Tag: Doris Day

January 12, 2009 / / Film Notes

Pillow Talk – 1959- dir. Michael Gordon

Audiences seem to have forgotten how for almost half-a-century, Doris Day dominated not only the movies but radio, the big-band circuit, stage and television. She WAS America in the way John Wayne WAS America. Her freckle-faced goodness and virgin-all-the-way persona mirrored American values and mores and was thus much-loved for decades. By the 1960s and ’70s, her star began to fade, a victim of  the sexual revolution and the unlikely stardom of less conventionally attractive actresses like Barbra Streisand and Liza Minnelli. Today, in her eighties, she lives a reclusive life in Carmel, California, answers only to the name, ‘Clara’ and very seldom engages in conversation about her Hollywood glory days.

July 31, 2006 / / Film Notes

Written by Christine Bamberger

U.S.A, 1959. 136 min. MGM / Loew’s Inc. Cast: Cary Grant, Eva Marie Saint, James Mason, Jessie Royce Landis, Martin Landau; Music: Bernard Herrmann; Cinematography: Robert Burks; Produced by: Alfred Hitchcock; Written by: Ernest Lehman; Directed by: Alfred Hitchcock

During the 1950s and early 1960s there arose a type of film that I nebulously think of as the “cheerful Technicolor sex comedy.” Including such points on the spectrum as Daddy Long Legs, the Doris Day-Rock Hudson vehicles, The Courtship of Eddie’s Father, Bell Book and Candle, and I’d Rather Be Rich, these films have dated noticeably, but that’s part of the fun of watching them. Their particular brand of romance, especially if it had a cat-and-mouse quality, was found to blend nicely with an element of adventure. If you imagine a tale of such ilk crossed with an ultra-stylish suspensor of the noir mien, you get North by Northwest.

June 26, 2006 / / Film Notes

Written by Jeremy Quist

US, 1956. 120 min. Cast: James Stewart, Doris Day, Brenda de Banzie, Bernard Miles, Ralph Truman; Music: Bernard Herrmann, Ray Evans, Jay Livingston; Cinematography: Robert Burks; Written by John Michael Hayes; Directed by Alfred Hitchcock.

One of the most curious aspects of Alfred Hitchcock’s The Man Who Knew Too Much is that the man the title refers to spends most of the film not knowing much at all. What he does know is that a statesman is soon to be assassinated in London. But the reasons for this are not important; this is merely the MacGuffin – Hitchcock’s famously irrelevant plot device that serves simply to get the story going. All that really matters is getting the boy back.