constantly entertaining lead.

The art direction, visual effects and Patrick Doyle's fabulous score all soar in a confident over-the-top direction, as is the tone of the film. The score, by-the-books though it may be, is perfect and bodes well for Doyle's work on the new Harry Potter movie.

Rather than basing its entirety on the naughty kids storyline, McPhee jumps from plot point to plot point, stuffing a whole lotta characters and twists into it's 97 minute running time. Thanks to this, Thompson's endearing loveliness and a cute array of kids (lead by Thomas Sangster, the kid from Love Actually), Nanny McPhee emerges triumphant as one of the better kids movies in recent memory, mostly because the adults will love it too. And anyone who isn't enchanted by the magical ending has to have a stone for a heart.


This film was specially shown on January 17, 2006 in Indianapolis. I am one of the judges for the Heartland Film Festival that screens films for their Truly Moving Picture Award. A Truly Moving Picture "explores the human journey by artistically expressing hope and respect for the positive values of life." Heartland gave that award to this film.

There are seven rather naughty children who have creatively and gleefully drove away seventeen nannies who tried to tame them. But they have met their match with the hideous looking Nanny McPhee played by Emma Thompson. Thompson wrote the screenplay and with great make-up plays Nanny McPhee. Thompson is a consummate artist and is the only person ever to have won an Oscar for writing ("Sense and Sensibility") and also to have won an Oscar for acting ("Howard's End). Thompson brings class to this Victorian-era, dark, fractured fairy tale.

This is a laugh out loud farce. And young people and old can share in the humor. While the film is designed for kids, the adult accompanying the child will enjoy it almost as much.

There are positive messages, for parent and child, throughout the film. The seven children are taught to listen and to be courteous and to be responsible and to think through things for themselves, and you watch their behavior evolve. In the beginning, goodness looks ugly to the children. But as they learn what goodness truly is, it takes on a beautiful appearance.

FYI  There is a Truly Moving Pictures web site where there is a listing of past Truly Moving Picture Award winners that are now either at the theater or available on video.


I took my children, ages 8 and 5, to see the movie over the weekend and I'd have to say that I enjoyed it every bit as much as they did. The character portrayed by Emma Thompson was simply wonderful. Even though she used her "magic" to get desired results from the children, all one had to do was look into her eyes and see the genuine compassion she felt for the children. The whole scenario with the fairy tale books and logic behind WHY the children misbehaved to much made them not nearly as bratty as one would have expected from such behavior and actually made me feel a bit sorry for them so they became almost likable in their attitudes. They weren't just "brats" for the sake of being brats; they had a genuine fear of losing their father which, ultimately would have happened had he married that harpie Mrs. Quimby.

My children absolutely loved the whole barnyard animal scene, especially the dancing donkey. Second to that was the food fight at the wedding. I found this movie to be appropriate for children of ALL ages and simply enjoyable for myself as well. I highly recommend this movie!!!


This movie has a wonderful quality that would bring any distant family together. My children and I loved watching it together. It's nice to have a movie finally come out that everyone can enjoy. I highly recommend seeing it. Emma Thompson is so endearing. Colin Firth is such a lost soul trying to avoid everything and everyone around him. Angela Landsbury is so over the top, but very funny. Together they make such an interesting trio. The love, the comedy, the magic, and the unbelievable happy ending make it more than just a fairy tale, they make it a story that makes you wish that it was all happening to you. For children, it sets their minds imaginations into over-drive. It sends them to a place that lets their minds run free to believe in everything on the big screen in front of them. For just an adult, I would say, it would be less special, as apposed to an adult who has children to watch get engaged with this magical movie.


What a breath of fresh air. I enjoyed Lemony Snicket's A Series of Unfortunate Events and this film's over-the-top storytelling reminded me of what I thought was lacking in that other film. There was much joy to be had. It really was a lot of fun and quite the breath of fresh air for children's movies since the slump between The Incredibles and now.

The actors are perfectly cast. So often children can only distract from a movie with very few turning in believable performances. Not the case here.

My only regret was the missed opportunity for the perfect tag-line...maybe they's take my idea for the DVD promotion...

"You can't handle the tooth!"


In a Mary Poppins meets Supernanny, entwined with an element of enchantment; Nanny McPhee will hopefully win several awards for best actress, best actor, best supporting actress and best supporting actor, best script and best director!!

Emma Thompson, as terrific as ever, stars as Nanny McPhee, a mysterious nanny who is called to the aid of Mr. Cedric Brown (Colin Firth) a widower who is struggling to bring up his badly behaved children. With her mystical powers and unique ways she soon charms all seven children and helps them woo their father towards the attractive housemaid, Evangeline (Kelly McDonald). But the bliss is threatened by the arrival of Cedric's drag-queen, admirer (Celia Imrie)

Emma Thompson is the next Helen Mirren/Meryl Streep without a shadow of a doubt and here is a prime example. The clever make up and well acted performance adds to the authentic side to the film and also shows her how much she deserves another award. Colin Firth is posh and snobby  as always, but that's how we know him. Ha ah ha. He too is excellent in his role, as the workaholic Dad. Celia Imrie reveals her more evil side and is without doubt PERFECT as the over-made villain! It was also nice to see Angela Lansbury, now much older, in a cameo as Firth's domineering Aunt, but with an important role in the story.

The SXF's are low key but terrific throughout the film. I particularly liked Emma Thompson's entrance  the camera zooming towards the manor from several different directions before she storms the screen. The script, also Thompson's work, is well written and enjoyable with jokes for the entire family as well as the well remembered quotes from all the characters. The set design is particularly eye catching, especially Imrie's house, personally it reminded me of Hansel and Gretal.

Couples who are looking for a date flick, do NOT be put off because it's a U. Its perfect for a date flick! Not scary, good acting, British, good jokes, several cameos, touching and at a reasonable and appropriate pace. Parents who are looking for something to take the children to see  this is also ideal! For the exact same reasons.

Don't really know what else to say, other than this could well be the film of 2005. Its quite simply perfect. A moving, feel-good film.


This was a pleasant surprise, much better than I anticipated. I figured Emma Thompson would be good in the title role because you can usually count on her to be entertaining in form or another, cerebrally, emotionally or comically. What I didn't figure on was the fun, extremely colorful story, overall. This was like a banana split for your senses - all kinds of wild treats for the eyes and ears.....to taste, so to speak.

This film features outrageous color schemes from the word "go," from the interior of the "Brown's" house, to everyone's apparel to the scenery outside. It almost reminded me "The Cat In The Hat" with its crazy colors.

All the characters are as exaggerated as the colors, too. The kids may be brats but they aren't bad once they get some needed discipline and love from Nanny McPhee. They are still fun to watch, and all are quite different in appearance and mannerisms. Thompson is a howl as Mary Poppins-like McPhee and so are the supporting characters. There were no sappy songs, either. This is not a musical.

The only character annoying to me was the kids' dad, played by Colin Firth. The actor was fine but his character was so wishy-washy, so wussy, he was barely tolerable for much of the film. By the way, you might not recognize the famous Angela Lansbury in here. Everyone, including her, must have had a great time filming this movie.

Only the final wedding segment got carried away with juvenile silliness; the rest was fun for adults and well as the kids, who must have loved this all the way through.

This is simply good entertainment and highly recommended.


'Nanny McPhee' is a good movie in its own right, not merely as a kid's movie, or an art movie. Emma Thompson keeps on amazing us all with her screen writing (she is an Oscar winner for that, after all!), and her acting (ditto on the awards). Nanny McPhee is weird, to be sure--- but not just weird for weird's sake, such as a Tim Burton movie. Rather, the weirdness seems to take real life issues, and issues relating to parenting, and turn them around artistically into genuine entertainment.

The cast is stupendous. Colin Firth, great as always. The very pleasant surprise for me was Angela Lansbury. She must be 111 by now--- she was already a big Hollywood star back in 1941, after all. But here she played a classic old eccentric English character, SORT OF in the Margaret Rutherford vein, but unique, fresh, and amazing in its own right. It took me half an hour to place Lansbury, her character was so spot-on, and so wonderful. Her presence in the movie is a treat, in and of itself.

Children's movies have their own criteria for judgement, of course. But sadly, often kid movies are judged favorably if they posses a certain type of 'fairy-tale-ness', even if the movie is otherwise a load of crap. Like the some Tim Burton movies, in my humble opinion, or to some extent, even the recent Willy Wonka effort--- 'Charlie and the Chocolate Factory'. That movie was 'ok', but was substantially dark and creepy, as is most of Roald Dahl's work. But he smacks of Kid Movie Heaven, so critics and parents seem to praise his stuff irrespective of its true quality. Anyway, that's my view.

