DIRECTOR: Delbert Mann
BOTTOM LINE: In between the Rock Hudson movies “Pillow Talk” (1959), “Lover Come Back” (1961), and “Send Me No Flowers” (1964), Doris Day paired up with Cary Grant in another movie co-written by Stanley Shapiro. The director is Delbert Mann, a graduate of television and the Paddy Chayefsky school of slice-of-life naturalism (“Marty,” “The Catered Affair,” The Bachelor Party”) who, the previous year with “Lover,” showed a surprising flair for comedy.
When Philip Shayne’s (Grant) Rolls Royce splashes Cathy Timberlake (Miss Day) while she is going to a job interview, we know this love-hate relationship can only end with a wedding ring. Unfortunately, there is minimal chemistry between the stars. This is one of Grant’s few bad performances, and he looks like he wanted to be anywhere other than with Miss Day. Their scenes together on a trip to Bermuda can only be described as creepy.
On the plus side, the film is gorgeously photographed by Russell Metty, there is a fabulous fashion show courtesy of Bergdorf Goodman, and Shapiro gives us not just one but two funny gay subplots. The first involves a perpetually soused Gig Young, playing Grant’s financial adviser, Roger, and his psychiatrist, Dr. Gruber (Alan Hewitt). Because he leaves the room as Roger relays some essential information about Cathy, Dr. Gruber thinks Roger is about to embark on an affair with Philip. This leads to the film’s famous final scene involving Roger, a baby carriage, and an astonished Gruber! Gruber is using Roger to get inside tips on the stock market. However, when he thinks that Roger is gay, he immediately calls his broker to discard the previous purchase because Roger is now of unsound mind. He also goes back to Vienna for a refresher course. The second involves Audrey Meadows as Connie, Cathy’s overprotective, man-hating (read closeted lesbian) roommate who works at the automat across the street from Philip and Roger’s office. She doesn’t overdo it, though. It’s a sweet and funny performance.
Gay actor Richard Deacon, although uncredited, has a memorable moment as Mr. Miller Connie’s prissy supervisor, a role that he virtually patented in numerous TV series and small movie parts throughout the Sixties, Seventies and early Eighties.
Original screenplay by Stanley Shapiro and Nate Monaster.
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