Jane Osgood runs a lobster business, which supports her two young children. Railroad staff inattention ruins her shipment, so with her lawyer George, Jane sues Harry Foster Malone, director of the line and the "meanest man in the world".
In New York, the interior decorator Jan Morrow and the wolf composer Brad Allen share a party line, but Brad keeps it busy most of the time flirting with his girlfriends. They do not know each other but Jan hates Brads since she needs the telephone for her business and can not use it. Coincidently Jan's wealthy client Jonathan Forbes that woos her is the best friend of Brad and he comments with him that he feels an unrequited love for Jan, who is a gorgeous woman. When Brad meets Jan by chance in a restaurant, he poses as a naive tourist from Texas named Rex Stetson and seduces her. But Jonathan hires a private eye to find who Rex Stetson is. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Doris Day acknowledged that this movie transformed her image from "the girl next door" to classy, sophisticated sex symbol, as the plot, for its time, was quite sexy. See more »
When Jan and "Rex" are at the piano bar singing 'Roly Poly', the man behind the pianist is strumming what is clearly a four-string electric bass guitar, but the sound is from a six-string electric guitar. See more »
If there's anything worse than a woman living alone, it's a woman saying she likes it.
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As Doris Day sings 'Pillow Talk' over the closing credits, the film finishes with 'the end' on two horizontal pillows' followed by 'not quite' 'not quite' 'not quite' 'not quite' stacked vertically on four pillows. See more »
This first teaming of Doris Day and Rock Hudson is a delightful, visually beautiful comedy - old-fashioned but hardly dated. The two stars make a charming, shiny couple (it's easy to see why they were so popular in their time) and Thelma Ritter steals the show in a needless but funny supporting role. The only problem you may have is that the course of the plot seems to be thoroughly predetermined from the first frame, but the film does a pretty good job of delaying the inevitable. Great sound effects, too. (***)
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