'Nanny McPhee' is light, airy, and very positive. As well as being a cracker of a movie. I would take my kids to it. I think the message for kids is overall positive, and something parents could be comfortable with exposing their children to.


I am 56 years old. I normally do not care for "children's movies." Even as a child I did not care for children's movies. My movie heroes were adults.

However, this movie is one the rare exceptions to my stated preference.

Nanny McPhee is a wonderful movie. Though it is a children's movie, the script is written so that it can be enjoyed on an adult level. It reminds me somewhat of a cross between "Miracle on 34th Street," "The Wizard of Oz," and "The Parent Trap,"(the one with Hayley Mills). It is funny, poignant, mysterious, supernatural and fanciful.

Here are some other things I enjoyed about this film:

1. It treats its audience with respect. Unlike most of today's films (which assume movie goers are idiots) it presents a story with a logical beginning, middle and ending, so that if you accept the world it creates, that world can be followed to its satisfying conclusion.

2. The children act like--children! No mini-adults here, who are filled with all Macully Caulkin knowledge and wisdom so that if only--if only--the adults would just simply listen to them--why then, the world would be a perfect place where everyone would just get along so well together. No, these children need direction, love, understanding and discipline, and those themes are ones this movie explores.

3. It is literate. The script writer, actress Emma Thompson, uses language in a manner designed to communicate rather than to just make a bunch of noise while pretending to say something while saying nothing.

In conclusion, I earlier stated that I do not care for most children's movies. (Oh, there are exceptions--"A Christmas Story" comes to mind.) So, if I say it's good, believe me, it is good.

I have purposely not revealed much of the plot. Go see the movie and allow the plot to reveal itself to you. You'll be glad if you do, and you will have participated in a truly satisfying movie going experience. I promise. Cross my heart and hope to die.


We saw it opening night and were blown away. I don't do spoilers so let me tell you about reactions. My girls are 8 and 12 and they were positively glued to the screen. I thought it a wonderful story and a great production too. The girls made me promise to buy the DVD when it comes out and we went straight to the book store to get the stories of Nurse Matilda that the movie was based on. Now, here is where the academy award comes in. I don't have the categories memorized but the team that was able to make such a wonderful screenplay out of such a lousy book surely deserves that award. It is rare when it happens but yes, the movie was a FAR sight better than the book. If you have kids or if you need to entertain your inner kid, go see this movie.


"Nanny McPhee" begins by showing a group of cheerfully horrible siblings who wreck their house, terrorize the cook, and quickly drive away every nanny their absent father (Colin Firth) hires. He keeps hearing a disembodied voice telling him that "The person you need is Nanny McPhee." We presume that if he hires this otherworldly woman, the kids will learn proper behavior, and possibly he will learn proper parenting. It was at this point that I smiled. The setup seemed nearly perfect, promising a fun, quirky kid's movie.

But even then, I had some nagging doubts. There was just a bit too much buildup. I realized that the film would have to work hard to make this character live up to expectations. Her entrance is greeted with a thunderstorm, her silhouette possibly intended as a visual allusion to Alfred Hitchcock's famous portly figure. Then we see her warty, bucktoothed face as she enters the mansion and goes to the kitchen where the kids are presently making a big mess. They're just about ready to treat her the same way they've treated all the previous nannies, but then she strikes her walking stick to the ground, and....

Well, I won't give away precisely what spells she casts to protect herself from the children's wrath and keep them under control. I'm not out to ruin anyone's fun, what little of it can be found in this film. To understand what went wrong, we need only look back to "Mary Poppins," the most obvious inspiration for this film. One of the special qualities of Julie Andrews' Oscar-winning performance is that she played the character as if she didn't need magical powers to handle the kids. The magic served the same role as it does in most good children's fantasies--to inspire the children's imagination. When that film wanted to make points about parenting, it promptly returned to the real world, where it belonged. In "Nanny McPhee," on the other hand, the magic is simply wishful thinking, an implicit admission by the filmmakers that in the real world they would have no idea how to deal with kids like these except through brute force.

Meanwhile, the father is trying to court a rich bitch so that he won't be disinherited by an aunt (Angela Lansbury). The movie wants us to believe that the woman he really ought to marry is his young scullery maid (Kelly MacDonald) even though the chemistry between the two is somewhat less than bristling. The subplot in which the kids attempt to sabotage the father's plans mixes uneasily with the magical material. There is a scene involving a dancing donkey that the aunt is too visually impaired to notice. Yet the father is also standing there and acts as if nothing out of the ordinary has happened!

Eventually, the movie resorts to unoriginal slapstick. If you think that kids might like this film, I should mention that the children I was with seemed bored much of the time. The story starts from an adult perspective, and it never bothers to create a sense of wonder in the magical events. Although it tries to have fun with the nanny's powers, it's a bit too pedantic to succeed.

Emma Thompson plays the title character with considerable skill, but it's a thankless role. She seems weary and fatigued, not relishing the task at hand. She never shows any affection for the kids, not even tough love, and they don't really come to like her. Their growing appreciation for her is strictly utilitarian, as they find her powers useful in helping them out of sticky situations.

The conceit is that the warts and blemishes gradually disappear from Thompson's face as she completes her work on the children, and she will look normal and attractive at the end. We can only guess that she's been the subject of some supernatural curse in the tradition of "Beauty and the Beast." I assume that the book on which the movie is based provides some background on the character, but curiously the film never does: we never learn a thing about where she came from or where she'll go when she's done with the kids.

The movie has one great line, when Thompson explains to the children, "When you need me but do not want me, then I must stay. When you want me but no longer need me, then I have to go." Since the film never develops a convincing bond between her and the family, much less shows how she is able to transform them, the line only serves as a frustrating reminder of what this movie could have been if it had lived up to its promising setup.


This is an excellent family film with very little violence and questionable language. Our kids loved the film... and we did as well. Emma Thompson does a splendid job with giving depth to a character as Nanny McPhee. This movie could have gone wrong, but instead the movie was fun, with high energy and leaves you with a great moral lesson (especially to kids). Also, good to see a movie set in England with all English actors. The movie has the same feel as Mary Poppins, but with cinematography that matches todays standards. It is definitely worth to see in theatres. Word of advise: The fathers occupation in the film is a mortician. If your child is very sensitive to death I would recommend them not to see this film.


Saw Nanny McPhee this evening. Loved it! Emma Thompson did a great job on the screenplay and is great as the nanny. The scenes were colorful and it is refreshing to see a movie that actually teaches children good values! Thumbs up to this movie and I love Colin Firth and bravo to him for being in this. The children are endearing and the oldest boy was wonderful. It was great to see Angela Lansbury also - she was so good years ago in Bedknobs and Broomsticks. This is a great family movie and I hope this is the start of a series. I recommend this movie to young and old! We need more movies with values. In summary, I give this movie a 10 rating.


I must say that I love taking kids to see movies but majority of the time, the movies are over-wrought with violence and inappropriate behaviours for anyone under the age of 15! But this, Nanny McPhee, made me think differently. Emma Thompson is a wondrously talented woman and she proved it here again (along with Colin Firth, of course!) as she helped the distinctly intelligent yet naive Brown children turn their behaviours to the good. I saw several older ladies cry and many young children cheer throughout this extremely well done movie. Mary Poppins, watch out! This Nanny has got a few up on you! I implore all who are considering taking their child(ren) to this film to do so! It has many values that are lacking in films today. This movie might even make a child rethink his or her attitude towards their nannies! This is a movie we desperately needed! Good Show, Emma!


I just knew that I would enjoy this movie! Nanny McPhee is immensely entertaining, hands down! Emma Thompson is truly great as the film's title character. The other cast members are also very overwhelming! This picture made me very happy! Nanny McPhee is brought to the attention of a man with seven children because McPhee is just the person he needs to end his seemingly awful dilemma. You see, Nanny McPhee is no ordinary nanny; she possesses magical powers that can practically do the impossible. As a result, the children learn to respect her and most everyone else as well.

Out of all the scenes that are featured in this movie, I liked it most when the nanny used her powers to make a donkey dance on two feet. During this scene, I was laughing very-I mean-very hard! This is easily one of the best remembered moments in the whole entire film.

