Lover Come Back (1961) Poster

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Shameless remake of Pillow Talk
HotToastyRag3 February 2018
Doris Day made some silly movies in the 1960s, part of the reason she retired from Hollywood. Lover Come Back was the first of the sillies, and it's by far the most tolerable. It seems like every comedy after this one went increasingly downhill.

If you watch the preview, you'll think you're getting a shameless remake of Pillow Talk. Doris Day and Rock Hudson have a split-screen telephone call, she's prim and proper, he jokes her about her lack of a sex life, he cons her with a mistaken identity and pretends to be innocent in order to get her into bed, and Tony Randall is Rock's friend who quips about being rich. And let's face it, when you watch the movie that's exactly what you'll get: a shameless remake of Pillow Talk.

In this one, instead of a Texan and a songwriter, Rock Hudson is mistaken for a scientist and pretends he's clueless about man-woman relationships. Doris Day hates who he really is-just as in Pillow Talk, she knows who he is without having met him-but completely falls for his act. Basically, if you liked Pillow Talk and want to watch a very similar movie co-written by one of the same writers, you'll want to check this one out. I actually liked Send Me No Flowers much better, but you can watch all three of the Doris and Rock movies and pick which one's your favorite.
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A Definite Lack of Truth in Advertising
Uriah4321 July 2017
Warning: Spoilers
This movie takes place in Madison Avenue with a hard-working advertising executive named "Carol Templeton" (Doris Day) trying to land a valuable account. Unfortunately, despite her hard work the account is taken by a rival named "Jerry Webster" (Rock Hudson) who works for a another firm and uses methods that are questionable at best. Because of these unseemly tactics, Carol initiates a formal legal complaint to have Jerry Webster's advertising credentials revoked. Naturally, this worries both Jerry and his boss, "Peter Ramsey" (Tony Randall) and in order to get out of this mess Jerry cleverly invents an advertising scheme for a non-existent product called "VIP" for which the lead witness for the prosecution named "Rebel Davis" (Edie Adams) becomes the main star. However, this doesn't deter Carol in her attempts to reveal the truth and because of this the falsehoods become much larger and more personal than initially intended. Now rather than reveal any more I will just say that this was a nice little comedy which contains some good humor here and there along with some decent acting by all of those just mentioned. To be totally fair, however, it is rather dated and as a result it may not appeal to all viewers. In any case, I enjoyed this movie for the most part and have rated it accordingly. Slightly above average.
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Glossy but somewhat disappointing!
JohnHowardReid28 June 2016
Warning: Spoilers
This glossy Doris Day vehicle starts off promisingly, but unfortunately it tends to run out of steam about halfway through, when the screenwriters decide to put all their gags, namely Hudson's impersonation, into the one basket. Admittedly, the film starts off with this strand rather promisingly – Hudson in an outrageous suit – but the plot becomes wearisome in its second half through constant repetition of the same gags. A pity the Jack Oakie character has so small a part. We keep waiting for him to come back, but he doesn't! And even Edie Adams, whose role was even larger than Oakie's and more important, simply disappears! All the really good gags, both visual and aural, are packed into the first half of the movie. Even the clock two minutes gag seems pretty laborious. Tony Randall's part is so heavy handed, it could do with some trimming too. When the movie has pace, it also has wit, but when it slows down for the second half, the wit wilts as well! Another problem for me is that I hate soft focus! If the whole movie is soft focused, no problem. But if soft focus is used just for one character and it's just simply cut into the footage, I find it very distracting. I know it's used here to disguise Doris Day's age, but for me that makes it even more irritating. True, Doris is her usual perky self and she's always stunningly dressed – although I must admit that I found some of her costumes unflattering. And alas, she is handed only two songs, including the title tune! As usual, director Delbert Mann is only as good as all the gloss surrounding him. Without help from music, script, players, sets, photography, editing and costumes, he's nothing special. Make it 6.5!
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Day Come Back.
Python Hyena11 April 2016
Warning: Spoilers
Lover Come Back (1961): Dir: Delbert Mann / Cast: Rock Hudson, Doris Day, Tony Randall, Edie Adams, Jack Kruschen: Side splitting romantic comedy about opposites attract that presents a clever and hilarious third act. Rock Hudson plays Jerry Webster whom Carol Tempelton, played by Doris Day desires to expose when a product called VIP is commercialized. She doesn't believe the product exists and sets out to expose him. Unfortunately she has never met him, which sets a meet cute where he poises as someone else and manipulates her into presenting counter ideas. Director Delbert Mann won acclaim with Marty, but here he takes a simple plot and tired formula and presents it as surprisingly fresh. Hudson is slick as Webster, a womanizer who romances his way to the top, and Day is the perfect counter and foil being duped into his ploys. Whether they eventually fall in love is an after thought as to the weird events that land them both in an elevator with one on a gurney after a product worked too well. Tony Randall plays the business president who feels evaporated into Hudson's scheme and ends up a victim. Edie Adams is too brief as a would be actress convinced to testify for Webster when offered to do VIP commercials. Jack Kruschen plays a chemist whom is bribed to come up with a marketable product. It all arrives at the reality that both genders can be equally played. Score: 8 / 10
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Hooray! Hooray! V Day Is Coming!
Dalbert Pringle6 May 2015
Let's face it, folks - If you've seen one Rock Hudson/Doris Day Comedy/Romance, then, yep-yep, you've, pretty much, seen them all.

