6.7/10
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22 user 12 critic

No Man of Her Own (1932)

Con Man on the runs falls for a woman.

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(screen play) (as Maurine Watkins), (screen play) (as Milton H. Gropper) | 3 more credits »
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Cast

Complete credited cast:
...
Jerry 'Babe' Stewart
...
Connie Randall
...
Kay Everly
...
Charlie Vane
...
Mrs. Randall
...
Mr. Randall
...
'Dickie' Collins
Tommy Conlon ...
Willie Randall
Walter Walker ...
Mr. Morton
...
Vargas
...
Clerk
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Storyline

Clark Gable plays a card cheat who has to go on the lam to avoid a pesky cop. He meets a lonely, but slightly wild, librarian, Carole Lombard, while he is hiding out. The two get married after Lombard wins a coin flip and they move back to the city. Gable continues his gambling/cheating scheme unbeknownst to Lombard. When she discovers his "other life", she presures him to quit. Gable feels crowded and tells her that he is leaving for South America. In fact, Gable has decided he wants to go straight and turns himself in to the cop... Written by Jordan Caldwell <jcaldwell@tamu.edu>

Plot Summary | Add Synopsis

Taglines:

Gable as You Want him, A love 'em and leave 'em gambler, whose insults only added fuel to a woman's reckless devotion. (Print Ad- Register-Herald, ((Pine Plains, NY)) 6 January 1933)

Genres:

Drama | Romance

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Details

Country:

Language:

Release Date:

30 December 1932 (USA)  »

Also Known As:

No Bed of Her Own  »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

Sound Mix:

(Western Electric Noiseless Recording)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Early in the film a taxicab with the telephone number of CIrcle 7-1633 is seen waiting for the card players to board. Later on Clark Gable as Babe Stewart gives CIrcle 7-1633 as his home phone number. See more »

Goofs

In the very beginning of the movie, Carole Lombard's character Connie Randall, is talking on the phone to a man who sounds like someone interested in courting her. She calls him George. Moments later she calls the clerk where she gets a pack of cigarettes George too. See more »

Quotes

[first lines]
Kay Everly: Well, I might as well.
See more »

Crazy Credits

The cast is shown on a hand of poker cards, with the leads faces shown as the various cards. See more »

Connections

Referenced in Hollywood: The Great Stars (1963) See more »

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User Reviews

 
Nothing "Screwball" About This Interesting Movie
9 July 2006 | by (western US) – See all my reviews

I think other reviewers heard that this was supposed to be "a screwball comedy" and ran with that idea because they didn't know what else to say. I didn't see anything light and fluffy or "screwball" about it. Perhaps "offbeat" might be a more apt characterization. Gable's interpretation of the New York gambler was interesting because something in his usual sort of charming yet manly approach was notably lacking. He possessed the irreverent and utterly confident attitude we have come to associate with his other performances, but a number of his youthful facial expressions were of a more complex and unfamiliar sort. The reserved yet knowing way he nodded howdy-do upon introduction to Lombard's mother and then her father was especially amusing, I thought. There were also the many intriguing interactions with the actress, herself, particularly with regard to the touchy subjects of marriage and stability. The oft-subtle writing in this flick made for several interesting moments and both actors were fully up to the challenge of a sensitive and intelligent interpretation of the script. It is also interesting that there was allegedly no actual romantic attachment between these two because the chemistry was already quite evident. It must have miffed a number of the more glamorous Hollywood starlets when Lombard won Gable's heart in real life. Although beautiful, she wasn't glamorous, nor was she pretentious and affected, but more like the girl next door. I read that the library scene (where Gable sent her up a ladder as an excuse to examine her legs) single-handedly started some sort of decency league in the motion picture industry. The bluenoses are always with us, aren't they, shoving their childish attitudes down the throats of the adults. Much more risqué was the scene in which Lombard's predecessor, Kay, appeared on screen in a see-through nightgown that revealed critical aspects of her anatomy, both front and back. The thirties obviously were a much less prudish time because her gentlemen friends didn't even pay much attention, at least not overtly, and scenes such as that would not appear in movies again until the sixties. We've noted a similar sensuality in other movies from that era. As a society, we keep coming back to the cultural doldrums, where they are pushing wealth or war or something else that always seems to further the interests of those in control. Unconventional times like the thirties and the sixties are few and far between. It showed in this movie.


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