The movie closes very pleasantly, too, with a wedding scene where utter chaos breaks out and everyone gets messy! After the mayhem is over though, a very happy ending is taking place.

This is one DVD that I definitely intend on buying!


I never read the books that this movie is based on, but it did remind me a bit of Ms. Piggle Wiggle, and Mary Poppins. I'm 25, and my fiancé is 31. Yes, I did drag him to see it, but he admittedly enjoyed it. Just a very sweet, feel good kind of movie. I loved the way Nanny McPhee got prettier and even younger looking as the children got more more behaved. It's like she started out as ugly on the outside as the children's behavior was. I laughed a lot and the end gave me goose bumps. I don't want to have 7 children, but wouldn't it be nice for everybody if there really was a Nanny McPhee for those in need. I highly recommend this movie. Especially for those with kids.


i have just seen the film and it seems i cannot get a clear impression of it.it requires to be seen again because the action is well to take you by surprise in some points and then you discover that the previous lines had a different importance in the new light. it is no doubt not an American-type of a movie at all.the fantasy is at home and the action is not submitted to the commercial requirements the usual children films are using us with. it is not the classical English film either as the family is placed in an out of time and out of space atmosphere unlike the clear and cozy spaces of other English stories.i would rather say that the film is imprinted with Emma Thompson's personal touch which makes it a beautiful yet strange film in its own way. it is like a modern form of art addressed to children and surprising the adults altogether by the freedom given to imagination and the feeling it sends you that all is always gonna be just great. a beautiful movie to watch but pay attention-it requires a child's perspective to be fully understood...


I took my girls, 7 and 5 to see this movie because it was the only kid movie that wasn't a cartoon. I had seen the trailer for it during Harry Potter and the Goblet of Fire and thought it looked very good. Well this is the first time that the best parts of a movie are not in the trailer. What an exceptional movie! I would of watched the movie right away again if I had been able too. Emma Thomson did a remarkable job. This was a movie that kids as well as parents can enjoy, an excellent feel good movie! The movie shows that you can still make good quality entertaining family movies! I will be the first in line to purchase the DVD!


Emma Thompson did a phenomenal job with the screenplay for this movie. It was a charming story, with lots of dry wit. The cast is marvelous too...all of the children seem "real" and not too cutesy. Emma herself, as the title character, is calm and funny at the same time. It certainly doesn't hurt that Colin Firth plays the father! (I'd watch him read the dictionary). Kelly MacDonald is also marvelous as Evangeline. And I need to mention Angela Lansbury (who wore a marvelous fake hooked nose...it took me a few minutes to recognize her)...she is also very funny in her role. Lots of great supporting characters, too, like Celia Imrie, Imelda Staunton, Derek Jacobi, and Patrick Barlowe...any fan of British cinema will enjoy the cast.

This is a great family movie, though toddlers will be bored...older children will better understand the humor.


Nanny McPhee is enjoyable, and by all means should be seen by any film lover. But it should have better - it has a good concept, it has great acting, it has a fun story, so it should have been *terrific.* But it isn't terrific - it's just good. A bit more attention to cleaning up plot details would have put it over the top. There are real plot problems.

Negatives: 1) Some plot twists are completely projected. You see them coming a mile away.

2) The climax is really unconvincing and seems to have been thrown together. You could even call it hackneyed. I don't know, maybe they were running out of money or time. And that's bad for a movie's climax. But by the time it comes, you already like the characters and the movie, so you are willing to let them get away with it. But it should have been better. I'm trying to not write spoilers, but I mean really - a food fight? And the "trick" that the kids play to win at the end is really just foolish, and wouldn't actually fool anyone.

Positives: 1) The acting. I love Emma Thompson, and I'm glad to see her writing a screenplay. *All* of the acting is good. Thompson, Jacobi, Lansbury are, of course, but so are the actors I never heard of.

2) The movie portrays a pleasant sort of fantasy Victorian world that is always fun to visit.

The characters. The Title Character is one that can easily become a classic, and I think Emma Thompson might have written it just so she could play her. The kids are great, and the movie successfully makes you sympathize with them, even after portraying them as little monsters. The same for the Dad.

The movie is almost *corny*, but you can't help liking it, simply because you like the *people* and because you *want* it to be real.

I can't give it a high rating because of the flaws, but it's certainly worth seeing.


I wasn't too keen on seeing this because i thought it would be a very kid movie, but i'm glad i did. The actors are good, especially Thomas Sangster (Simon). I just loved him! Emma Thompson can change the slightest turning of her head and a mumbled 'hm' into so many things. It is a very cute story, heartwarming sometimes, thought-provoking other times, and funny the rest of the time. The special effects, i think, were perfect. Just enough to show that it was magic, but it wasn't over done, as in some other 'magical' movies.

The only thing i did not like about the movie was the fact that the ending was pretty obvious, but it is very hard to make a fairy tale with a twist ending. We never do find out anything about Nanny McPhee, which is sort of the point, i think. She is just THERE. Doesn't matter why or how. The movie isn't about HER as the person - its about what she brings about.

I definitely recommend seeing this movie, no matter how old you are.


Wonderful actress and fantastic screenwriter! Telling a story on several levels, one for everyone- the kids, the parents, the nanny's- the audience. I loved it, especially the casting through out- serious tragic actors playing funeral home sidekicks, delightful Colin Firth-as the frazzled Dad..and the kids were perfect! A very refreshing and entertaining change of pace from murder and mayhem, prevalent on the screens lately. A nice dose of magic is what going to the movies should be about. Now I can't wait for it to come out on DVD and see it again-On reflection I realized that Nanny Mcphee had lessons for the Dad, Evangeline and other characters,too!


I've already watched this movie twice and found it to be very entertaining the first time. The Brown children are very naughty and very disobedient and Mr. Brown (Colin Firth) is looking for another nanny after the children had chased away 17 nannies. An eerie message comes for Mr. Brown everywhere saying "The person you need is Nanny McPhee!" Nanny McPhee (Emma Thompson) arrives at the Brown door and takes everybody through an entire adventure. The children must learn five lessons: 1) Go to bed when you're told 2) Get up when you're told 3) Can't remember 4) Can't remember 5) Do as you're told Overall, if you got kids, take them to this movie. And if you don't got kids, go see it anyway!


This movie is very similar to Mary Poppins, but with a crude twist - the nanny is not a looker. No disappointing acting performances, although one of the children looked like she came from a different family all together. Either she got her features from a gene that was passed down from long ago, or the former wife has a lot of explaining to do. I guess the casting agent was asleep or just attempting to be fired so he/she could collect the unemployment and eat govt. cheese.

There wasn't anything offensive that I recall. There is a little "gross" humor, but the reaction of the audience was very positive.

Regardless, the movie is fun and keeps your attention well. My kids loved it.


This was one of the best films I have seen in quite some time.It was very easy to get caught up in the story.The children captured my heart,even though at times they were dreadful little monsters. Emma Thompson was magnificent as the loving and caring Nanny McPhee.The story,the casting,and the writing,all came together to make this a perfectly enchanting film.Every actor/actress brought something wonderful,that made them more than just two dimensional characters pulled from the pages of a book. If you haven't seen it yet,I recommend that you do.Even if you don't have a child to share this movie with, you will enjoy the very endearing Nanny McPhee(warts and all).


A wonderful Czech classic that can be seen over and over! In my opinion, this is a film that is best understood if you are a native Czech, appreciate Czech humor and character, and like Bohumil Hrabal's "tender barbarian" style of writing. It is not so much a movie about a local brewery director, his wife and their life in the brewery that strives to be an utterly funny comedy, as it is a lovely view of Hrabal's parents, his unique uncle Pepin, and the times of "cutting it short", that brings a smile to your face and keeps it there for the duration of the film. I can understand that Postriziny can be very hard for non-Czech viewers to appreciate.


To me, this is the best movie ever. I could watch it over and over again for a thousand times! The scene, the characters, the dialogues, the situation, the colors, the feeling! Ah, that sweet nostalgia! And the whole movie mixed with an elegant little comedy. This film is truly the one to give you joy and courage through life. I guess you need to be able to receive the feeling that just comes from this movie. Anyone who has seen a peaceful little Middle-European town would appreciate this movie. Anyone who hasn't can do it with this film. Go out and get it!


