Good concept, poorly executed.

Although it has its amusing moments, in eneral the plot does not convince.

The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

You would think that since this is the only film with these 2 big stars it would be a big one...don't expect anything groundbreaking.A Card Sharp has his way with a lot of suckers in the city but a pesky cop keeps on his tail and he decides it's time to get out of town. He heads to a small town and tries his suave city ways on a bored local girl. She sees right through him but she likes him. They immediately fall in love but she wants marriage. He thinks he'll just have some fun but she won't have it. They flip a coin and she wins. They get married. He gets back to the city thinking he'll keep her around for a few months and send her back home. Only thing is, he doesn't foresee her taking charge and loving him...for real. She finally realizes he's a Card Sharp and tries to convince him to stop...He won't. Carole Lombard is as beautiful as ever but this early effort doesn't show what she had in store with the screwball comedy antics she had in store for her later films. This one is a fairly ordinary light comedy/drama. Don't expect fireworks considering the 2 leads and you'll be fine.

The nineteen-thirties saw a lot of comedies made. And this was one of many comedies made during the height of the Depression.But, it wasn't the first time for Gable and Lombard to be in comedy, although it was the first and only time that the two were together in a movie (they got married, for real, in 1939).'Babe' Stewart (Clark Gable) is the boss of a gang of card snipes, working the short con on any suckers they can find – rich ones, that is. After a bungled session, he goes on the lam to upstate New York and stops at Glendale, where he meets the local librarian, Connie Randall (Carole Lombard). He's so impressed with her, he agrees to marry her -- on the toss of a coin, no less – and they return to New York where he spends the next few months trying to keep the secret of his wealth from Connie.Before things unravel for Babe, he decides to fake a trip to South America while he voluntarily gives himself up to the cop who's been trying to pin a rap on him for years – thereby getting the cops off his back once and for all, and hence able to settle down to genuine married life with Connie whom, he thinks, knows nothing of his criminal life and duplicity.How wrong can Babe be? See the movie and find out...I'm a Classic Hollywood fan, of all genres, so I was glad to finally catch this one on DVD. The print was pretty good, so the sound and picture quality were great. And, like many other movies of that era, the settings were very much like stage productions, as though you are sitting in a live theatre: actors crisscrossing in front of the camera, very few reverse angle shots, and none-too-tight framing of the main characters, especially when in a lovers' clinch.Philosophically, the story raises an interesting aspect about their marriage: at the end, just what is the basis for their bond? Is their love based on mutual love, or mutual lies?

No Man of Her Own is a pleasant film, nothing terribly bad or terribly good about it. It is remembered today as the only pairing of that star-crossed couple Clark Gable and Carole Lombard. At the time this was made Gable and Lombard were not an item. They became one about four or five years after No Man of Her Own was filmed. It's not on the top 10 list of either star.Gable is a gambler/con artist who's forced by circumstance to beat it out of New York and he flees for a small suburb where he meets librarian Carole Lombard and marries her. That's as far as I'm going with the telling of the plot.Lombard was with Paramount at the time this was made and Gable was on loan out from MGM. There's none of the Lombard we knew and loved in such classics as Twentieth Century or My Man Godfrey here. She's a pleasant enough screen heroine though. Gable does well in his part, but doesn't set the world on fire.If someone had only predicted that Gable and Lombard and their marriage would be come legendary. I'm sure they would have been given a much better film property. I always felt that if Lombard had not been killed in that plane crash in 1942 she would have eventually signed with MGM and L.B. Mayer would have paired her with Gable in the way Katharine Hepburn signed with MGM after the success of Woman of the Year with Spencer Tracy. You might have had a few films to remember Gable and Lombard by.

Oh, that was fun! No screwball action here but a lovable little romantic comedy, starring a ridiculously young and baby-faced Clark Gable as card-sharp 'Babe' Stewart, and a pre-stardom Carole Lombard as Connie Randall, the girl he marries on the flip of a coin: "Heads we... do it, tails--" "Tails we get married", Connie puts in, in a cheerful pre-Code gamble of her virtue, and tails it is. Babe the lifelong gambler gracefully pays up, and the challenge is on: judging by the post-coital scene in the sleeper car, he hasn't got such a bad bargain... but how long can he keep his new wife in happy ignorance of the crooked nature of the card-parties she helps to host?The film's title bears no particular relation to its plot, and the plot itself takes a couple of abrupt and apparently arbitrary turns to attain each scheduled set-up; but any degree of implausibility can be forgiven for the sake of the resulting comic situations, in particular the library scenes, where Babe tries to get Connie into bed with him on their first meeting, the 'getting-up' scene where Connie innocently ensures her husband is up and dressed in time for the fictional day job he has invented, and the finale where he launches into a vivid description of his supposed voyage from South America... in blissful ignorance that the truth is already out! There are relatively few laugh-out-loud moments, but the film has a sweetness of tone rarely found in later screwball comedies, with equal emphasis on the humour and the romance; it's clearly fond of its characters, and there were few moments when I wasn't either grinning with affection or amusement on their behalf.Gable and Lombard may have gone on individually to greater things, but "No Man of Her Own" remains a thoroughly enjoyable piece of fluff, worth watching for more than just the one-off pairing of its stars. Forget all logic and likelihood, ignore the occasional unevenness, and just sit down and enjoy.