On the whole, NPNO is an admirable film, mainly for its irreverence to elements that are typically thought of as being forced by producers. There’s no big climactic duel at the end. There’s just the one duet in the whole film, and even that is shot as a parody of a song from the black and white era, as if to say that it is in that time that such love songs firmly belong. Quite curiously, in the title credits, the only card that didn’t appear right was the producer’s. While the names appeared, the word ‘producer’ was projected beyond the reach of the screen and couldn’t be seen. I thought it was a mistake, but maybe it was deliberately done to make a subliminal point.