The best movie of Czech genius Jiri Menzel (after the Oscar-winning 'Ostre sledované vlaky' of course). Too bad that Bohumil Hrabal, the writer of Menzel's best movies is practically unknown for the "Western" audience, they apparently ignore these gems from behind the former "iron curtain". Menzel is one of those great Czech New Wave directors (along Milos Forman, who managed to get into the spotlight by moving to the USA) who established this very special Czech style of movie-making: sensitive while humorous, joyful while tragic, with very intimate and thought-provoking stories. I just love the style of Menzel who can put this unreal, incredibly funny character of uncle Pepin to the screen so well that it actually works better than in the novels of Hrabal. Don't miss it.


The Czech movie industry is famous for its masterpieces. And when they meet a genius as Hrabal the outcome is excellent. The story is about a country-side brewery somewhere in Czech republic, at the beginning of the 20th century (maybe right after WWI). We get a very good picture of the nature of czech people influenced by the rigurous Germans (represented by the manager of the brewery) and the cheerful slavic nature of men who like good food and lots of beer. We get also a glimpse of the beauty of the Czech women in the person of the wife of the manager. The movie shows also very well the change of the society in those times. At the beginning everything is happening slowly, everybody is calm, and gradually things quicken up, distances shorten and the world is changing radically.

If you like american comedy, please don't watch this movie. You won't understand it. But if you like to see a good European movie, you should not miss this.


And not only for Easterners. Of course, it is clearly not the cheap and easy humour you can face in that kind of slapstick silly comedies from Hollywood nowadays.

As many times in the tandem Hrabal/Menzel, the film exudes sense of humour, "joie de vivre" and natural acting. Characters are full of charm, flesh and blood, and life... yes, Central European life after WWI (some visits to the area are still a good help in order to take better understanding... but be careful because later the understanding becomes LOVE forever, I can assure)

Just waiting the next one by Menzel, based on another classic by Bohumil Hrabal: I served the King of England.

Personal note: I have been in love with Maryska (literary homage by Hrabal to his mother)since the blessed day I read the first lines in the book... some years ago.


This film is a comedy about how the writer Hrabal was born. The movie takes

place in a small town where Hrabal's father is in charge of a brewery.

The blessing and at the same time the bane of his life is his wonderful wife.

Blessing, because she is not only beautiful but she is resourceful and

intelligent and lively, bane all other man in the little town man would like to get

to know her better. The story is a kind of nostalgia, but is still

amusing tale, with not much tension and thriller, but still worth to watch

(If you have a good copy of it...)

At a time  I think  in the eighties the film won a some prize in a Film Festival, in Europe


I love Menzel movies and this one is my favorite of all of them. Even it's into my ten favorite movies of all time, like The Godfather, Blade Runner, The man who shot Liberty Valance, Amarcord or La vida en un hilo. It's poetical, romantic, erotic and funny. A kind of humor that moves from intelligent talk to the purely slapstick, but always in a universal way, that everybody can appreciate and enjoy.It's a movie that tries to make you feel how pretty are love and life, and if you let your senses and soul go into the story, when the movie finishes you can feel yourself better than at the beginning. Enjoy this movie so you'll enjoy life...and beer.


It's classical comedy - and if you like firemen, beer, stryc Pepin, well-known czech humor and Hrabal's "Pabitele", you must saw it. Good knowledge of Czech language is important! And don't forget to buy "medvidka myvala". :)


A film about a local brewery director, his wife and their life in the brewery. I didn't really like anything about this film, except for the fact that it has to do with beer (that was the reason I watched it after all) and that you see a lot of home-made sausages in several scenes (accompanying the beer). It is branded as a comedy but I didn't find more than 2-3 scenes mildly amusing.

Maybe it could only get as far as that in 1980 communist Czechoslovakia...


Not a few critics have written negative reviews about this film for being too melodramatic. What is so wrong about a film which makes its viewers shed tears because of its sheer beauty? This film about a young boy who has so much love to give certainly won the hearts of its viewers, to hell with the critics. Personally, I think it is one of the best Filipino films ever made, and its two awards from the Berlin Film Festival should serve as proof of its greatness. I'd like to think of this film as the Philippines' humble contribution to world cinema. I believe that viewers around the world should not be deprived of movies such as this, which offer the message of hope and love, as opposed to the depravity prevalent in today's cinema.


This is by far one of the best Filipino films since, I believe, Mike de Leon's Bayaning Third World.

Directing - Maryo J is very proud of this movie and why shouldn't he be? It captures the Filipino heart and character fully.

Script - Surprising to find out that a young person like Yamamoto wrote this. It makes you realize that the best works aren't the big production movies but the movies that come from the heart.

Acting - What do you get when you put Lorna Tolentino, Albert Martinez, Gloria Romero, Celia Rodriguez, Mark Gil and (now) Jiro Manio in one great movie? A great movie with great actors. You can't get anything better than that.

It's such a shame this movie wasn't well-appreciated in our land. But I'm glad this movie is still getting the appreciation it deserves.


i think Magnifico is really great.I cried while watching the movie.One of the best Filipino movies I've ever seen. The story is so simple but the message is so deep. It's nice to know that kids can think beyond everyday living even if his family is only poor. Jiro Manio's (Pikoy) portrayal of a young boy who took it upon himself to raise money in order for her grandmother's burial/death to be less hard on the family financially was so poignantly moving.The acting of the other cast were also really good especially for the seasoned actors and actresses like Lorna Tolentino (Pikoy's mother), Gloria Romero (who played the bedridden grandmother) and Albert Martinez (the father). Isabella de Leon, the girl who played the invalid sister, was also great in her role.


Unfortunately, I never got the chance to watch this film in Germany when it won its awards at the Berlin Film Festival in 2004. I only had the chance to watch it when I came back to the Philippines and I never really expected what impact it would have on me.

First, it is obvious that Miss Yamamoto is a gifted screenplay writer and director de los Reyes will bring it far in his respective field if he will continue his great contributions for Philippine cinema. Maginifico is really an enlightment and inspiration towards the development of Filipino films. This is what the dying entertainment industry needs right now.

The story and the sound effects were good, the music really fitted very well to the setting. The beginning scenes of the story weren't really captivating at all so one needed patience to get attracted to its plot. The scenes are simple but they become touching once the story gears to an end. In this film, no character has to wail or shout to catch viewers' emotions, the reality and frankness of the film was so direct and impressive that the story simply forces you to cry at some point. I never really cry at movies, even Hollywood tear-jerkers have no effect on me. This one has just awaken so much truth and reality in the Philippine society of poverty and innocence of a child, it really is heartrending.

One thing that could have been improved are the visual qualities of the film, they are really not compatible to global standards. And there were too many scenes at the story that were really out of topic etc. but otherwise, this film really is a knockout. It is a great contribution to the local film industry and films like these with high quality deserve good production and not only support for the commercial mainstream in the Philippines but also in cinemas worldwide. It can really par with many Hollywood masterpieces.


I am from India and I have never seen any Philipines movie. Without knowing anything about this movie, I borrowed it from library for my kid.

I never cry while seeing a movie especially if someone is around. But I could not hold the tears till the end. This is going to be the most favorite movie of my life time. Characterisation and screenplay are too good, that we don't realize that we are getting deep into that movie. My mother does not understand English. But she was also speechless at the end.

I thank all the artists involved in this movie for giving a wonderful movie (lesson) to the world.

I wish our Indian directors/producers also see this movie and try giving us good movies.


A Filipino cinematic gem that went largely unnoticed during its commercial run. Thankfully, it got the acclaim it truly deserves when it won both the grand prix and children's jury prize -- a feat never before achieved -- in the 2004 Berlin Film Festival.

A Palanca-winning story, masterful directing and great acting from just about everyone in the cast, but most specially child actors Jiro Manio, Isabella de Leon and the boy who played Manio's best friend, combine for a viewing experience you will remember long after the credits roll. Poverty and death do not beg for sympathy and tears in this movie, but they are likely to fall just the same.

Could be veteran (though nonetheless underrated) director Maryo J. delos Reyes' most heartwarming, uplifting film.


I am very overwhelmed to even type out a constructive comment on such a wonderful film. This was not expected, for a Filipino film at least. Never mind the quality of the picture, it's all that we can afford. One will hardly notice it unless he or she is a videophile. This is the type of film that, although it is not heavily marketed (I was in the Philippines in 2003, all year, and never have I seen an ad for it), will spread its magnificence through people. Heck, I'd even say that this can go in par with ANY François Truffaut film. My incoherency is annoying even myself, so let's cut this short. Magnifico is truly a magnificent film, no exceptions.


