Nancy Tem Três Amores

Delightful comedy. I found myself laughing out loud. Robert Montgomery, as usual, has comic timing down to a fine art. Franchont Tone plays his usually sophisticated drunk to near perfection. Funny characters and a funny plot with just enough sexual tension to hold your interest.

This tale about a small town girl who goes to the big city is supposed to be a screwball comedy, but it offers the thinnest of plots, a disjointed storyline, and few real laughs.

Janet Gaynor stars as Nancy, the girl around whom the story revolves, but she lacks the magnetism--homespun or otherwise--to explain why Robert Montgomery and Franchot Tone would be drawn to her so vehemently.

Regardless, they are all working with a script that substitutes non sequiturs for real humor, and a one-note fish-out-of-water story for emotional depth. The result is mere amusement.

I don't think another actress could have saved this film, but Gracie Allen, Irene Dunne or Jean Arthur might have given it a stronger comedic base. The writers of this film were pitching screwball, but they missed the plate entirely.

Janet Gaynor is a country bumpkin who finds herself in New York with Robert Montgomery and Franchot Tone while her fiancée is missing in "Three Loves Has Nancy," a wonderfully funny comedy. Montgomery, Gaynor, and Tone are all hilarious as parts of this strange menage. Gaynor, as Nancy, stood up on her wedding day by "George," is sent by her family to New York to find him. After a series of events, she winds up being used by writer Montgomery to get a rapacious female and her mother off his case. When Franchot Tone, his publisher, friend, and neighbor, gets a sniff of Gaynor's southern cooking, the two men battle it out for her attention. Montgomery considers her a jinx and wants to be rid of Nancy - or so he thinks - until Tone decides he's in love with her.

There are quite a few laugh out loud scenes in this film. It's highly recommended. The "goof" described by IMDb indicates that perhaps two men were cast on different days as Tone's father, an uncredited role, but only one actor is listed. Anyway, it's great fun.

Janet Gaynor is charming and funny as Nancy, a southern girl who gets left at the altar and decides to go to New York City to find her intended. En route she runs in snooty author Robert Montgomery, who shares a swanky apartment in NYC with his publisher, Franchot Tone. Montgomery is on a book-signing tour to elude predatory Claire Dodd. Nancy is of course a walking disaster area and ends up moved in with the guys, where she cooks and looks after them. They both fall in lover with her and the fun begins. Great cast in top form. Gaynor is very funny, and Montgomery and Tone are a great team. The art deco apartment is fabulous, too. Also in the cast are Charley Grapewin, Guy Kibbee, Mary Forbes, Cora Witherspoon, Emma Dunn, Reginald Owen, Grant Withers, Marie Blake, Carol Tevis, Elise Cavanna, Charles Lane, Grady Sutton, Sarah Edwards, and Grace Hayle. Great line by Claire Dodd to Robert Montgomery: "I've had a lovely evening, but this wasn't it!"

I enjoyed the running gag of Janet Gaynor always thinking she lost something - her purse or gloves - and Robert Montgomery trying to help but running into trouble himself because of it (especially in the cute ending). And the idea of a small-town homebody having two sophisticated New Yorkers fall for her is inherently funny, but most of the time I found myself not laughing. So the film is a valiant try but no cigars are forthcoming. This was the last film Janet Gaynor made for about 19 years. (The film "The Young in Heart (1938)" was made earlier in 1938 but came out later that year.) Gaynor is perfect as the girl, with Montgomery and Franchot Tone giving good performances.

I was startled at a major goof near the end, when Gaynor's family and Tone's family meet in Tone's apartment. His father is played by Douglas Wood, who has the speaking part. But in some shots we clearly see another man (Charles Richman) in the background standing in for Tone's father. There was no effort to hide him either, and even if you don't know either actor, you just have to know that Wood has a mustache and Richman doesn't. And the all the actors' placement with each of the fathers are totally mismatched. To me, this ranks as the greatest lack of continuity by a major studio ever, and I'd be curious to know why it happened.