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No Time for Comedy (1940)

6.4
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Ratings: 6.4/10 from 562 users  
Reviews: 14 user | 5 critic

Playwright Gaylord Esterbrook scores a hit with his first Broadway play, both with the critics and with leading lady Linda Paige. He and Linda are happily married until a patroness of the ... See full summary »

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(screen play), (screen play), 1 more credit »
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Title: No Time for Comedy (1940)

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Cast

Cast overview, first billed only:
...
...
Linda Esterbrook
...
Philo Swift (as Charlie Ruggles)
...
Amanda Swift
Louise Beavers ...
Clementine
Allyn Joslyn ...
Morgan Carrell
Clarence Kolb ...
Richard Benson
Robert Greig ...
Robert
J.M. Kerrigan ...
Jim
Lawrence Grossmith ...
Frank (as Lawrence Grosmith)
Robert Emmett O'Connor ...
Desk Sergeant
Herbert Heywood ...
Joe - Doorman
...
Cab Driver
James Burke ...
Police Sergeant
Edgar Dearing ...
Sweeny
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Storyline

Playwright Gaylord Esterbrook scores a hit with his first Broadway play, both with the critics and with leading lady Linda Paige. He and Linda are happily married until a patroness of the arts convinces Esterbrook to forget about comedy and concentrate on writing a tragedy. The end result nearly destroys his career and his marriage. Written by Daniel Bubbeo <dbubbeo@cmp.com>

Plot Summary | Add Synopsis

Taglines:

A country boy takes over Broadway . . . until he gets into heart-trouble! See more »

Genres:

Comedy | Drama | Romance

Certificate:

Approved | See all certifications »
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Details

Country:

Language:

Release Date:

14 September 1940 (USA)  »

Also Known As:

Guy with a Grin  »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(RCA Sound System)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

The original play by S.N. Behrman opened in Indianapolis, Indiana, on 31 March 1939. See more »

Goofs

At one point in the movie, Gaylord is at his home and discovers Amanda Swift's phone number is written down on a phone list in his wife's handwriting. His wife, Linda, had just left with Morgan Carrell for dinner at the Swift's home. Then the scene shifts to Amanda Swift's home and Gaylord is there. See more »

Quotes

Philo Swift: 'Gaylord Esterbrook'... seems to me I've heard or read that name someplace. What do you do?
Gaylord 'Gay' Esterbrook: I write plays.
Philo Swift: Er, yes, I have a hobby, too. What I meant was, what do you do for a living?
Gaylord 'Gay' Esterbrook: Write plays. Anything wrong?
Philo Swift: No, no; nothing, nothing. You'll pardon me, but it does seem a little trivial for a grown man.
Gaylord 'Gay' Esterbrook: Well, perhaps I'll grow out of it. What do *you* do?
Philo Swift: I'm on Wall Street.
Gaylord 'Gay' Esterbrook: Where's that?
Philo Swift: I don't know, but my chauffeur finds it every morning.
Gaylord 'Gay' Esterbrook: After you get there, what do you do?
[...]
See more »

Connections

Referenced in Breakdowns of 1941 (1941) See more »

Soundtracks

The Wedding March
(1843) (uncredited)
from "A Midsummer Night's Dream"
Music by Felix Mendelssohn-Bartholdy
Played after the wedding
See more »

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User Reviews

 
Underrated Stewart Performance
4 October 2007 | by See all my reviews

This is a fascinating picture for Stewart fans. Made after "Mr. Smith Goes to Washington" and in the same year as "The Philadelphia Story," "No Time" adds an interesting pre-war wrinkle to Stewart's on screen persona. At a time when he was most associated with the "aw-shucks" stereotype of the All-American naif, his Gaylord Esterbrook must have come as a shock to movie-going audiences. Gaylord begins as another one of Stewart's lovable rubes, but by picture's end he's become a cynical sophisticate - and Stewart's handling of the transformation is seamless. He's surprisingly good at playing the gruff curmudgeon and a man on the verge of an extra-marital affair - another atypical Stewart-like development. Likewise, the film itself mirrors Gaylord's personal and artistic transformation, beginning as a typically bubbly romantic comedy but turning bitingly (yet still amusingly) sour by the second act. After a series of comeuppances, Gaylord comes up against his limitations and the final scene -- a confession of humility delivered as a monologue to a seemingly non-existent audience -- is truly moving in the tradition of some of Stewart's finest moments. Lovely.


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