No Man of Her Own (1932) Wesley Ruggles


Do not confuse this film with the 1950 Barbara Stanwyck film noir  “No Man of Her Own” directed by Mitchell Leisen. This 1932 release directed by Wesley Ruggles was the only celluloid pairing of Clark Gable and Carole Lombard. (Technically, Gable and Lombard were in two other films, either in small roles or as extras. Both were silent films and both from 1925, “The Plastic Age” directed by Wesley Ruggles and “Ben-Hur: A Tale of the Christ, directed by Fred Niblo).

Made for Paramount, Gable on loan from MGM, the film is a light comedy-drama about a con man named Babe Stewart (Clark Gable) who needs to escape from the big city (New York) to a small town until things cool off with the law. While there, he meets a local librarian, a young and beautiful woman named Connie (Carole Lombard) who is board with the humdrum life of small town living and will do almost anything to  leave her dull surroundings. Babe spots her on the street and follows her to the library where she works, though Babe does not seem the type to frequent libraries. Babe pursues the attractive librarian, and Connie is willing to be caught despite a mother (Elizabeth Patterson) who keeps her on a short leash.

No Man of Her Own- Librry scence     On a flip a coin, Connie gambles not only her virtue but also her future. They get married and go back to New York where Babe plans to continue on his career as a con artist. They move into Babe’s luxurious depression free apartment. Connie, unaware of Babe’s real and illegal profession, believes he is working as a broker on Wall Street. With the move to the big city, the audacious Connie suddenly switches gears and goes from an adventurous young woman to spending the remainder of the film trying to reform Babe to the straight and narrow. When she discovers a pair of marked cards belonging to her husband, she realizes that he has been lying about his career and arranges the deck so Babe will lose. Upset with her chicanery, Babe at first wants to give her a couple of thousand and send her back to her mother. Then he decides to go to Rio de Janeiro with his partners to do some big time gambling, however realizing he loves her, he instead arranges to get himself arrested for a ninety-day jail-term. This so he can square himself with the law, while Connie living with her mother during this time, believes he is in South America. Of course, it all ends happily for the couple in the Hollywood tradition.

No Man of her own- publicity shot   Released at the end of 1932, this pre-code film is loaded with smart bright dialogue and racy pre-code scenes. We see both Lombard and Gable in separate showers scenes and we watch Lombard strip down to a bra and Victoria Secret style undergarments, running back and forth across a room when Gable unexpectedly knocks on her cabin’s front door. We then see her put on a pair of lounging pajamas, but not before the filmmakers make sure we know she is removing her bra. The most famous risqué scene in the film takes place earlier in the library when they first meet when Gable purposely request a book located high up on the top shelf. Lombard has to climb a latter and lean over just enough and at the correct level for Gable to admire her shapely legs. Today, this scene is not very provocative but at the time, it seemed to irritate the guardians of decency and became a symbol in the fight for cleanup of movies.

No Man of Her Owncarole-Gable still_03 There is quite a bit of sophisticated dialogue throughout the film, for example, early on Kay (Dorothy Mackaill), one of Babe’s partners and his mistress tells Charlie (Grant Mitchell) another cohort in the scheme that “next time you play my uncle, cut out those wet kisses.”  Later on Connie says “The girl who lands him will say no and put an anchor on it…But isn’t it tough when all you can think of is yes?”

Both lead characters are allowed to be adult and mature, unlike in most of today’s romantic comedies where the characters, male and female, seem to thrive on infantile behavior.

No Man of Her Own Gable, Lombard, MacKaillnormal_1 The rapport between Gable and Lombard is easily apparent. Both are young and extremely attractive, however they were not romantically involved off screen for a couple of years yet. On screen, their scenes sizzle. Just check how they look at each other in their love scenes. Gable was still married to Ria and heavily involved in an affair with Joan Crawford. In fact, one of the reasons, MGM lent Gable to Paramount was to get him away from Crawford in hopes of cooling off the romance. Lombard, at the time, was still married to the seventeen year older William Powell. At this point, Gable thought Lombard’s well-known salty tongue was a bit much, though later on he would say proudly that she could out curse any man he knew. Lombard’s feelings toward Gable at this point are best surmised by her parting gift after the shoot was over, a ham with a photo of him on it.  Various biographers tell the story that politically Lombard and Gable were at opposite poles, maybe. Lombard was a stanch Roosevelt democrat who hated Herbert Hoover and use to say so loud and clear. Gable, one day, came on the set wearing a Hoover button, which Lombard proceeded to rip off him and said, “You can shove this up Louis B. Mayor’s ass!” Mayor, an unwavering Republican insisted that his stable of stars all vote Republican. It’s not known for sure how Gable voted.

normal_caroleclark2    Before Gable was secured for the picture (in a trade that involved Bing Crosby going to MGM to co-star in a film with Marion Davies) George Raft was considered for the role of Babe. Miriam Hopkins was originally scheduled for the role of Connie but was upset about Gable getting top billing and refused to do the film. The supporting cast consists of Dorothy Mackaill, as Babe’s mistress Kay who he unceremoniously dumps early in the film, Grant Mitchell as Charlie, one of Babe’s “gang”, George Barbier and Elizabeth Patterson as Connie’s parents.

