Nancy Drew… Reporter (released February 18, 1939) is an American black-and-white comedy-mystery film directed by William Clemens and starring Bonita Granville as teen sleuth Nancy Drew. This 68-minute movie is the second of four Nancy Drew films that Warner Bros. produced in the late 1930s, each featuring the spirited girl detective in a lighthearted mystery adventure.

In Nancy Drew… Reporter, Nancy enters a high school journalism contest and unexpectedly finds herself embroiled in a murder investigation, racing to prove the innocence of an accused young woman

Director: William Clemens\ Screenwriter: Kenneth Gamet (screenplay, based on the Nancy Drew stories by Mildred Wirt Benson writing as Carolyn Keene)\ Producers: Bryan Foy (associate producer), Hal B. Wallis (executive), Jack L. Warner (executive)\ Studio & Production: Warner Bros. Pictures (produced as a “B movie” in Warner’s Burbank studios)\ Cinematography: Arthur Edeson (notably, Edeson would later lens Casablanca)\ Editor: Frank DeWar\ Music Composer: Heinz Roemheld\ Production Design: Stanley Fleischer 

Filming took place in late 1938 (October–November) on the Warner Bros. lot. Notably, a key high-speed car chase scene was shot on actual Burbank streets just outside the studio gates to add realism to the action. The film’s modest budget and B-picture status meant it was typically screened as the second feature in a double bill. Nancy Drew… Reporter was produced swiftly after the success of the first film (Nancy Drew… Detective, 1938), as part of a planned series of eight Nancy Drew movies. In reality, four films were completed and released in quick succession between 1938 and 1939 before Warner Bros. ended the series.

Each film featured the same principal cast: Bonita Granville as Nancy, John Litel as her father Carson Drew, and Frankie Thomas as her friend (and tentative sweetheart) Ted Nickerson. Notably, the character “Ted” is an adaptation of Ned Nickerson from the books—Warner Bros. changed his first name, reportedly because “Ned” sounded old-fashioned.

Supporting roles in Nancy Drew… Reporter include Mary Lee as Ted’s mischievous younger sister Mary Nickerson (this was 14-year-old Lee’s first screen appearance, showcasing her talent as a teen singer), Dickie Jones as neighbor boy “Killer” Parkins (Jones provides comic relief with, for example, a humorous Donald Duck impersonation in one scene - an interesting coincidence since the next year he became the voice of Disney’s Pinocchio (1940)), Betty Amann as Eula Denning (the young woman accused of murder), and Thomas E. Jackson as city editor Bostwick at the newspaper.

The film was produced under the oversight of Bryan Foy, head of Warner’s B-movie unit, with studio executives Hal Wallis and Jack L. Warner also credited as producers. It was distributed by Warner Bros. as part of their regular lineup of program features. 

Set in the fictional small town of River Heights, Nancy Drew… Reporter follows Nancy Drew, the intrepid high school sleuth, as she participates in the local newspaper’s school journalism contest. The contest offers a $50 prize for the best news story by a student reporter. Rather than settling for the trivial assignment given to her by the gruff city editor Bostwick (who tries to fob the kids off with unimportant stories), Nancy sniffs out a bigger scoop: a high-profile murder trial. A wealthy society woman, Kate Lambert, has died of poisoning, and the primary suspect is her foster daughter, Eula Denning, who stands accused of murder for inheritance. 

Sneaking into the courthouse, Nancy elbows her way into the press gallery (parking herself next to a man with a telltale cauliflower ear, hinting he’s a boxer or gangster). She listens as Eula is found guilty of the murder—her only defense being that the fingerprints on a missing tin of poison do not match hers. Convinced of Eula’s innocence, Nancy is determined to find the real killer. When the suspicious cauliflower-eared man speeds away from the courthouse (clipping Nancy’s fender in the process), Nancy and her ever-reluctant friend Ted Nickerson give chase. This kicks off a rapid series of adventures as Nancy ignores her editor’s orders and launches her own investigation. 

Nancy’s unofficial sleuthing leads the teens through a whirlwind of scrapes: they tail suspects to the old Lambert mansion, dodge a dangerous ex-boxer henchman, get into a high-speed car chase, and even wind up in a slapstick scene where Nancy, Ted, and the two neighborhood kids (Mary and “Killer”) perform a goofy “Nursery Rhyme” musical number in a Chinese restaurant to pay for a meal. Nancy’s penchant for trouble also ropes Ted into a comic boxing match with the hulking thug who had damaged her car.

