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Nanny, a London family's live-in maid, brings morbid 10-year-old Joey back from the psychiatric ward he's been in for two years, since the death of his younger sister. Joey refuses to eat any food Nanny's prepared or take a bath with her in the room. He also demands to sleep in a room with a lock. Joey's parents -- workaholic Bill and neurotic Virgie -- are sure Joey is disturbed, but he may have good reason to be terrified of Nanny.
Nanny
Virginia 'Virgie' Fane
Aunt Pen
Bill Fane
Joey Fane
Bobbie Medman
Dr. Medman
Dr. Beamaster
Dr. Wills
Milkman
Mrs. Griggs
The Nanny of the Fane household holds sway. The Nanny is directed by Seth Holt and adapted to screenplay by Jimmy Sangster from the novel of the same name written by Evelyn Piper (AKA: Merriam Modell). It stars Bette Davis, Wendy Craig, William Dix, Jill Bennett, James Villiers and Pamela Franklin. Music is by Richard Rodney Bennett and cinematography by Harry Waxman. The Fane family, their Nanny, a tragedy and young Master Joey Fane just released from a school for disturbed children. Secrets will out... A psychological thriller of some substance from Hammer Film Productions, The Nanny thrives on deft story telling and acting of quality from Bette Davis. There's a slight annoyance that the mystery element of the story struggles to command interest, because the title of the film kind of tells us what is wrong in the Fane household equation, but the constant battle between young Joey (Dix excellent as a kid being stubborn and aggressive, but alienated) and Nanny Bette is riveting. Holt builds the core of the story patiently, the Fane house is a fraught place, Craig's mom is perched on the edge of a break down, Villiers' papa a stiff backed type not nearly at home enough and emotionally cut off from the worries of his wife and child. Hovering over them all is Nanny, smoothly weaving about them, holding sway with an unnerving calmness, it's a calm before the storm scenario and once the truths come tumbling out the best impact has been garnered due to the unfussy and unhurried work of the production team. Filmed suitably in black and white and primarily shot in the confines of one home, picture has atmosphere and oppressive feeling in abundance. The lack of that mystery intrigue, and a less than barn storming finale, stop it from being in the top tier of the Hammer-Psycho-Chiller list, but it's an easy film to recommend to fans of the genre and especially to fans of the irrepressible Madame Davis. 7.5/10
October 7, 1965
Nanny
Virginia 'Virgie' Fane
Aunt Pen
Bill Fane
Joey Fane
Bobbie Medman
Dr. Medman
Dr. Beamaster
Dr. Wills
Milkman
Mrs. Griggs
The Nanny of the Fane household holds sway. The Nanny is directed by Seth Holt and adapted to screenplay by Jimmy Sangster from the novel of the same name written by Evelyn Piper (AKA: Merriam Modell). It stars Bette Davis, Wendy Craig, William Dix, Jill Bennett, James Villiers and Pamela Franklin. Music is by Richard Rodney Bennett and cinematography by Harry Waxman. The Fane family, their Nanny, a tragedy and young Master Joey Fane just released from a school for disturbed children. Secrets will out... A psychological thriller of some substance from Hammer Film Productions, The Nanny thrives on deft story telling and acting of quality from Bette Davis. There's a slight annoyance that the mystery element of the story struggles to command interest, because the title of the film kind of tells us what is wrong in the Fane household equation, but the constant battle between young Joey (Dix excellent as a kid being stubborn and aggressive, but alienated) and Nanny Bette is riveting. Holt builds the core of the story patiently, the Fane house is a fraught place, Craig's mom is perched on the edge of a break down, Villiers' papa a stiff backed type not nearly at home enough and emotionally cut off from the worries of his wife and child. Hovering over them all is Nanny, smoothly weaving about them, holding sway with an unnerving calmness, it's a calm before the storm scenario and once the truths come tumbling out the best impact has been garnered due to the unfussy and unhurried work of the production team. Filmed suitably in black and white and primarily shot in the confines of one home, picture has atmosphere and oppressive feeling in abundance. The lack of that mystery intrigue, and a less than barn storming finale, stop it from being in the top tier of the Hammer-Psycho-Chiller list, but it's an easy film to recommend to fans of the genre and especially to fans of the irrepressible Madame Davis. 7.5/10
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