Perry Kate Very very predictable, including the post credit scene !!!

GamerTab That was an excellent one.

GarnettTeenage The film was still a fun one that will make you laugh and have you leaving the theater feeling like you just stole something valuable and got away with it.

Numerootno A story that's too fascinating to pass by...

Scott LeBrun The story twists, acting, and direction make a difference in this superior entry among Hammer Studios' series of black & white psychological thrillers. Bette Davis plays the titular character, working for a family that includes an often absent father, Bill (James Villiers), an unstable mother, Virginia (Wendy Craig), and a bratty son, Joey (William Dix). Joey's spent some time away and is just now returning home. For whatever reason, he *really* doesn't like the nanny, and makes this quite clear. It's got something to do with the death of Joey's kid sister Susy (Angharad Aubrey).Hammer veteran Jimmy Sangster scripted, from the novel by Evelyn Piper, and also produced. Seth Holt directs with a sure hand. Davis does some wonderfully understated work, while young Dix delivers an engaging performance. As this story plays out and the revelations occur, one realizes that both the Nanny and Joey can be considered sympathetic characters. In fact, all of the characters command ones' attention, with Pamela Franklin doing well as a neighbour who becomes Joey's confidante. And Jill Bennett is superb as the weary Aunt Pen, who has to be careful not to exert herself or get excited due to a weak heart. Jack Watling, Maurice Denham, and Alfred Burke are excellent in support.Richard Rodney Bennett composed the affecting music score; Harry Waxman did the crisp b&w cinematography. The film is very well made and the story very well told.Eight out of 10.

PrometheusTree64 Too rarely seen, THE NANNY is arguably the last good, textured role Bette Davis played on the big screen.A subtle psychological thriller about a mental competition between an English governess and a 10-year old boy suspected of murdering his sister, THE NANNY is as low-key and understated as WHAT EVER HAPPENED TO BABY JANE and HUSH...HUSH, SWEET CHARLOTTE were baroque.A surprisingly effective "small" film, this is no schlock horror picture by any stretch. It's really quite poignant and chilling.And perhaps it's the London locations, but the picture has that odd, resonant feel to it of being at the very fulcrum of the '60s somehow from which you can taste both the Cold War doom of the first half of the decade and the languid angst of the latter half. (Not that movie gets in any way sociopolitical, of course).

Robert J. Maxwell Little Joey Fane (Dix) is released from some kind of Home For Disturbed Children, although the staff believe they've failed to refurbish him constructively. Boy, is that kid a pain.He's about ten years old, dominates his weekly mother (the ski-slope nosed Craig), hates his forbearing nanny (Davis) and makes constant irrational demands. He won't eat anything nanny cooks for him, although he steals scraps from his Dad's plate. He makes nanny swear that she will never enter while he is bathing. She takes the oath with an indulgent smile. He plays mean tricks on her. We don't know why because the nanny has been a loyal member of the household since Joey's Mom was a child. He's not a cute kid, either. He's dish faced and seems to look up from under his brows, always with a scowl of suspicion.He explains what he thinks is going on in the household to his new upstairs neighbor (Franklin). This is the best idea he's had so far, because Pamela Franklin, although only fourteen, is pert, cute, and sexy -- and she knows it too. At any rate, Joey tells Franklin that nanny drowned his little sister and is trying to poison him and his mother. Flashbacks illustrate the narrative he carries around in his head and some of the historical reality as well.I won't spoil the rolling revelations but they're not exactly what one might expect. This movie, and several others like it, followed the success of "Whatever Happened to Baby Jane?" But this is more grounded in reality. There are no grotesqueries in the make ups or acting. Violence is minimal. Nobody is kept prisoner, so there are no suspenseful scenes of outside intruders trying unsuccessfully to rescue anyone -- vide "Gaslight," "Lady in a Cage," inter alia.The characters may seem to be a bit overdrawn and stereotyped -- no-nonsense Dad, enfeebled Mom, indulgent nanny, nasty child, an Auntie who has a weak heart and whose destiny we can fathom at once. But there's no problem with the acting. The cast is quite good, even the little brat who should be stomped like a cockroach. Betty Davis is a problem though. Here eyebrows have been darkened and her hair done in close curls so she seems to be more of a mannequin than a human being. Also, she's a fine actress but, like Burt Lancaster, really ought to avoid any roles that call for an accent.It's no masterpiece of film making -- the plot is lumbering and slow -- but it could have been much less subtle than it is.

MarieGabrielle This is a rather oddly presented story with the common theme of something awry with the nanny....or butler or....anyone who you think you can trust.Suspense films like this are excellent in that one really can guess what is to happen next, and the characters and their behavior is quite mercurial.Wendy Craig , (who later starred in comedies such as "Butterflies" on NY station PBS) is good here as the mother of young Joey Fane, a troubled child with whom no one seems to know what to do with. Or is that really the case?. There is a Hitchcockian element to this story in that the black and white cinematography is slightly foreboding, little Joey's butter cream cake (to welcome him home after the hospital) looks inviting, but is it poison?.Jill Bennett who has been in other films of this genre as the narcissistic aunt Virgie, who feels she is up to the task of minding Joey until odd occurrences begin to shake her resolve.Ms. Davis as the nanny has a secret past, which is not divulged other than when we see the squalor in which her own daughter had lived. Her expressions are sublime, then jaw dropping. She acts with expression, her movements and beats are the mark of her talent. She does not need to vocalize what is percolating internally. A gem here worth seeing for Davis alone. 9/10.