Three years into their loving marriage with two infant daughters at home in Los Angeles, Nicholas Arden and Ellen Wagstaff Arden are on a plane that goes down in the South Pacific. Although... See full summary »
Employees of the Sleeptite Pajama Factory are looking for a whopping seven-and-a-half cent an hour increase and they won't take no for an answer. Babe Williams is their feisty employee ... See full summary »
American couple Mike and Janet Harper move to England for Mike's work, his company which deals in wool textiles and wool fashions. Despite Mike's want for them to live in a flat in the ... See full summary »
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
At the diner, after Johnathan (Tony Randall) slaps Jan (Doris Day) a truck driver, John Indrisano, punches him in the jaw. In an interview Tony Randall said that he and John practiced the punch many times and John assured him that he would not be hit. During the take John misjudged and Tony was actually struck and knocked unconscious. See more »
When Brad is carrying Jan out of her apartment, you can see the board on which she is supported. See more »
Look, I don't know what's bothering you, but don't take your bedroom problems out on me.
I have no bedroom problems. There's nothing in my bedroom that bothers me.
Oh-h-h-h. That's too bad.
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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 »
A party-line turns an interior decorator and a songwriting ladies' man into enemies--that is, until he gets a look at her. When Doris Day is forced into a nightclub by a junior-suitor, she makes the best of it and does a shimmy on the dance-floor in a tight white dress--you can't blame Rock Hudson (at a nearby table) nor the cameraman for zooming in on her derrière, which wiggles seductively and comically. This businesswoman is really a closeted gal-about-town, and Day gives one of her freshest, funniest performances here. I also liked the tinkly background score and the handful of songs (the title cut, "Roly Poly" and "Possess Me"), but apparently Doris didn't. In her autobiography, she scathingly dismisses all the music from her '60s bedroom comedies as "mediocre", blaming her skinflint husband for bypassing top-rank composers like Henry Mancini for "a bunch of no-names". Why Doris!!
***1/2 from ****
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