Meanwhile, Nancy’s father, Carson Drew - who in this film is a prominent attorney (or district attorney, depending on the source) - is initially exasperated by his daughter’s antics. However, as Nancy gathers clues (like the elusive poison tin with the incriminating fingerprints) and closes in on the truth, she convinces her father to help defend Eula. 

In the climax, Nancy sets a trap during a rooftop fireworks celebration to expose the true murderer - who turns out to be a member of the victim’s own family, plotting to claim the inheritance. Amid whistling fireworks, car horn signals, and a dramatic confrontation, Nancy and her allies reveal the real killer, clearing Eula’s name. In the end, justice prevails: the innocent Eula Denning is exonerated, the villain is arrested, and a triumphant Nancy not only gets her story published (winning the newspaper contest) but also earns a proud smile from her once-skeptical father. 

(Note: As a fast-paced 68-minute “B” film, Nancy Drew… Reporter packs a lot of incident into its short running time. The tone remains light and comedic despite the murder plot, ensuring the film stays family-friendly.) 

Literary Origins: Nancy Drew was already a cultural icon by 1939. The character first appeared in print in 1930 as a creation of publisher Edward Stratemeyer; the mystery novels were written primarily by Mildred Wirt Benson under the pseudonym Carolyn Keene. By the late 1930s, Nancy Drew had featured in at least 15 popular novels, fulfilling a growing demand for a girl detective hero in youth literature.

Warner Bros. acquired the film rights to Nancy Drew from the Stratemeyer Syndicate (then run by Stratemeyer’s daughter, Harriet Stratemeyer Adams) for a reported sum of $6,000. This was part of a late-1930s Hollywood trend of bringing literary sleuths to the screen - especially female and youthful detectives - to captivate family audiences and the matinee crowd. 

B-Film Series: Nancy Drew… Reporter was produced as a B-movie - an inexpensive second feature - during a period when studios frequently made film series around popular characters. Similar to contemporary series like Torchy Blane (another 1930s Warner Bros. film series featuring a brassy female reporter-detective), the Nancy Drew movies were designed as breezy, hour-long programmers that would play before or after a main feature.

Despite their low budgets, these films had surprisingly solid production values for B-pictures. All four Nancy Drew films were directed by William Clemens and written by Kenneth Gamet, giving the series a consistent style. They were also relatively lengthy (around 60–70 minutes each), allowing more developed plots than the typical short B-film. 

Place in the Series: Within the original Warner Bros. Nancy Drew quartet, Nancy Drew… Reporter is the second installment, following Nancy Drew… Detective (1938). It was quickly succeeded by two more 1939 entries (Nancy Drew… Trouble Shooter and Nancy Drew and the Hidden Staircase). Warner Bros. had initially planned to make eight Nancy Drew films - an ambitious slate reflecting confidence in the character’s appeal.

In fact, eight screenplays were commissioned, and a fifth film may even have entered pre-production. However, changing studio strategies led to the cancellation of the series after the fourth film. One reported factor was the studio’s decision to phase out double features around 1940, which removed the primary venue for these B-movies. Another possible factor was that audiences and readers found the on-screen Nancy too different from her literary counterpart, dampening the expected cross-promotional boost to book sales (Harriet Adams noted the films did not significantly increase book sales). Thus, Nancy’s big-screen career was cut short, and she wouldn’t reappear in film or TV again until decades later. 

1939 - “Hollywood’s Golden Year”: It’s worth noting that Nancy Drew… Reporter debuted in 1939, often cited as one of the greatest years in Hollywood history (with classics like Gone With the Wind and The Wizard of Oz releasing the same year). In that context, the Nancy Drew films were relatively minor releases, aimed at young audiences for light entertainment amidst more prestigious “A-pictures.”

They didn’t make a major impact on the broader film landscape of 1939, but remain a charming snapshot of late-1930s pop culture and studio filmmaking for the youth market on the eve of World War II. 

Contemporary (1939) Reception: As a secondary feature in 1939, Nancy Drew… Reporter did not receive extensive press coverage, but trade reviews and promotional materials characterized it as a pleasant, fast-paced programmer for its target audience. Critics noted the film’s blend of mystery and comedy: an “easy program humor, with a dash or two of genuine excitement.”

