Julie (1956)

Director:

Andrew L. Stone

Writer:

Andrew L. Stone (written by)

Release Date:

17 October 1956 (USA)

Genre:

Thriller

Tagline:

WHAT HAPPENED TO JULIE ON HER HONEYMOON?

Plot:

A terrified wife tries to escape from her insanely jealous husband who is bent on killing her.

Plot Keywords:

One Word Title | Female Protagonist | Stewardess | Beautiful Woman | Stewardess Flies Airplane

Awards:

Nominated for 2 Oscars.

Cast

Doris Day	...	Julie Benton
Louis Jourdan	...	Lyle Benton
Barry Sullivan	...	Cliff Henderson
Frank Lovejoy	...	Det. Lt. Pringle
Jack Kelly	...	Jack (co-pilot)
Ann Robinson	...	Valerie
Barney Phillips	...	Doctor on Flight 36
Jack Kruschen	...	Det. Mace
John Gallaudet	...	Det. Sgt. Cole
Carleton Young	...	Airport control tower official
Hank Patterson	...	Ellis
Ed Hinton	...	Captain of Flight 36
Harlan Warde	...	Det. Pope
Aline Towne	...	Denise Martin
Eddie Marr	...	Airline Official
Joel Marston	...	Garage Mechanic
Mae Marsh	...	Hysterical Passenger
rest of cast listed alphabetically:
Pamela Duncan	...	Peggy Davis (uncredited)
Frank Marlowe	...	Police Guard #2 (uncredited)
Edward Marsh	...	Amalgamated Air Official (uncredited)
John Phillips	...	Detective (uncredited)
Marjorie Stapp	...	Cliff's Secretary (uncredited)

Directed by
Andrew L. Stone

Writing credits
Andrew L. Stone		(written by)

Produced by
Martin Melcher	....	producer

Original Music by
Leith Stevens

Cinematography by
Fred Jackman Jr.		(director of photography)

Film Editing by
Virginia L. Stone		(as Virginia Stone)

Makeup Department
Armand Delmar	....	makeup artist
Marie Walter	....	hair stylist

Second Unit Director or Assistant Director
Gilbert Mandelik	....	assistant director
Harry R. Sherman	....	assistant director (uncredited)

Sound Department
Francis J. Scheid	....	sound engineer
Burdick S. Trask	....	sound recordist (uncredited)

Other crew
Virginia L. Stone	....	assistant to producer (as Virginia Stone)

Production Companies

• Arwin Productions (for)
• Metro-Goldwyn-Mayer (MGM)

Distributors

• Metro-Goldwyn-Mayer (MGM) (1956) (USA) (theatrical)
• Metro-Goldwyn-Mayer (MGM) (1957) (Netherlands) (theatrical)
• National Broadcasting Company (NBC) (1964) (USA) (TV)
• MGM/UA Home Entertainment (1998) (USA) (VHS)
• Warner Home Video (2011) (USA) (DVD) (DVD-R)

Other Companies

• Ryder Sound Services  sound recording

Also Known As:

Runtime:

99 min

Country:

USA

Language:

English

Color:

Black and White

Aspect Ratio:

1.85 : 1

Sound Mix:

Mono (Westrex Recording System)

Certification:

Netherlands:18 (original rating) (1957) | Finland:K-16 | USA:Approved (PCA #18224) | West Germany:16 | Australia:G

Filming Locations:

Carmel-by-the-Sea, California, USA

Company:

Arwin Productions

Trivia:

Doris Day has written that her close friendship with co-star 'Louis Jourdan (I)' angered her jealous producer husband Martin Melcher, mirroring the character-relationships in the film.

Goofs:

Errors made by characters (possibly deliberate errors by the filmmakers): Bathroom scene at flight attendant apartment, Doris Day is wearing her personal robe. Monogram with DDM can be seen on the back.

Movie Connections:

Referenced in What a Difference a Day Made: Doris Day Superstar (2009) (TV)

Soundtrack:

Julie

Last-minute shift of gears turns Julie into routine "jep"

A thriller starring Doris Day a few years before she hit the jackpot with her string of coy sex comedies, Julie is what was known in the trade as a `jep' – a woman-in-jeopardy drama. It starts off promisingly with a spat at a country club between Day and her second husband, Louis Jourdan (the first Mr. Day, a presumed suicide, may have been his victim) that escalates into an incident of road rage. Jourdan is passed off as a concert pianist – you know, one of those unstable `artistic' types. And he fills out a startlingly up-to-date profile of the irrationally jealous, controlling spouse, alternating between murderous rages and mawkish contrition. (Since Charles Boyer launched the prototype of this sort of abusive male in Gaslight, it seems that Hollywood thought it safe to cast chiefly Frenchmen in subsequent outings.)

Julie wastes no time in setting Day to flee, with Jourdan in pursuit; her ally is old friend Barry Sullivan, who tries to smuggle her safely from Carmel to San Francisco. But Jourdan, who apparently missed his calling as an international master of intrigue, proves too smart for them and manages to get himself, gun in trenchcoat, aboard a cross-continental airliner.

Julie, you see, used to be an airline stewardess, and here is where the script's credibility ultimately crumbles. As the movie prepares to come in for a landing, it abruptly shifts gears, leaving behind the dark psychological drama of the noir cycle for the purely mechanical thrills of an Airport. And so what at first seemed daring – revealing Jourdan as a woman-hating psycho without a tedious buildup – turns into a time-saving gimmick to place Day as swiftly as possible behind the controls of an airplane. And so what started out as a psychologically astute study of obsession descends into the merely routine.