Nothing Sacred

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Total Count: 12


Audience Score

User Ratings: 1,537
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Movie Info

In this comedy, Wally Cook is a hotshot reporter condemned to writing obituaries. Anxious to get back in the good graces of his editor Oliver Stone, Cook pounces on the story of New England girl Hazel Flagg, who is reportedly dying from radiation poisoning.


Carole Lombard
as Hazel Flagg
Fredric March
as Wally Cook
Charles Winninger
as Dr. Enoch Downer
Walter Connolly
as Oliver Stone
Sig Rumann
as Dr. Emile Egglehoffer
Margaret Hamilton
as Drug Store Lady
Alexander Schoenberg
as Dr. Kerchinwisser
Troy Brown
as Ernest Walker
Olin Howland
as Baggage Man
Hedda Hopper
as Dowager
Aileen Pringle
as Mrs. Bullock
John Qualen
as Swedish Fireman
Monty Woolley
as Dr. Vunch
Hattie McDaniel
as Mrs. Walker
Alexander Schonberg
as Dr. Kerchinwisser
Kathrun Sheldon
as Downer's Nurse
Alex Novinsky
as Dr. Marachuffsky
Kathryn Sheldon
as Downer's Nurse
Ernest Whitman
as Policeman
Everett Brown
as Policeman
Ben Morgan
as Wrestler
Hans Steinke
as Wrestler
George Chandler
as Photographer
Nora Cecil
as Schoolteacher
Claire Du Brey
as Miss Rafferty, Nurse
A.W. Sweatt
as Office boy
Vera Lewis
as Miss Sedgewick
Ann Doran
as Telephone girl
Bill Dunn
as Electrician
Lee Phelps
as Electrician
Bobby Tracy
as Announcer
Betty Douglas
as `Helen of Troy'
Eleanor Troy
as `Catherine of Russia'
Monica Bannister
as `Pocahontas'
Shirley Chambers
as `Lady Godiva'
Billy Barty
as Little Boy
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Critic Reviews for Nothing Sacred

All Critics (12) | Fresh (12)

Audience Reviews for Nothing Sacred

  • May 16, 2018
    It's nice to see Frederic March and Carole Lombard in color, especially since this was the only color film she ever made. The premise is pretty silly, that so much would be made out of this 'dying' woman in the press and all over New York that shows would be stopped in her presence, she would be given the key to the city, etc., but it's a screwball comedy, so you just have to roll with it. The film had its moments, such as the treatment March faces in Vermont, with its taciturn adults, and a child who scampers out from behind a fence to bite him on the leg. However, it's pretty uneven in terms of humor, with a lot of run of the mill content, and several groaners. You'll also have to forgive some racial stereotypes, and March working Lombard up into a fever by boxing with her, and then knocking her out in one of the film's big scenes. Those bits are in keeping with the time period and not too ugly though, and it was nice to see Lombard give as good as she got. The production value for the film was high, as despite the weakness of the early technicolor process, it had a nice score, and many fantastic shots around New York. My favorite moment in the film is when March proposes to Lombard, despite thinking she has only a few weeks to live. In a film with a lot of screwball moments and one-liners, it had this little gem: "Oh Wally, I... I mustn't. Don't ask me. Please, just kiss me once more and let it go at that without ruining your life." "So what the devil is there better to life than we've got? A handful of perfect hours. That's all the luckiest ever get out of it. Just a handful of hours to save and remember. And then... I'll be there at the end, sailor. I'll be there waving you goodbye. It'll be the same as if you and I had lived forever. And you'll... you'll grow old in my heart."
    Antonius B Super Reviewer
  • Dec 07, 2013
    Ben Hecht was as smart a writer as they come, his work notable chiefly for his cynical but humorous bite, a jaded, crusty, hardboiled view of humanity tinged with heart, and here is no exception. A wily big city reporter attempts to salvage his flagging reputation by milking a cute story about a dying small town woman ... only she's 100% in the pink. And he doesn't know that. Although already designed from the ground up as built for fun it still rests firmly on the charismatic shoulders of its two leads. Fredric March is more than capable as the reporter, particularly with the laidback visit to stoic Vermont scenes, but the thing takes off and flies every time Carole Lombard even comes close to camera time. Tasty!
    Kevin M. W Super Reviewer
  • May 14, 2013
    Another thirties' screwball comedy from the ubiquitous and always entertaining Carole Lombard, there isn't too much hilarity ensuing in this film compared to later works, but does manage to entertain. Most of the time the film does so with its interesting plot, centered on heroine Hazel Flagg (Lombard). Hazel finds out from her beloved physician that she is in fact not dying from radium poisoning as she had previously learned. At that exact same moment reporter Wally Cook (March) arrives in town to find her, whisk her away from the small town where she lives, and promises that he will make her the toast of New York City. Never having traveled anywhere, and fixed recently on her mortality, Hazel lies and goes back with Wally. Of course she takes her physician, makes him lie, and oddly does become the toast of the city, even reducing people to tears at the mere sight of her on the street or in a club. Hazel revels in the attention, and the love of the city, all the while falling in love with Wally, who is using her himself in order to get back in the good graces of his editor after a botched charity event. Of course it is Lombard's performance that makes this film even a little famous, not only for her impeachable beauty and reputation for being a loud and impish actress, but also because she was genuinely funny throughout her career. Even here she is flawed for taking the trip, but lovable as she makes everyone fall for her. March is also entertaining as the handsome love interest, but is rather flat throughout most of the film. Once Wally is made aware of her circumstances (as always inevitably happens) he tries to keep the secret from his editor. This does lead to one questionable scene where Wally hits Hazel so she passes out and he can fake a disease so they can fool the editor. This film is also shot in Technicolor, which looks odd since this film came out in 1937, two years before "Gone with the Wind" and several years before it was considered acceptable to make most films in color. The shots of the city simply look off thanks to a lack of understanding when it came to the process. This film is also famous for being the first film shown on television with a commercial break. Because of Lombard this film still receives attention, but besides her presence, the rest of the film slips into melancholy more often than not, and doesn't take enough chances or advantages towards the film's premise.
    Spencer S Super Reviewer
  • Mar 06, 2013
    Lots of great laughs that continue to pack their punch.
    John B Super Reviewer

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