In the middle of her ’60s Grand Dame Guignol period, Bette Davis went to England to make The Nanny, a rather quiet, cautious thriller that gives her more room for characterization than most of her later films. As a “barmy” governess hiding several dark secrets, Davis starts out with a benign expression under incredibly silly beetle brows, with subtle, sinister flashes of malignancy underneath her severe composure. Director Seth Holt lights her harshly, and lingers over the interesting, very British faces of the rest of the cast, especially William Dix, Davis’s bratty child antagonist. Holt creates an atmosphere of gray ominousness and is content to let his measured compositions build atmosphere, but when the plot revelations start, the film’s careful psychological detail is abandoned for melodrama, and Davis is filmed like a ghoul (or “Boris Karloff in skirts,” as she once laughingly described herself in this period). The last scene is perfunctory and unbelievable, but the film is worth seeing for its tense first half, and for Davis’s carefully controlled performance of joyless, sometimes sadistic servitude.
Image/Sound
It’s good to finally see The Nanny in widescreen, and it looks beautiful, but the mono sound is often muffled.
Extras
In addition to a trailer and some TV spots, there is also a restoration comparison, as well as poster, lobby card, and still galleries.
Overall
Ultimately disappointing, but Bette Davis gives Mary Poppins a run for her money.
Since 2001, we've brought you uncompromising, candid takes on the world of film, music, television, video games, theater, and more. Independently owned and operated publications like Slant have been hit hard in recent years, but we’re committed to keeping our content free and accessible—meaning no paywalls or fees.
If you like what we do, please consider subscribing to our Patreon or making a donation.