This movie "Magnifico" is one of the most extraordinary films of all-time and it's worth watching in a lifetime! There maybe a lot of sad stuff on this film, but hey: film is set to poverty.

Jiro Manio's character (as Magnifico) is one of the amazing characters on this film even though his character is the lead of this film. It has shown that his character has been responsible for his family and care, and it has made the audiences surprised. I'd say, Jiro Manio - Even though his a kid, he has played a very tough roll on this film but he act very awesome and his took parts very well.

This movie can be really sad to watch but this shows the life of people in poverty and what's the people like in the province in the Philippines. There are no negatives about this film, and there are no conflicts etc. This is the only drama movie that was made as the best and the extraordinary film that was made in the Philippines. This movie has also been the best picture in other Film Festivals as well.

I'd say, this movie is a 10/10 even though it's a really sad film to watch. But this is something to watch and this is something that no one has seen the best that was created in the Philippines.


Magnifico, magnificent! this story was very well-written. acting was superb. it's a common story but it's still extraordinary. i must commend the acting, emotionally,the story was simple,but it's worth the tears. it's worth watching again too! congratulations to everyone who's responsible for making this movie. movies like "magnifico" tells me there's hope in the local movie industry.

EXCELLENT!!! Rarely do we get to see a Filipino film with a great cast, superb acting, touching story and positive message. This film just came highly recommended by a lot of friends who saw it. Luckily I was able to catch it. Thanks to the producer, director Maryo and the cast especially Jiro, definitely a natural. Hope we can come up with more films like this. No sex nor violence. A must see for the family. Don't let this film pass, go see it!!!

Magnifico, The Best Magnifico is a beautiful, BEAUTIFUL movie! It's the best Filipino drama movie I've ever seen! Congrats to the cast and crew! Jiro, Isabella and Joseph are great child actors! Keep up d good work! I wonder what was in the mind of screenwriter Michiko Yamamoto (did I get her name right?) when he/she wrote the screenplay? Probably, death? Anyways, thanks for contributing a great film to the history of Philippine cinema. You,guys, rock!

Finally, another quality Filipino movie Simply put, Magnifico is a movie worth watching. It is movie that is not just heartwarming but a shining proof that it is never too late for Philippine cinema to reform. The plot is excellent and the theme, centered on innate human goodness, is timeless. I salute Director Mario Delos Reyes and Violett Films for a job well done. The people behind this movie has proven that defying current trends can prove to be the right thing to do. I hope that Violett Films won't grow tired of producing quality films like Magnifico.


This film was shown here in London during the Foreign film exhibition together with other remarkable Filipino films like Imelda, American Adobo...etc....the venue was a bit small( Riverside Cinema)thou the number of Filipinos base in London is quite large now but still of many reasons, Non Filipino viewers are more than our "Kababayans", i cant say that Filipinos are not movie goers cos it's not true. Maybe because most of them here are westernised now, so they prefer to watch English spoken films.....well thats a sign that they are so easy to adapt(positive outlook in life). The ticket is very reasonable and if you will rent a pirated DVD from Filipino supermarket they charge more and very bad reception. It was well advertised too that so many fliers and leaflets were given away in all Filipino shops, remittance office, Filipino beauty saloons and anywhere as long as there is Filipino......But why so limited of Filipino watched it????? It is because most of them(Filipino) has no culture and cant appreciate the real art.... its a shame and sad to admit but its true. where is the nationalistic campaign of us before that goes this way???....TANGKILIKIN ANG SARILING ATIN.....We need more films like this to uplift our country and people in the world map.


Well its about time the Philippines made a movie and not stick to the old American formula, of the illness of the week syndrome.

This film did not shock you every few minutes, or give you eccentric characters. It went at a pace where life just goes on. We were shown the life in the village and the people living there.

I would of liked to see the reasons the older brother did not like school, and a bit more of Magnificoes friend, but overall it was a good film. Like Milan, the powers that be are thinking about the story a bit more. In the past Filipino films have been guilty of getting a thin story and stretching it for the film star. For example, do we have a role where Sharon Cuneta can cry? Ther was not a bad performance in the whole film, the father with his Rubic's cube, the mother with her pain, the grandmother who just wants to be a grandmother, and Magnifico who just wants to be a...boy.


The magnificence of "Magnifico" is just undeniable. After watching it, everything else I watched seemed so bland. This was the first Filipino movie I came across, and it instantly struck a chord. The movie was a welcome change after I had viewed scores of Hollywood flicks. "Magnifico" is the best example of how a movie can work just based on fine & natural performances. The child artist is brilliant as an actor and so is the rest of the cast. It's hard for me to believe that just 220 something viewers at IMDb have voted for it (probably only a small number has seen it). It's probably one of the finest movies in recent years. Highly recommended, a must watch: 10/10.


The best movie i have ever seen in my entire life.

The actors, characters, cinematography, storyline are as good as it gets for this particular genre.

Truly inspirational.While most families around the world worries or complain about not having the best of everything, and their lack of appreciation to the simplest, or basic essentials in life, this movie will show how lucky you really are.

I've read some comments that down played the integrity of this movie, and in for obvious reasons, these comments came from people who's never been to the Philippines, who's never experienced poverty, and a complete slave to the "Hollywood" stereotypical way of depicting drama in the movies. The portrayal of the day to day hardships of this Philippine family in this movie is as real as it gets, or worse to some.

If this movie didn't touch you, then look for meetings that can help you.


It's not too often that even a decent filipino film comes out these days. Was it over-hyped? Maybe. But it was a good, solid film. And in our struggling industry, movies like those are all too rare.


This title can best be described as a '' Pay it forward '' on the Philipines. Without the glitter and the glamor of a Hollywood flick, it tells the heartwarming story of a young boy from a poor family, trying to arrange the burial for his grandmother. Of course he teaches the so called adults around him that they have to break their lethargy around certain choices to get further in life.

I had to get used to the simplistic way of filming. It felt a bit cheap, comparing to most of the similar films made in the U.S. But as the story evolved, I also started to like this simplicity because of the authentic view it gives us of poverty in the Philipines. It never felt artificial, as most of the American movies with similar themes usually do. Its characters are humans of flesh and blood, and although their acting is stiff and sometimes uncharismatic, they feel natural.

But still, at the end I felt a bit hollow. This usually happens when I liked a movie but when there is some aspect that doesn't really fulfill my expectations. The ending is cheesy, predictable and far from original. It doesn't surpass the level of those cheap '' based on true stories ''- movies or anything inspired by the books of Danielle Steel. And to add more criticism; the soundtrack is incredible awful.

My conclusion: At the end it's not that great, but that doesn't mean that I couldn't like this cute story. Especially the scene in which our little hero measures up the size of his grandmother is truly heartwarming. This is for the sensitive moviegoers, cynics shouldn't even bother to try it!


I can't figure out why people are saying that this film isn't melodramatic, because it really lays on the sap. It follows a formula we've seen before of inspiration and tragedy, all just to get a few cheap tugs at the heartstrings. The story's evolution is not convincing and the dignity of the poor aspect is overplayed for what it is worth.

All that said, there are redeeming aspects. Most notably is the cinematography. The images are all well lit for depth and contrast of cool and warm colors. Also, the camera shots from low angles with wide lenses give an overall visual perspective that rings true as the way a child would see the world. There is also some good scenes between the protagonist and his grandmother and his sister. These three were probably the best actors to boot.

In the end, it is not something worth going out of your way to see though.


Ann Harding and William Powell are terrific in this strange little gem of a movie which runs the gamut from Pre-Code Drama to Screwball Comedy! (the closing dinner party scene is worth the price of admission). John Cromwell directs with a sure hand, especially in a great tracking shot involving the two sisters.

It's incredible how modern films seem to lack any sense of sophistication and style in comparison with even lesser known films from the 30's like this one.

A pure joy to watch.


