23 user 13 critic

No Man of Her Own (1932)

A con man on the run from the police falls for a librarian.



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

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Complete credited cast:
Tommy Conlon ...
Walter Walker ...
Mr. Morton


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


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)


Drama | Romance


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Release Date:

30 December 1932 (USA)  »

Also Known As:

No Bed of Her Own  »

Company Credits

Production Co:

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Technical Specs


Sound Mix:

(Western Electric Noiseless Recording)

Aspect Ratio:

1.37 : 1
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Did You Know?


Miriam Hopkins was initially slated to star in this film, but was replaced by Carole Lombard, not a big star at the time, before shooting began. Hopkins pulled out of the picture after refusing to accept second billing to Clark Gable. See more »


In the first five minutes of the movie, Babe takes a taxi. We get a very clear view of the front hood of the cab, with the telephone number of the cab company. One hour into the movie, Babe calls his wife with his new office phone number. He looks at the dial of his new phone, and gives her the telephone number of the cab company. See more »


[first lines]
Kay Everly: Well, I might as well.
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Crazy Credits

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


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 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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