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Drama critic Larry McKay, his wife Kay, and their four sons move from their crowded Manhattan apartment to an old house in the country. While housewife Kay settles into suburban life, Larry continues to enjoy the theater and party scene of New York. Kay soon begins to question Larry's fidelity when he mentions a flirtatious encounter with Broadway star Deborah Vaughn. Written by
Daniel Bubbeo <email@example.com>
Heard the news that Doris Day might have a comeback in Clint Eastwood's at the age of 93, after her full retirement from showbiz in 1973 (which later have been dismissed as a rumour), timely reminds that I have never watched any of her films, so the introduction piece is this family-friendly comedy inspired by Jean Kerr's 1957 best-selling collection about her mode of living in suburb while raising four boys.
Doris Day plays Kate, married to a professor-turned-drama-critic Lawrence Mackay (Niven), they live in a small apartment in NYC with four young boys, their lease is going to expire, so Kate is planning to move to the countryside, where they can afford to buy a larger house, good for their boys too. But Lawrence's new career requires him to be near theatres in the city, and he also enjoys the urban life and what it entails. Basically, the plot perfunctorily resolves around a series of lighthearted marital disagreements with four kids frolicking around and a scare-easy Spinone named Hobo.
Day is given the superstar-treatment, apart from a dashing wardrobe, her Kate, is portrayed as a perfect housewife, obliging and graceful, with a good heart, whom one can take to social parties and back at home she can single-handedly manage four mischievous kids. She doesn't need to bother her husband while being in charge of the renovation of a rundown mansion and being maximal understanding when her husband is under stress or in a bad mood. During her leisure time, she volunteers to direct and star in an amateurish play for the local school, which mainly prepares a stage for Day to perform her singing and dancing routines.
Niven, stays gentlemanlike in his comfort zone, his Lawrence is Kate's perfect match, as a theatre savant, whose influence is so puissant that he can close an entire play if he badmouths it, he struggles between his professional conscience and obligation for his friend Alfred North (Haydn), and incredibly levelheaded when a seductress Deborah Vaughn (a flashy Janis Paige) proposes an indecent suggestion. Also this film is Spring Byington's silver-screen curtain call, who plays Kate's mother and inculcates some rather olde worlde marital advices.
Frankly speaking, PLEASE DON'T EAT THE DAISIES is a lukewarm comedy, no more than a time- killer in a lackadaisical evening, for die-hard fans of two leads only.
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