This delightful and oh-so-sophisticated combination comedy/drama was my personal favorite at Cinefest. With clever dialogue, fetching lead actors and delicious directing, I was hooked at the onset. Beautiful Ann Harding is seen cooking and explaining to her engaged sister (Lucile Brown) that to men, business is business but that marriage is the business of women. Harding sets her sights on William Powell, a super smooth playboy who inherited a struggling shipping line. She sets a trap arranging for her sister to send their father (stern Henry Stephenson) to Powell's apartment for the purpose of catching Harding and Powell alone. To save face, Powell agrees to marry Harding, at least for a while. On the honeymoon, Powell suggests a divorce, while Harding coolly recommends they wait six months so as not to seem too obvious. She then starts steering him to leading his company back to profitability by looking at it as a challenge. With his talents now attending to business and not bedroom conquests, Powell starts to enjoy his newfound success and begins to fall in love with his bride. In the meantime Harding's jealous sister, now unhappily married, has been living beyond her means and needs money fast. She blurts out the truth of the marriage trap when Harding refuses to again pay off her debts. Powell leaves, disillusioned. Harding's father has arranged for a huge business deal to be offered to Powell at a formal dinner party at their home that very night. As Powell is boarding a ship to Europe, his frazzled wife is at home greeting guests and trying to maintain composure. One by one, each guest is involved in a personal crisis and is pulled away from the dinner party from hell, presided over by blustery Reginald Owen as the butler. I can't go on with out spoiling the best joke. This forgotten film is four stars all the way. I saw this film in March of 2004 at the CINEFEST film festival in Syracuse, NY. Thank god for film festivals like this one that make rare films like this available and the folks who provide comments to IMDB for others to share. Please support the IMDB and early film festivals!


Really well done adaptation of the play to the screen. Rather wordy as was most early 1930's films, but quite charming nevertheless. And, indeed, rather risque for its day since there is a supposition at one point that Ann Harding's character, Joan, in trying to trap William Powell into marriage, is giving pre-marital favors and is actually caught in the process. The chemistry between Harding and Powell is quite good and it is unfortunate that the two were never paired again in another film.


Just saw this on TCM and I have to say I was floored by Harding's performance, who I saw here for the first time. It takes real talent to act in melodramatic scenes and deliver them so naturally that the viewer never questions your authenticity. Harding adds hundreds of little touches - a gesture here, an eye movement there, that make her performance show you what natural acting is all about. In fact, she makes everyone else pale by comparison - Powell is his usual charming self, but next to Harding he comes off as a typical Hollywood performer. And talk about sophistication! Harding has to be the ultimate in "cool". I can only guess the reason she didn't become as big as Hepburn or Davis is that she didn't fight for better films. I'll be sure to look for more of her work soon.


I just caught this sixty-nine minute comedy/romance from RKO (released to American theaters in 1933) on TCM as part of their lost-and-found spot tonight. Very fun picture directed by John Cromwell and starring Ann Harding, William Powell, and Lucille Browne. I am not very familiar with Ms. Harding's career, but I must say that I was very much impressed with her performance here. Actresses today should watch her in this film and take lessons. Her facial expressions had so much depth and realism, something that we, with few exceptions, do not see in modern actors. Powell holds his own as a playboy wanting to do little with his life besides play Polo and women. This was a nice warm-up spot for Powell until he would make his most legendary 'The Thin Man' ('34) the following year. DOUBLE HARNESS has a heck of a lot to offer in its 69 minute runtime. Let's hope we see this one appear on DVD soon.


This is one of the "lost but found" films shown on TCM on 4/4/07. Apparently this and two other films shown that night were held out of public release due to litigation concerning royalties and now the powers that be at Turner Classic Movies have taken care of the licensing issues. Of the three films shown that night, none of them were great treasures but all three were excellent--very solid examples of the type of films RKO made during the era. Normally, when you think of RKO in 1933, you think KING KONG or Astaire and Rogers as a team, but there were other good films that might rank just below them in quality and entertainment.

One of the big reasons I saw this film (aside from the fact that I am a major old movie junkie) is that it featured William Powell--one of my favorite old movie stars. While this WAS one of his movies, he was not exactly the same type of funny and sophisticated guy he later played in the Thin Man films or in LIBELED LADY. Instead, he was a rich playboy who was a little less likable, though he was honest enough to tell his girlfriend (plaed by Ann Harding) that he wanted to be a playboy and didn't want deep commitment. Ms. Harding, though a nice person, was determined to marry him so she concocts a plan to trick him into feeling he must marry her. She is successful, though afterwards her victory seems very hollow. How all this is deftly resolved is pretty clever and interesting and makes this film well worth seeing.

The acting and writing are excellent despite this being a less than big budget sort of production. It's a good example of a "Pre-Code" film as topics such as adultery and premarital sex are actually discussed--something that would probably NOT been allowed after the new and strict Production Code was enacted in 1934-35. While the topics were NOT dealt with in a salacious manner, the adult aspects of this film make it pretty timeless and topical today.


The wonderful William Powell one year before playing Nick Charles! Just found out via Robert Osborn on TCM why this film hasn't been seen in 50 years. This picture was not available when Ted Turner bought the RKO Pictures catalog. It was tied up in litigation which was finally resolved. At that point it became available to TCM for showing. Also, TCM found a print in France that had 2 1/2 minutes which had been cut from the version available here. So TCM restored the missing footage to the film.

My mother was growing up when this film came out. She tells me that Ann Harding was a big star at the time. William Powell, according to Osborn was having difficulties in his personal life. His marriage to Carol Lombard was on the rocks.


I saw this on TCM a couple of nights ago, and stayed up late to see it a second time when it was screened again later in the evening. I had never heard of this movie before, and it turned out to be a pleasant surprise. Based on a stage play, it has sophisticated and witty dialog, and is very nicely acted and directed. William Powell is his usual charming self, and Ann Harding is terrific--exuding intelligence, strength, and femininity in a very difficult role. I can remember seeing Ann Harding in only one other film, Peter Ibbetson, and she made an equally strong impression on me in that film as well.

Powell and Harding work well together, with a seduction scene creating a great sense of intimacy. He's a playboy, and she lays a trap to snare him, which eventually leads to a lot of emotional pain and heartache. Despite all their troubles, there is a certain civility and grace in the way that they deal with each other--and I think it is this quality, more than any other, that makes the film so appealing.

For people who like films of the pre-code era, Double Harness is highly recommended.


Once again, the big thinkers at Turner Classic Movies have provided film buffs with a tremendous cinematic coup, this being the re-release of six films crafted by Merian C. Cooper as executive producer, and tied up in litigation over the screening rights for decades. Among these films is the social satirical gem, "Double Harness," which is available from TCM via those cable TV providers who have TCM On Demand.

The film is, therefore, free for viewing at the convenience of the customer and this one comes highly recommended.

In all honesty, it was not until the very final scenes of this film, that I realized it was set in San Francisco ( and not New York ), and that the entire production was a satire. The beginning and middle sections of this movie -- from a play by Edward Poor Montgomery -- seem to fit nicely in the oh-so-predictable slot of "melodrama." Just about every player in this film is a character carved strictly out of "upper crust" marble, with all the trappings of the idle rich in the '30s.

Not that the idle rich in the Depression years had it so good, of course, as they apparently had to cut back on the caviar before dinner at least once in a while. The alert film buff will realize that this story is strictly from "la la land" in the first scenes, where the two sisters Colby are viewing bridal dresses for the younger one, Valerie, who is about to be married. The bill for her trousseau comes to well over $ 3000 at a time when $ 100 per week was a lot of money for a family of four. And by the way, everybody smokes ... a lot.

Everyone in this movie is fabulously wealthy by the standards of the day, even though their interests are under pressure from the economic turbulence of 1931-1932. Losses from a bank failure are mentioned in passing in one scene, but the audience cannot help but be captivated by the opulence of the lives of these characters. This film also serves to further establish the absolute brilliance of William Powell, who is the lazy playboy named John Fletcher, heir to a shipping line.

Powell seems to play his character with an almost sublime restraint, and a barely concealed exuberance: it is as if he knew in his subconscious mind that this was an "Ann Harding" picture and it was his duty to bolster her performance and her presence. He does so, in the most magnificent fashion, and it adds power to the social satire which is the weave of this cinematic fabric. It all comes together at the end, where a most elaborate private dinner party collapses into a drunken disaster for the younger sister, and a fist-fight for the butler and the cook !! And there's a happy ending, too, of course.

The only thing this film lacked was more ... more of the luminous Ann Harding, more of how she was slowly capturing the real man inside the phony, shallow playboy Fletcher, and more of how William Powell brought that character into reality from a stiff and rather formal screenplay, the kind of "very talkative" cinematic fiction so common in that era.

Nine of ten, and since it can be viewed for free, On Demand, it is highly recommended to any and all film buffs.