Bonita Granville’s performance as Nancy drew mixed comments - while some found her perky, headstrong antics to be amusing and suitable for a junior detective comedy, others felt the on-screen Nancy was an “interfering little brat” compared to the dignified young sleuth of the books. Overall, the film was seen as good, clean fun for kids and families, offering wholesome entertainment and mild thrills. It was successful enough in its niche to justify Warner Bros. rushing the remaining sequels to completion that same year. 

Retrospective Reviews: In later decades, the 1930s Nancy Drew films have been reappraised by film historians and fans. Many regard them as charming curios of their era. Film historian William K. Everson described the Nancy Drew B-movies as “expert little films in their way” - solidly crafted, genuinely thrilling at times, and notably non-condescending to their youthful audience (despite the injection of comedic hijinks).

He noted that they were “quite unappreciated in the thirties” when originally released (overshadowed by an abundance of other juvenile-oriented films), but he argued that they could “fill part of the gaping void in contemporary films for youngsters” if rediscovered. Modern reviewers have also been mostly kind: for example, one gave Nancy Drew… Reporter a grade of B+, saying “I got a big kick out of this little detective story,” praising its brisk pace and the “feisty” appeal of Bonita Granville’s performance.

Another recent critic on a classic film site noted that the movie is “generally as breezy and amiable a piece of work as one might expect,” emphasizing its lighthearted charm. 

Not all modern appraisals are glowing - especially from devoted Nancy Drew readers. Some fans have criticized the film’s loose adaptation of the source material, arguing that the movie would be fine “if the lead character were named Betty or Susan instead of Nancy Drew.” This sentiment reflects disappointment that the film’s version of Nancy is more scatterbrained and comical than the clever, methodical heroine of the books.

Nonetheless, many viewers today enjoy the film (and its companions) for what they are: fun, nostalgic mystery capers that capture a 1930s vision of teenage adventure. On Rotten Tomatoes, Nancy Drew… Reporter holds generally positive audience reviews, with praise for Granville’s energetic portrayal and the film’s family-friendly humor, though some commenters note the story’s predictability and dated aspects. 

Detailed box-office records for Nancy Drew… Reporter are scarce, as was common for B-movies of the era. The film was produced on a relatively low budget and released as a “programmer” (intended to support A-feature films in double bills). Box Office Mojo does not list a specific gross for this title, implying that domestic earnings were not separately recorded or were modest.

However, the very fact that Warner Bros. proceeded to produce three additional Nancy Drew films within the same year suggests that the series was at least moderately successful with its target audience. The first film’s favorable reception prompted the studio to fast-track Reporter and the subsequent sequels, expecting these economical mysteries to turn a tidy profit from cumulative play as supporting features. While Nancy Drew… Reporter never approached the box-office heights of 1939’s top films, it served its role well as reliable family entertainment. 

It’s also notable that the film (along with the rest of the 1938–39 Nancy Drew series) eventually fell into the public domain after the original copyright was not timely renewed by a later rights holder. As a result, for years it circulated in poor-quality prints and inexpensive video copies.

Warner Bros. finally re-acquired the rights and, in 2007, released an officially restored DVD collection of all four Nancy Drew films, bringing these vintage mysteries back to modern audiences in improved quality. 

Adaptation Changes: The film series made several changes to Nancy Drew canon for broader appeal. Nancy’s housekeeper Hannah Gruen (from the books) is replaced in the films by Effie the maid, and Nancy’s chums Bess and George do not appear. The mysteries themselves were only loosely based on the books (in fact, of the four films, only Nancy Drew and the Hidden Staircase borrowed its title and some plot elements from a specific novel). Plots were simplified, mystery elements downplayed, and more overt comedy and action sequences - like boxing matches and car chases - were added to ramp up onscreen excitement. The tone is lighter and more madcap than the written stories, and the filmmakers even “spiced up” the gentle teen romance a bit to engage 1930s moviegoers. 

Nancy Drew Fan Club: As a promotional gimmick, Warner Bros. created a Nancy Drew Fan Club in conjunction with the film series’ release. Teenage girls were encouraged to form local Nancy Drew clubs. The studio (tapping into what it believed were typical teen interests) issued a set of official “Nancy Drew Rules” for club members - for example, the rules suggested that a true Nancy Drew must “have a steady boyfriend (as a pal)” and participate in choosing her own clothes. Bonita Granville, the film series’ 15-year-old star, was named “President” of the National Nancy Drew Club. Warner’s hope was to capitalize on the character’s popularity with young women and boost both film attendance and book sales through this cross-promotion. 