With only a slight variation on the theme - This predictably trite, little story about deliberate identity deception (set in the bustling, backstabbing world of NYC advertising agencies) really prolonged its ridiculous, little charade for far too long. And, that, in turn, totally wore on my overall patience as I desperately wanted to get through this nothing-picture, like, pronto!

Believe me, I am trying to keep in mind that this flighty, little film (from 1961) was, in fact, made in a much more naive era of movie-making history than we live in today. But, regardless of this, its storytelling was pretty stale stuff, for the most part.

And, speaking about the likes of Rock Hudson and Doris Day - Personally, I found the on-screen chemistry between these 2 to be pretty terrible and very unconvincing. I wonder if this was because, off screen, they (perhaps) hated each other's guts (?).
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A wonderful romantic comedy with many spoofs
SimonJack17 March 2014
Warning: Spoilers
This was the second of three huge successes Universal had with Doris Day, Rock Hudson and Tony Randall. All three romantic comedies had fresh scripts. But, besides the romance, "Lover Come Back" has some very good satire. It spoofs the advertising industry in the U.S.; and, the buying public – for its gullibility. It also pokes fun at the rich, the field of psychoanalysis, the single male lifestyle of Madison Avenue, and the naiveté of clean-cut young women who come to New York to compete 'in a man's world.'

And, this film uses another comedy vehicle. Two sober and well-behaved out-of-towner men are in New York for some sort of professional or business convention. They are on the spot various times when Jerry Webster, played by Rock Hudson, happens to be with or leaving a different woman. Their scenes are thrice funny. They comment as though they are seeing a super ladies' man in action. The sight gag itself is funny, and a deeper humor is in their false assumptions of what led up to that moment.

The sight gags and lines are evenly and deliciously interspersed throughout the film. Here are some favorites that are sure to bring a laugh to anyone who watches this film. Peter Ramsey (Tony Randall) pulls up to a building entrance in a limo and gets out. A cabbie pulls in behind, honks and yells at him to move out of the cab parking spot. Ramsey says, "How would you like a fat lip?" The cabbie figures he can take on the fancy dressed dandy. He says, "Fine!" and gets out of his cab. Ramsey says to his chauffeur, "Harrison, give him a fat lip." The huge hulk of a chauffeur gets out of the limo, and the cabbie says, "OK, so park there."

Ramsey is in Webster's apartment, and is telling him about his psychoanalyst. Ramsey says, "That man has worked miracles for me. Miracles! You know, everyone should go through analysis." Webster replies, "Not everyone can afford it." Looking out the window, Ramsey says, "Mmmm. That's the tragedy of it. Look at those poor people. They go through life contented, happy, laughing … never knowing how sick they are."

Randall and Hudson are in their ad agency office. Ramsey says, "Dad will kill me." Webster replies, "Your dad's dead and gone." Ramsey says, "No he's not. He's around some place. He wouldn't go away and leave this business with someone like me."