Melodramatic romance about Joan (played by Ann Harding), a woman who strongly believes that marriage is "a business" and decides that a playboy of her acquaintance, John Fletcher (William Powell), a man with a "future" (not to mention a well-trained manservant) is the one for her. She actually falls in love with him, in spite of herself, but he's all playboy and doesn't seem to want to give up the bachelor life. She decides to trick him into marriage by going to his apartment, then changing into "something cooler", after which her father shows up, and for some reason Fletcher agrees to marriage. Well, they're already discussing divorce on the honeymoon and decide to wait six months before they get it. Joan is meanwhile busy pressing her husband to work on making his business a success and give up the polo (even though he's not very ambitious and has stated he prefers the life of leisure).

Well, this is an interesting, fairly serious film that stands out based on very well done performances by Ann Harding and William Powell. The flaw for me in the film is that I find the male character to be kind of a jerk and can't really see why she's so gung-ho to want this man - personally, I would take a decent, nice guy any day over a wealthy playboy who's always chasing after other women. In general, I would say this woman has been making some pretty poor choices in her life. But one bonus - the film is loaded with gorgeous dresses on all the women, a nice look at some fashions of the day. A decent film, worth seeing.


This was the second of the series of re-released, long missing films shown on Wednesday, April 2, 2007 on Turner Classic films.

RAFTER ROMANCE had a good deal of pleasant humor still going for it, and A MAN'S JOURNEY has some wonderful performances and a good story. But DOUBLE HARNESS, although it has two good performances (especially Ann Harding's) from it's leads has a script that most people would not accept. Family and filial devotion are still big matters to people today, but this film stretches these points way out of proportion.

Harding is the older of the two daughters of Henry Stephenson. The younger one is Lucille Brown. As the film begins we see Harding with Stephenson and Brown buying Brown's wedding trousseau. Stephenson is a decent sort (when was he not in most of his films?) but he has never been really astute about money matters, and so he is only able to afford $5,000.00 (1933 dollars, of course) for the weddings of both daughters together. But dear little Brown is spending more than her $2,500.00 share. Harding realizes this, and is a good sport - she let's this shopping spree eat up more than 2/3 of the total. After all, little sister is getting married.

Harding is asked by Stephenson and by Brown about her own marriage plans. She has been dating William Powell, a well-known playboy type, but one who actually has a business - a potentially important shipping line that Powell has allowed to be run by others, and is now somewhat shabby. It turns out that Harding actually has her own agenda. She sees that marriage by itself (supposedly based on love) is insufficient, unless the wife can be of use to bring out the best in the husband not only at home but in his career (this film is very much a 1930s film - the idea of the woman building her career is not part of the picture).

Powell is enjoying dating Harding, and it goes beyond a casual, more typical affair of a few days or weeks. But she sets him up (with the aid of her sister and Stephenson). Powell has brought her to his apartment on several occasions (and we imagine it is for more than the cocktails served to them by his butler, Reginald Owen), but one night Stephenson shows up as the angry, red-faced father (signalled to come by Brown after Harding calls Brown up). Stephenson acts as though he is furious, and wants to know the intentions of both Powell and Harding: how do they feel about each other, and will they marry or not? Harding admits she loves Powell, and would marry him, but it is up to him to decide. Flummoxed by the suddenness of the situation, Powell says he wants to marry too. So now the marriage can go through.

Now the title of the film is understandable, as the marriage is the "double harness" of the couple. But the problems are these. No matter how fond he is of Harding, and willing to go through the forms, Powell intends it to be a short duration marriage. Harding is discovering that she is slowly falling in love with Powell, and is also aware that he expects her to divorce him within a six months of their return from their honeymoon (on one of his cruise lines ships).

She gets to work to remake him racing against time - if she can domesticate him (and make him see he likes it) she can save the marriage. She also starts pushing him to get re-involved with the shipping line, and he starts taking charge of it (and it starts improving). Only two things may derail Harding's plans. One is the reappearance of one of the wealthy women (Lillian Bond) who thrived with Powell (or seemed to do so) when he was a playboy. She starts being seen around town with Powell, although he is simply being polite in taking her to lunch at such.

The other thing is Lucille Brown. Her marriage to George Meeker is in jeopardy (again we see no scenes about this) because she can't curb her spendthrift ways. Apparently they had a heavy duty argument at one point, when he agreed to pay off a big clothing bill, a few months after the marriage - he telling her that she better change as he was not rich enough to stand this kind of extravagance. Brown manages to sponge off Harding (using up all of Harding's private money) but still coming back for more. It seems there is a $1,000.00 debt that is owed, and Brown can't face Meeker about it. Harding pawns a ring for $500.00 (Brown is upset that the pawnbroker did not pay her the full value of the ring - as though a pawnbroker would!). But Brown is spoiled and rotten enough to consider either borrowing the money from Powell (without telling Harding) or going to a male admirer (Hugh Huntley) and "making an arrangement" with him for the money.

Harding's and Stephenson's affection for Brown as a member of their family is understandable, but both know she's a selfish, spoiled brat. She does considerable damage in the film - and it is a weakness (I'd call it a serious weakness) that she never really suffers the consequences about it while others do suffer. Somehow that would not pass these days. Otherwise the performances of the two leads (especially the under-appreciated Harding) makes the film quite watchable. Also good is Owen, as the perfect butler/valet, who has a funny sequence at one of the most disastrous dinner parties in movie history.


This movie is an example of the kind of film that just can't be made anymore. At least not from a major studio. A compact, fast paced script that is based totally on character interaction. Ann Harding is cool as ice. Beautiful and smart, her character Joan Colby carry the film. William Powell doesn't have much to do except react to her, but he does it splendidly. He plays love interest John Fletcher with a world weary yet charming air, as only he could do.

The relationship between the two is introduced to the audience as a thinly veiled roll in the hay, interrupted by a father figure. Pretty racy for 1933 standards. From there, marital relations under the strain of a worsening economy drive the story. All very relevant today 70 plus years later. Even the quaint idea of "tricking" someone into getting married seems to fly here.

Well cast from top to bottom, each player does well to move the story along. The production value is somewhat above normal "B-movie" standards, with a few minor outdoor shots.

Watching this movie was almost like watching a ballet dance, with Ann Harding moving between each scene with so much grace she fairly shimmers. The other characters swirl around her, each flying by barely grazing her, in a well choreographed, almost clock like, movement. William Powell stays out of her way, literally and figuratively, till the end of the film.

If you love old movies this one is worth your 67 minutes.


1933's "Double Harness" is a precoder based on a play of the same name. Before playwrights like Clifford Odets championed the working man, plays dealt with the upper class, as does "Double Harness." William Powell is John Fletcher, a committed playboy, and Ann Harding is Joan Colby, who believes marriage is a business. She isn't in love with John, but she believes she can be of use to him in his family enterprise, which he neglects. They become lovers; she arranges for her father (Henry Stephenson) to find her in John's apartment. He strongly suggests to John that he do the right thing, and John leaves it up to Joan - does she want to marry him? He's surprised when she says yes. On their honeymoon, they agree to stay married for six months and then divorce. Then a funny thing happens: love.

Ann Harding came from the Broadway stage; she was a sophisticated, mature, dramatic looking actress with a rich speaking voice. Actually by 1933, her career had begun its decline (though she worked on and off until 1965). Like Kay Francis, she is an elegant, independent heroine, a type which had faded out by the 1940s. Here, her Joan is strong, droll and earthy. Powell was an actor whose appearance didn't change from role to role, but he was able to internalize a character so that he always seemed different. He became associated later on with Nick Charles and some wonderful comedies, but in this era, he's quite serious and as always, wonderful.

Dated due to the different mores of today but no less entertaining.


This is a neat pre-code film. William Powell gives his usual stand out performance. I've always had a problem, however, with leading lady, Ann Harding. She is one of my least favorite actresses. In this film, she is trying to hook up with Powell, but she looks more like his mother than lover/wife. She is, without a doubt, a good actress--but (like Miriam Hopkins)just not attractive enough. Henry Stephenson, as Harding's father was fine as was Lilian Bond, who played a gal friend of Powell. Ms. Bond was not a marriage type match as she was clearly not the settling down type @ all. Check this out if you like witty dialogue & sophisticated characters.


