That Touch of Mink (1962) Queer Film C+

DIRECTOR: Delbert Mann

Between Pillow Talk (1959), Lover Come Back (1961), and Send Me No Flowers (1964), Doris Day paired with Cary Grant in That Touch of Mink, another Stanley Shapiro–co‑written confection. 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 had shown a surprising flair for comedy the previous year with Lover.

When Philip Shayne’s (Grant) Rolls‑Royce splashes Cathy Timberlake (Day) on her way 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; he looks as though he’d rather be anywhere than with Miss Day. Their scenes together in Bermuda are, at best, awkward—and at worst, downright creepy.

On the plus side, the film is gorgeously photographed by Russell Metty, and it features a fabulous fashion show courtesy of Bergdorf Goodman and ace costume designer Bill Thomas. And Shapiro gives us not one but two funny queer subplots.

The first involves a perpetually soused Gig Young as Roger, Philip’s neurotic financial adviser, and his psychiatrist, Dr. Gruber (Alan Hewitt). Because Gruber leaves the room just as Roger begins relaying crucial information about Cathy, he becomes convinced that Roger is about to embark on an affair with Philip. This misunderstanding leads to the film’s famous final scene involving Roger, a baby carriage, and an astonished Dr. Gruber—who, incidentally, is using Roger for insider stock tips.

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. Meadows never overplays it; it’s a sweet, funny performance that adds texture to the film’s queer‑coded world.

And although uncredited, gay actor Richard Deacon has a memorable moment as Mr. Miller, Connie’s prissy supervisor. Deacon virtually patented this role in countless TV series and small film parts throughout the 1960s, 1970s, and early 1980s.

Original screenplay by Stanley Shapiro and Nate Monaster.

Universal

STREAMING: Amazon Prime and Apple TV+

https://thebrownees.net/88-queer-films-made-under-the-hays-code-1934-1968/

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https://thebrownees.net/pillow-talk-1959-queer-film/

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