6.4/10
846
19 user 7 critic

No Time for Comedy (1940)

Approved | | Comedy, Drama, Romance | 14 September 1940 (USA)
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 »

Director:

William Keighley

Writers:

Julius J. Epstein (screen play), Philip G. Epstein (screen play) | 1 more credit »
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Cast

Complete credited cast:
James Stewart ... Gaylord Esterbrook
Rosalind Russell ... Linda Paige Esterbrook
Genevieve Tobin ... Amanda Swift
Charles Ruggles ... Philo Swift (as Charlie Ruggles)
Allyn Joslyn ... Morgan Carrell
Clarence Kolb ... Richard Benson
Louise Beavers ... Clementine
J.M. Kerrigan ... Jim
Lawrence Grossmith Lawrence Grossmith ... Frank (as Lawrence Grosmith)
Robert Greig ... Robert
Frank Faylen ... Cab Driver
Rest of cast listed alphabetically:
Bonnie Gaye Cowen Bonnie Gaye Cowen
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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:

USA

Language:

English

Release Date:

14 September 1940 (USA) See more »

Also Known As:

Guy with a Grin See more »

Company Credits

Production Co:

Warner Bros. See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (RCA Sound System)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

Frank Faylen plays a cab driver in a scene with James Stewart. Six years later Faylen again plays a cab driver opposite Stewart in It's s Wonderful Life (1946). 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: [about Linda making Mandy cry] You needn't feel so proud, I make her cry all the time. It usually ends up with me giving her a check.
Linda Paige Esterbrook: I didn't give her a check, I think I just gave her my husband.
Philo Swift: In my office we'd list that transaction as petty cash.
See more »

Connections

Referenced in Breakdowns of 1941 (1941) See more »

Soundtracks

Symphony No. 4 in E Minor, Opus 98: 1st movement
(1885) (uncredited)
Music by Johannes Brahms
Played on a phonograph at Amanda's house
See more »

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User Reviews

 
Underrated Stewart Performance
4 October 2007 | by jadilorettoSee 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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