I saw "Double Harness" for the first time yesterday. At first, I was expecting what I call the usual 30's drama, with lots of tuxedos and evening dresses and maybe some weak humor. But what I found was Ann Harding, a beautiful and very talented actress. Her understated delivery and honest portrayal made me want to see more films with her in a starring role. As one reviewer has pointed out, William Powell was on his way to "Thin Man" fame, but what became of Ann? She easily could've gone toe to toe with the other great ladies of film from that time, but we see little of her today. She is a delight to watch. Thanks to TCM for showing "Double Harness" to keep Ann's memory alive and well.


I, too, wish to beg forgiveness... for I have never seen Ms. Harding before tonight.Now, I HAVE to see everything she has done;and TCM is showing another 1933 film of hers-"The Right To Romance"-1933 with Robert Young at 5:00AM---she plays a plastic surgeon with marital woes with an ex-boyfriend involved. So,I am compelled to stay up, and watch Ms. Harding again.

Just like everyone else who has commented, she gives such a natural, under-played "non-scheming scheming woman"!I have never seen better.Mr. Cromwell did wonders with Betty Davis the next year when they did,"Of Human Bondage"... I'm wondering how much it was his direction that coaxed such great simplicity from Ms.Harding-or, is it her own 'pony'?!

Mr. Powell was exactly the same as he was the next year in, "The Thin Man"--- so, it would be my suspicion that Ms. Harding rose to the 'occasion' on her own 'horse'. We shall see later, but for now, Ms. Harding just scored a 'bull's eye"!!!! Well, i stayed up, and saw, "A Right to Romance" It was NO, "Double Harness"!!!!!!!!!!! At first i thought she was 'reserved' because sh was supposed to be a prim,proper doctor, who had no time, even for having a manicure, for any social life. She NEVER 'warmed up', IMHO, for the whole movie!She is supposed to fall in love with gregarious, Robert Young.When the picture opened, Ms. Harding had her hair in a TIGHT bun--her hair was FAMOUS for being so long it went down to her waist!!!!!!!!!! Wouldn't you think the director would employ the 'letting down' of her hair, when she is 'liberated' by Mr. Young?

Then I thought when the young crippled boy appeared, she would have warm scenes with him.... there were barely any emotion shown towards him, even when she saves his life. Have any of you rascals seen this film..... maybe I am wrong. Luckily, "Double Harness" will be shown again on TCM on the 26th. at 5:15PM.... Director of "Double...",John Cromwell,who also directed the CLASSIC, "Of Human Bondage"-1934-which will be shown at 6:30PM- so you can see his skill...

After that- a very 'touchy' subject-abortion-will be confronted with the PRE-code film,"Men in White"-1934-just before the 'code' was enforced. The word "abortion" is never said, but it is plain as day what i going on! great performances by Clark Gable-the doctor, and Myrna Loy, the 'high-maintenance socialite', who 'tosses' him because he stays to save a patient's life, rather than attend her party. I just finished researching Ms. Harding,I'll post her bio.it on the "Ann Harding" site.I've finished bio. for Ann Harding... go to her site in IMDb. I left out: She has 2 stars on the Hollywodd walk of fame: 6201 Hollywood Blvd. for motion pictures, and 6850 Hollywood Blvd. for TV work.


This is a great pre-code, unseen for decades and tied up in rights problems until TCM rode to the rescue and cleared matters up in 2007. Now TCM owns the rights to this and five other films that were in the same boat. There is just something about it that I never tire of, although there is nothing particularly unique about the plot.

Ann Harding plays Joan, the oldest of two sisters and the daughter of a man who is still wealthy but has been hit hard by the depression. The film opens on the family shopping for younger daughter Valerie's wedding trousseau. Valerie's champagne tastes are having difficulties adjusting to a cheaper brand, and one gets the feeling that she's used to being pampered by both Joan and her father. This fact figures in prominently later on in the plot. Afterward, Joan runs into John Fletcher (William Powell), heir to the Fletcher shipping line. After a couple of casual dates, Joan decides that John would make a good husband. The bottom line looks good - there's only one problem. John is a confirmed bachelor. Joan decides to take the intensity of her quest up a notch. She begins sleeping with John and, with the help of her sister, arranges to have her father call on John and find her in his apartment dressed only in lounging pajamas. Chivalry will demand that John marry her and so will her father.

Things work out as Joan planned up to a point. John agrees to marry Joan, but wants it understood that there will be a divorce after a respectable amount of time has passed - six months. In the meantime, Joan's business-like attitude towards the marriage has been ruined by the fact that she now loves John and only has six months to get him to feel the same way without trying so hard that John can see that she is trying to get him to love her.

This movie has some great precode moments as well as the always dapper William Powell and the regal bearing of Ann Harding at her very best. In spite of the rather dramatic and heavy sounding plot I've described, it also has some great comic moments. The best of these is near the end of the film when Joan has to pull off a dinner party for some of John's potential clients without having them know about the mayhem going on behind the scenes, yet she is thwarted quite hilariously at every turn.

Highly recommended for fans of precode cinema.


I really liked this film (with the unusual title) due to a couple of things. First and foremost is the elegant sophistication of Anne Harding, a star in the early years of film but somewhat forgotten now. She is not your typical 1930s actress.......with her strangely attractive but outdated hair style and unusual beauty, she is very different from other screen icons of the time such as Greta Garbo or Jean Harlow. Playing a character who could have descended to hysteria and shrewishness, she underplays the part to perfection. I feel that she is sadly overlooked when the films of the 1930s are discussed.

Secondly, of course, is William Powell. One of my favorites, he does not disappoint here as the jaded playboy who seems to have unlimited amounts of money (as do all the characters). Not quite reflective of the Depression gripping the country at the time this film was made! His character is not very attractive as he philanders his way through cafe society but he does it with such style that he can be forgiven. Plus, his apartment is a decorator's dream!!! The story revolves around Harding trapping Powell into marriage, which she considers only "business". Needless to say she falls in love with him along the way and complications arise. It all ends well albeit a little abruptly. This is a film that reflects the end of the pre-code period with its straightforward approach to sex outside (and inside) of marriage. Very enjoyable.


This was a great 1933 Classic film to enjoy the great acting of Ann Harding, (Joan Colby) and William Powell, (John Fletcher). This film takes place during the great depression and Joan Colby is an older woman who has not married and her sister, Valerie Colby, (Lucile Brown) is planning to get married which sort of puts the pressure on Joan to do the same thing and not become an old maid. Joan takes an interest in John Fletcher, (William Powell) who is the owner of a Steamship business and at the same time a playboy with lots of women and his business is not doing very well. However, Joan is aware of John's way of living and she manages to trick him into marrying her, even though she does not love him and he has the exact same feelings towards her. After several months of marriage, this couple decide to get a divorce and end their so called marriage relationship. During these months of marriage, Joan is able to conduct business meetings with government people and is able to secure contracts for the Steamship business. John continues to play around, but Joan never gives up on John and the plot gets a bit complicated. From some of the background photography this film wants you to believe this story takes place in San Francisco, California. Enjoy a great old time Classic film.


Another of the lost RKO films shown on TCM this month.

William Powell plays a playboy vaguely interested in Ann Harding, whose family crashed in the Depression. Harding is a woman who believes in marrying for love but gets pushed into trapping Powell into marriage (for his money).

Nice little story with two top stars who have great chemistry together. And the story isn't as dour as it sounds.

Lucille Browne is the odious sister. Henry Stephenson is the father. Lillian Bond is the gold digger. Kay Hammond is the friend. Reginald Owen is the butler.

Nice little film.


Henry Stephenson's younger daughter Lucile Brown is getting married to George Meeker. Her older sister Ann Harding is happy for her, but she's got her own ideas about marriage. Remember this is the Thirties before the days of woman's liberation and most women only thought in certain parameters.

She sets a trap for William Powell, a debonair playboy she's been crushing out on for a long time. Being the gentlemen he is Powell marries her, but inevitable problems do ensue.

Double Harness as a film was one I had a lot of difficulty with. The story is an indifferent one, you don't get to really care about these people. Powell, poor man, has to go to work, big deal. Ann Harding's ideas are so much cat litter and Lucile Brown is one spoiled brat who just needs a good spanking, one Henry Stephenson should have given ages ago.

There are some moments with humor, but they're few and far between even in this short film. It's not that dramatic and definitely not that funny.

But this is one of those films in the Thirties when the rich actually put on tuxedos to dress for dinner. People looked elegant, no one was ever better at looking elegant on the screen than William Powell. But he's done so much better work than this. And back in the Depression this was escapist stuff.

Still I've seen better from both Powell and Harding.