Gable’s name is the only one that appears above the title. Lombard, still a rising star and Dorothy MacKaill share second and third billing below the title. While Lombard was yet to reach the height of her star power, during the filming, Paramount was making a big fuss over her to Gable’s dismay. He considered her a bit of a prima-donna and gave a pair of ballerina slippers as a parting gift.

No mn of her onwnormal_carole-lombard-gable-ham The film seems to be sometimes mislabeled as a screwball comedy however, after watching it there is little to support that label. Screwball comedies usually contain farcical elements, fast-talking dialogue, and slapstick humor. Generally, the couples are mismatched and continually battle each other, none of which applies in to his film.  It is also generally considered that screwball comedy did not come to prominence until 1934 with Frank Capra’s “It Happened One Night.”  Finally, Screwball comedies actually came about largely because of the Production Code that came into effect in 1934 which ended much of the pre-code delights in this and many other early sound films.

While this is no great classic, the film is enjoyable, with some sharp dialogue and pleasant performances and the only chance to see Gable and Lombard together as lovers on film.


Clark Gable: Tormented Star by David Brett

Clark Gable: A Biography by Warren G. Harris

12 comments on “No Man of Her Own (1932) Wesley Ruggles

  1. Judy says:

    This sounds great – as a big fan of pre-codes I would love to see it. Much appreciated all the background information and anecdotes which you have put together with the review here, John. I especially agree that it is refreshing to see romances where both characters are allowed to be adult and mature.


  2. Sebina C. says:

    Such a fantastic and lovely pre-code; I really wish the two (Lombard & Gable) had made more films together – they certainly had the chemistry.

    A great and detailed review!


  3. Sam Juliano says:

    Raft and Hopkins would have been an interesting pairing! This is an absolutely fascinating review John (you really have outdone yourself here) as you’ve made a relatively obscure film most desirable for historical and artistic reasons. Who would have thought that Gable and Lombard never had another on-screen pairing? And on Election Eve (I am hoping NJ is spared that Republican Christie!) I loved the extended anecdote on the Herbert Hoover button, Carole’s indignation, and Mayer’s declaration that the stables were all Republican. I agree that with the pre-code titles you were able to see things that were not compromised, and it’s true what you say that “screwball comedy” really didn’t come into prominence until IT HAPPENED ONE NIGHT in 1934.


    • John Greco says:

      Sam, yes Raft and Hopkins would have been interesting. Old L. B. may have insisted that his stars vote Republican but once inside the booth they obviously could vote any way they wanted. What a tyrant though. Hope your election tomorrow goes well. Thanks again!!!


  4. Vincent says:

    “No Man Of Her Own” is a pretty good film…at least for the first half. Seeing Gable’s NYC sharpie character upstate, a fish out of water, is fun — especially linking with Lombard, who’s yearning to escape the small town. It’s only after she does that the movie becomes less interesting. Clark and Carole do have chemistry, and it’s unfortunate they never teamed again on screen. (BTW, the “k” in Dorothy Mackaill’s name is not capitalized.)

    The film was initially going to be titled, “No Bed Of Her Own,” borrowing a title of a book by Val Lewton(!). Not the story, though, as it included lesbianism and miscegenation — the latter an issue too hot to handle even for pre-Code Hollywood. For more on this — and to see a trade magazine ad promoting a Gable-Hopkins pairing — please see

    Finally, regarding Lombard’s politics, I know she was a staunch Democrat and FDR backer, but this is the first time I’ve heard any inference that she had felt this way as early as 1932. There’s a story that in the fall of 1940, while filming “Mr. & Mrs. Smith” with the very Republican Robert Montgomery, she jokingly put a Roosevelt sticker on his car.


    • John Greco says:

      Vincent, Agree that the second half of the film fizzles somewhat. Lombard’s character just becomes a wife trying to straighten out her husband. Thanks for the correction on Mackaill’s name (I have fixed it).

      I was aware of the Val Lewton connection and actually meant to include a sentence on that. Had no idea about the “too hot to handle” contents of the story though.

      Thanks again for the knowledgable input.


  5. V.E.G. says:

    Carole Lombard is best known with Clark Gable, they might be known forever as the King (Clark) and Queen (Carole) of Hollywood.


  6. Lee says:

    [“Both lead characters are allowed to be adult and mature, unlike in most of today’s romantic comedies where the characters, male and female, seem to thrive on infantile behavior.”]

    I do get tired of this kind of generalization regarding today’s movies and past ones.


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