I enjoyed all the snarky little one-liners. So many shining stars in early performances. Austin Pendleton was hilarious. Who cares if the plot was all over the place, it was a delightful little romp. Ignore the low ratings, give it a look.
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kimbpaul15 July 2019
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boblipton19 October 2004This chaotic, fitfully amusing comedy of how Lynn Redgrave's character came to mastermind the kidnapping of a Mafia don owes its occasional successes largely to Ms. Redgrave's crisp performance and her sardonic delivery of some amusing lines. Victor Mature is also fine as an oblivious Mafia don. Dom Deluise and John Astin put a lot of energy into their roles as lawyers, and Pat Morita has a funny monologue about how Japanese people can't pronounce the letter L. However, the script stumbles in several directions at once, trying and failing to cover the subplots in the Evan Hunter novel, and the other men in the cast, particularly Paul Sand and Austin Pendleton as Redgrave's unwitting henchmen, along with three or four other alumni of the Second City troupe's first year all wind up playing their characters alike, as vague, whiny and low key. The net effect is slow and dull. Give this a miss.
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bkoganbing23 August 2015Since 1960 Victor Mature's screen appearances were infrequent as he preferred retirement and golf to movie making. It was four years since his last screen role in After The Fox. As he put it they got him to sign for Every Little Crook And Nanny in a moment when he was bored with his retirement routine.
Although Mature himself did a wonderful spoof on his own screen image the rest of Every Little Crook And Nanny falls flat on its face where a whole lot of players try to out mug each other for the camera. There was just no direction in this film. Only Mature and title role co-star Lynn Redgrave try to play it straight.
As organized crime kingpin Mature forces out Lynn Redgrave and her etiquette school to make room for a new betting parlor. When she goes to complain Mature mistakes her for a British nanny he's been looking for to give his juvenile Philip Graves a little polish. Obviously Mature must have been influenced by Mary Poppins. In any event she gets hired and then she hatches a plan to kidnap young Graves because who'd be stupid enough to kidnap a Mafia kingpin's kid?
As it turns out it's fairly easy and if there's no such thing as the Mafia it's because Mature has idiots working for him. People like John Astin, Dom DeLuise and Paul Sand among other assorted stumble bums. But Sand in the end lucks out.
The other running gag is Margaret Blye and the fact that Mature is proud he's married to a full figured girl.
Maybe if someone had taken charge here this might have been a far better comedy than as it turned out. -
Marco_Trevisiol26 February 2010A disappointing mess of a movie that wastes a fine cast. It's especially disappointing because occasionally you can see the potential for it to be the lively, entertaining farce that it aims to be.
Unfortunately, too much of the film is poorly handled (e.g. the pre-credits scene where the Etiquette school is closed down) or is weak as a comedy (e.g. the lame attempts at humour based around the constant references to 'boobs'). As well the plot never coheres, in part because it covers too many characters; Astin and DeLuise's characters (both wasted) could've easily been excised from the film.
As the other reviewer says, Lynn Redgrave gives a fine performance in the central role. She doesn't fall into the trap that other cast members do (especially Pendleton) of going over the top in a vain attempt to cover the thinness of the material.
There are a few amusing bits, like the matter-of-fact way the child reacts to being kidnapped by putting on his watch because "he never travels without it".
But overall there's not much entertainment to be had from this film. -
Sami556 February 2023Lovely to see Victor Mature, always a favorite, playing an extravagant Mafia don. And a slimmed-down Lynn Redgrave as a nanny taking care of the don's son, while the don is in Italy. Other members of the cast, Dom DeLuise, John Astin, Paul Sand and Austin Pendleton add to the comedy, but it goes off base when too many have zany moments which take away from the mane story. Nonetheless, it's worthwhile to see the stars who are no longer with us. Also the 1972 comedy is like a time capsule, not something we would see today. Gaudy 70s costumes and female anatomy jokes place this film firmly in the time frame before movies lost their humor.
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SnoopyStyle5 February 2023Mob boss Carmine Ganucci (Victor Mature) is demanding to have a specific location, but stubborn dance teacher Miss Poole (Lynn Redgrave) has a long term lease. He throws her out anyways. Meanwhile, he needs a new nanny for his son. An angry Miss Poole comes into the office to complain. Carmine confuses her for a nanny and hires her on the spot. She sees an opportunity for revenge and recruits her beaten piano player Luther (Austin Pendleton). Vito Garbugli (John Astin) and Mario Azzecca (Dom DeLuise) are his sniveling assistants. Benny Napkins (Paul Sand) is the weak-kneed gangster convinced to keep the kidnapping secret.
This is the downside of Victor Mature's career. He came out of semi-retirement for this. Apparently, they caught him at the right moment, but the material is not that good. I really like Mature's performance, but it's not enough. The plot spirals into a mess. Worst still, it's not actually that funny. There are small moments of comedic possibilities, but this is generally falling flat. -
mark.waltz4 March 2022When mobster Victor Mature declares, "I need a nanny!", he doesn't expect Mary Poppins to drop in at that minute, but she does in the form of Lynn Redgrave's Miss Poole, the proprietor of a charm school that Mature has just evicted from one of his buildings. She demands the money so she can reopen it elsewhere, but instead, ends up being hired as the nanny to his bratty son Phillip Graves. Along with boyfriend Paul Sand and piano player Austin Pendleton (stealing every moment he's 9n screen), she arranges for Graves to be kidnapped so she can get the money, while Mature and his wife Maggie Blye are off on a European vacation. John Astin and Dom de Luise add more comedy as Mature's buffoonish cohorts, and Minna Kolb and Louise Sorel (looking hot in a mini-skirt) are added for feminine cgarm, although Kolb is a rather tough cookie. Phil Foster ("Laverne and Shirley") is funny as a local cop, and Pat Morita ("Happy Days") pops in as well.
The ensemble of this droll comedy of mobsters and manners is terrific, with Redgrave very funny as a very Tweed consumed lady who is rather sexual in nature, giving her character some sparkle. Sorel's secretary gets to take dictation in bed, giving the future daytime diva an alluring character to play (opposite Astin) long before she buried people alive on "Days of Our Lives". Graves is also funny as the kidnapping victim, and by the time it's all ovrr, his kidnappers will be really glad to get rid of him. This is a delightful black comedy, perhaps a bit dated, but deliciously tart in its script and filled with lots of interesting characters, even with the minor ones. I love the mod colors of the sets and costumes, and the bits of slapstick, especially one involving a piano heading down a flight of stairs.