Planned Films & Cancellation: Screenwriter Kenneth Gamet had reportedly written eight Nancy Drew screenplays corresponding to various stories, anticipating a long-running franchise. However, after the fourth film in September 1939, the series was abruptly halted. The exact reasons aren’t fully documented, but the timing coincided with a shift in studio practices (the decline of the double-feature format) and possibly the perception that the films’ Nancy diverged too much from the beloved books. Thus, the fifth screenplay (and beyond) was never produced, making Nancy Drew and the Hidden Staircase the final film of the original series. 

Cast Highlights: Nancy Drew… Reporter marked the screen debut of a few performers. As mentioned, 14-year-old Mary Lee made her film debut, and she performs a standout musical number in the Chinese restaurant scene - a “Nursery Rhyme” swing medley - reflecting her real-life experience as a young radio singer.

The film also features the first film appearance of young actor Charles Smith, who later became known for playing Dizzy Stevens in the popular Henry Aldrich teen comedy film series of the 1940s. Additionally, Florence Halop (later known as a character actress on TV’s Night Court in the 1980s) made her uncredited film debut as one of the students in the newspaper contest scenes. 

Filming Locale: Although much of the movie was shot on studio sets, the production took advantage of its Burbank location. The exciting car chase sequence - in which Nancy chaotically pursues the suspect who hit her car - was largely filmed on real streets in Burbank just outside Warner Bros. studios. This on-location shooting added authenticity (and some genuine stunt driving) to the action. Nancy’s car itself, for auto enthusiasts, was a 1936 Chevrolet Standard Six convertible, which gets put through its paces in the film. 

1930s Slang: The film’s snappy, dated 1930s dialogue provides some charming trivia. In one running gag, Nancy’s catchphrase bet “I’ll bet you $23.80!” stands out. The odd amount was actually a contemporary inside-joke - $23.80 was the weekly pay given to workers under a New Deal program (the WPA) during the Great Depression, and it became a popular tongue-in-cheek figure to denote a substantial sum in casual bets or boasts. The line is one of many period-specific touches that root the film in late-’30s Americana. 

Public Domain & Home Video: As mentioned, Nancy Drew… Reporter fell into the public domain for decades and could be freely copied or screened. This status led to many low-quality prints in circulation. Fans could often catch the movie on late-night television or acquire it on budget VHS tapes.

All four Nancy Drew films were finally restored and released on DVD in 2007 as “The Original Nancy Drew Movie Mystery Collection,” satisfying collectors who had long sought better copies. Today, the film is even available via free streaming (for example, on the Internet Archive), making it accessible to new generations of Nancy Drew enthusiasts. 

Although Nancy Drew… Reporter was a modest B-film, its legacy endures as part of the first screen adaptation of an iconic American character. The 1930s Nancy Drew films introduced the teen girl detective to movie audiences, decades before more modern portrayals. For fans and scholars, these movies offer a window into how mid-20th-century Hollywood translated a beloved literary heroine to film. The series is remembered for its campy, light-hearted tone and for Bonita Granville’s lively performance, which helped cement Nancy Drew’s image in pop culture as a plucky, resourceful girl sleuth (even if her on-screen characterization was more comic than in the books). 

The films also highlight the evolving role of young women in 1930s media: Nancy Drew on film was positioned alongside other independent female crime-solvers of the era. In fact, some of the changes to Nancy’s character (making her more of a fast-talking, impulsive reporter type) aligned her with popular heroines like Torchy Blane - reflecting Hollywood’s trend of portraying modern, “working girl” detectives who could hold their own in a mystery. This shows how the Nancy Drew films were not only leveraging the fame of the books but also tapping into broader trends of the time, where female protagonists were increasingly shown as determined, clever, and unafraid to step into roles traditionally occupied by men. 

Over time, Nancy Drew’s character continued to thrive in other media (from the 1970s TV series to a 2007 movie and beyond), but the 1938–1939 Warner Bros. film series remains a nostalgic favorite for many. Film historians note that these early adaptations, while not blockbusters, are significant for being among the first films to put a teenage girl at the center of a mystery-comedy.

They carry a “genteel 1930s charm” and provide insight into how attitudes toward young women and adventure were portrayed during that era. In the realm of Nancy Drew’s long history (spanning books, films, and television), Nancy Drew… Reporter holds a special place as part of the pioneering effort to bring a trailblazing young heroine from page to screen, blending mystery with mirth in classic Hollywood style.