Some years ago i allowed my two children aged 11 and 13, to watch this with me. No regrets, my daughters loved it, and we had lots to talk about it afterwards. When i saw this very creepy work in the early 1970's it reminded me of a 1960's world. Children were not believed when adults disputed their versions of events. Viewing this film without knowing the story is probably a good idea, rather than reading the very trustworthy reviews. Remember the best 10 Hollywood horror films, you ever saw, then switch off the lights, the central heating, the phone, and watch this alone...yes very very alone......with a very very sober head.

The story twists, acting, and direction make a difference in this superior entry among Hammer Studios' series of black & white psychological thrillers. Bette Davis plays the titular character, working for a family that includes an often absent father, Bill (James Villiers), an unstable mother, Virginia (Wendy Craig), and a bratty son, Joey (William Dix). Joey's spent some time away and is just now returning home. For whatever reason, he *really* doesn't like the nanny, and makes this quite clear. It's got something to do with the death of Joey's kid sister Susy (Angharad Aubrey).Hammer veteran Jimmy Sangster scripted, from the novel by Evelyn Piper, and also produced. Seth Holt directs with a sure hand. Davis does some wonderfully understated work, while young Dix delivers an engaging performance. As this story plays out and the revelations occur, one realizes that both the Nanny and Joey can be considered sympathetic characters. In fact, all of the characters command ones' attention, with Pamela Franklin doing well as a neighbour who becomes Joey's confidante. And Jill Bennett is superb as the weary Aunt Pen, who has to be careful not to exert herself or get excited due to a weak heart. Jack Watling, Maurice Denham, and Alfred Burke are excellent in support.Richard Rodney Bennett composed the affecting music score; Harry Waxman did the crisp b&w cinematography. The film is very well made and the story very well told.Eight out of 10.

Hammer Studios was a class act. They could make anything look good and had a way of putting together a film that had audience appeal and did it with the efficiency needed because of financial restraints. They seemed to match bigger studios and rarely made films that were completely bad or disappointing.The Nanny is no exception. The Studio managed to concoct a semi-effective Gothic thriller but this one is so laid back and restrained that it sometimes sputters and it becomes a bit of a bore. This combined with some confusing flashbacks and a very convoluted ending result in a rather pedestrian picture with few shocks and even fewer flamboyances. This was probably done for effect but ultimately unseats this from becoming a taut thriller and results in some interest but can't maintain its mood for the duration. All the performances are above expectations and Davis fans can marvel at her even handed approach but she never manages to escape or emerge from her one note portrayal of a not very interesting friend of the family.It's a good looking evenly paced, if forever slow, movie that is not bad but fails to make much of an impression considering some of the aberrant behavior and some eccentric takes on the upper middle class lives of these stiff and stifling Brits.

Surprisingly dull considering the promising premise & the participation of Bette Davis in the title role. Davis is nanny to the seemingly incorrigible Joey (William Dix), who may or may not have killed his little sister. His parents are befuddled (in the case of mom Wendy Craig, completely neurotic) as to what to make of little Joey. The boy proclaims his innocence to anyone who'll listen. It's a shame that this Hammer film isn't better...or at least scary. Davis affects an odd English accent and Craig is fairly hysterical, but there's no suspense or action just a lot of explication. Dix is very unappealing and so is young Pamela Franklin as his confident. Jill Bennett does add some spark as Joey's saucy aunt, who proves to be swifter than the other adults in the film (and regrets it). Directed by Seth Holt and based on the Evelyn Piper novel. Otto Preminger had better luck the same year with BUNNY LAKE IS MISSING (also penned by Piper).