Three Loves Has Nancy (1938)

I like the storyline of this show,it attract me so much

In truth, there is barely enough story here to make a film.

All that we are seeing on the screen is happening with real people, real action sequences in the background, forcing the eye to watch as if we were there.

While it doesn't offer any answers, it both thrills and makes you think.

This tale about a small town girl who goes to the big city is supposed to be a screwball comedy, but it offers the thinnest of plots, a disjointed storyline, and few real laughs.Janet Gaynor stars as Nancy, the girl around whom the story revolves, but she lacks the magnetism--homespun or otherwise--to explain why Robert Montgomery and Franchot Tone would be drawn to her so vehemently. Regardless, they are all working with a script that substitutes non sequiturs for real humor, and a one-note fish-out-of-water story for emotional depth. The result is mere amusement.I don't think another actress could have saved this film, but Gracie Allen, Irene Dunne or Jean Arthur might have given it a stronger comedic base. The writers of this film were pitching screwball, but they missed the plate entirely.

Three Loves Has Nancy is a wonderful comedy from 1938 about a woman from a small town who goes to New York to find her missing fiancée. In the process, she meets a city author and his drunken friend who proceed to fall in love with her as well. What ensues is a madcap dash to win her affections in the process of her scatterbrained antics.Janet Gaynor plays Nancy, the simple and "neighborly" star. Gaynor is wonderful in the role with a consistent accent and constant seriousness that brings plenty of laughs.Robert Montgomery plays Mal Niles, the writer and perhaps the most grounded and standard of the lead characters.Franchot Tone is absolutely hysterical as Bob Hanson, a drunk turned sober lovestruck fool. Although he is quite lovable in this film, he varies from his traditional portrayal, bringing lots of attention to his character.This film, broadcast by Turner Classic Movies, is highly watchable and enjoyable both due to the content and the beautiful picture quality.

Three Loves Has Nancy with Janet Gaynor may not be on the same level as Lady Eve with Barbara Stanwyck but it comes close. I was laughing so hard that my son in the next room yelled out to me, "What's going on in there?" Franchot Tone simply stole the picture and Bob Montgomery was a close second. I couldn't believe the scene in which they were in bed together, stealing the one cover back and forth from each other. It had me in stitches. How could the Hollywood production code state that a married couple on screen couldn't sleep in the same bed yet these two men were allowed to do so? Did the censors simply miss out on the innuendo in 1938? Just too funny for words, perhaps even funnier than a similar scene made today, because this film was made in the age of innocence in Hollywood.Janet delivers her lines flawlessly, and she is very sweet, but Tone and Montgomery made more with their material here. I rate this delightful film 9 out of 10. Don't miss it when next it airs on TCM.

I enjoyed the running gag of Janet Gaynor always thinking she lost something - her purse or gloves - and Robert Montgomery trying to help but running into trouble himself because of it (especially in the cute ending). And the idea of a small-town homebody having two sophisticated New Yorkers fall for her is inherently funny, but most of the time I found myself not laughing. So the film is a valiant try but no cigars are forthcoming. This was the last film Janet Gaynor made for about 19 years. (The film "The Young in Heart (1938)" was made earlier in 1938 but came out later that year.) Gaynor is perfect as the girl, with Montgomery and Franchot Tone giving good performances.I was startled at a major goof near the end, when Gaynor's family and Tone's family meet in Tone's apartment. His father is played by Douglas Wood, who has the speaking part. But in some shots we clearly see another man (Charles Richman) in the background standing in for Tone's father. There was no effort to hide him either, and even if you don't know either actor, you just have to know that Wood has a mustache and Richman doesn't. And the all the actors' placement with each of the fathers are totally mismatched. To me, this ranks as the greatest lack of continuity by a major studio ever, and I'd be curious to know why it happened.