THE NANNY

THE NANNY

Sympathetic music plays over the opening credits as we follow the nanny (Bette Davis, SUNSET BOULEVARD) on an afternoon stroll through the park. She stops to feed the ducks, and chats enthusiastically with those that pass. What a lovely woman she seems to be.

Returning to her employers' home, the nanny ignores the row that is unfolding in the parents' bedroom and busies herself unpacking a cake in the kitchen. The cake is in honour of the ten-year-old son Joey (William Dix, DOCTOR DOOLITTLE), who is returning home after two years in an institute.

The nanny joins the boy's father Bill (James Villiers, BLOOD FROM THE MUMMY'S TOMB) on a journey to pick Joey up. We learn that Joey is a prankster, a moody juvenile who hates middle-aged women, and - in his nurse's words - a "monster".

Once home, Joey is continually rude to the nanny, much to his parents' dismay. Nanny remains calm throughout and smiles sweetly whenever Joey goads her, even reasoning with his mother Virginia (Wendy Craig) who is being driven to despair by her son's bad behaviour.

The mother is a fragile case, you see, as two years earlier her daughter Suzie died in mysterious circumstances. Joey explains to a friend that his parents blamed him and sent him away. But he insists upon his innocence, and seems terrified of ever being left alone with the seemingly innocuous nanny.

Which is unfortunate for him, as his father is called away on business and Virginia is hospitalised after a certain household mishap. And it's here that the pace starts to pick up as the nanny and the problem child (even the milkman thinks Joey's out of control) are pitted against each other, while the viewer is left guessing just who the bad guy (or gal) really is.

Benefiting from above average performances and a restrained direction from Seth Holt, THE NANNY is one of Hammer's more interesting offerings from it's mid-60's heyday. The fact that it's relatively restrained in its dramatics and Davis was better showcased in WHATEVER HAPPENED TO BABY JANE? are two good reasons why the film was most likely overlooked. But Davis is a joy here, reserved in manner and creepy in her overly friendly demeanour for the most part - then offering some truly effective tears during a later key scene that reinforces her right to 'star status'.

Craig is unexpectedly good as the grieving mother, while Dix reminds us that there was a time when child actors really could act.

The black-and-white photography is basic, but impressively so. Lighting is implemented on both aesthetic and atmospheric levels to great effect - and the use of light and shade during the close-ups of Davis' visage is brilliantly utilised in a successful bid to illicit both empathy and suspicion towards her characters in equal measures.

Not a great film - it's a little to reserved for it's own good, and lacks a finale of any real punch - but enjoyable viewing with solid performances and a decent script.

Considering the film was made in 1965, the 1.78:1 anamorphic transfer is excellent. No artefacting, minimal grain and clearly defined blacks and whites make this the best you've ever seen this movie look. Similarly, the mono soundtrack is satisfyingly free from issues.

A static menu page allows access to the film via 12 chapters.

The sole extra on the disc is a lively commentary track from co-writer/producer Jimmy Sangster and "continuity girl" Renee Glee (I may have misheard that name!), moderated by author Marcus Hearne.

Hearne does a fair job of coaxing information from the pair while avoiding asking them dumb questions for the most part. Sangster is good value, whereas Glee is a little less essential - effectively just telling us whether she was present for the shooting of each scene.

A minor film when one considers Hammer's legacy, but it has stood the test of time well. A solid transfer and engaging commentary track ensure a recommendation.

Review by Stu Willis


 
Released by Optimum
Region 2 PAL
Rated 18
Extras : see main review
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