Doctor Linus Tyler, played by Jack Krukschen, says to Webster, "Here in the comfort and security of my laboratory, I'm very happy and content. And I have the companionship of the one person worthy of my company – myself." Later, Webster is mistaken by Carol Templeton, played by Doris Day, to be Linus Tyler. He continues the ruse, and the two are at dinner. Webster says, "Miss Templeton, as my uncle the missionary used to say, 'If though canst not speak well of a man, speak not at all." Templeton says, "You make me feel ashamed of myself." Then later, Webster says, "As my father, the philosopher, used to say, 'Knock at my door, and I shall let you in.'" Templeton replies, "Doctor Tyler, I'm knocking." Webster says, "Miss Templeton, I'm taking you in."

Still later, Hudson and Day are walking outside and talking. Webster says, "But then, one night I remembered the words of my grandfather, the philanthropist, 'The joy of living is the joy of giving.'" Templeton says, "Oh, my, what a magnificent family. Missionary, philanthropist …" Webster interrupts, "Yes!" Templeton continues, "…philosopher, doctor." Webster asks, "Doctor?" Templeton replies, "You!" Webster says, "Oh yes, me. When you said doctor, I could only think of my brother, the jungle surgeon. He was the real doctor." Templeton asks, "Was?" Webster says, "Yes! He went into the interior to treat this tribe of sick natives, got them back on their feet, restored their health and appetites, discovered too late they were cannibals." The look of disbelief on Day's face will give the grumpiest movie buff a side-splitting laugh. "Oh, how awful," she says. Webster replies, "Yes. His last words were, 'Better me than Schweitzer.'"

Many more great lines are peppered throughout the film. The ending is a real hoot. And, there's one subtle scene that is one of the most clever visual analogies ever caught on film. It is in the backdrop for a scene with the two leads. They are visiting an aquarium, and as they talk, they move from one viewing window to another. We see a fish being attracted by something fluttering in the water. Templeton says to Webster; "A woman instinctively senses when a man can be trusted. And you, doctor, can be trusted." In the background, a camouflage fish in a split second chomps the fish that had been attracted by its fluttering tassel. The camouflage fish gulps a couple times to swallow its prey; and Webster chokes a little and touches his throat. "Excuse me," he says, as they walk away.

There is considerable adult innuendo in this film, but no visual raciness. It's clean enough for families, but kids aren't likely to understand or appreciate much of the dialog. "Lover Come Back" is a very funny, entertaining, mature and adult spoof and romantic comedy. It's still as funny today as it was in the mid-twentieth century.
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Needed a Stronger Ending
James Hitchcock9 December 2013
Warning: Spoilers
"Lover Come Back" is both a romantic comedy and a satire on the advertising industry. The main characters are Jerry Webster and Carol Templeton, executives working for rival advertising agencies. Although the two have never met in person, Carol knows Jerry by reputation and loathes him for his unethical method of securing new accounts by plying prospective clients with alcohol and procuring attractive young women for them. (For a film made when the Production Code was officially still in effect, this one is surprisingly frank about sex). Carol reports Jerry to the Ad Council (here portrayed as a professional body along the lines of the Bar Council with the power to discipline its members), but the smooth-talking Jerry manages to talk his way out of trouble.

Further misunderstandings lead to Jerry creating a series of advertisements for a non-existent product, "Vip", and to these being broadcast by accident on television. Having succeeded in creating massive demand for "Vip", Jerry now has to come up with the product itself, and hires a brilliant but eccentric chemist, Dr. Linus Tyler, to invent it. It doesn't actually matter what "Vip" is- it could be anything from an aftershave to a brand of whisky- the important thing is that there has to be something that Jerry can sell. Further complications arise when Jerry poses as Dr Tyler in order to date Carol, hoping to win commercial information from her.

I had previously thought of Rock Hudson as an action hero, particularly in Westerns, or the star of serious dramas like "Giant" or "A Farewell to Arms". This was the first time I had seen him in a comedy, and I must say that he is excellent. He gives a very assured performance as Jerry, the sort of man who lacks any sense of decency or honour but who can always relay upon his quick wits, his smooth tongue, his good looks and his charm to get himself out of any trouble. Hudson receives good support from Tony Randall as Jerry's neurotic, incompetent boss Pete.

Hudson and Doris Day had been cast together in another rom-com, "Pillow Talk", two years earlier, and although I have never seen that film I understand that it was well received. Someone at the studio therefore obviously thought that the two worked well together and that it would be a good idea to team them again. I felt, however, that Day was miscast here. The film would have worked better had Carol been played as idealistic but naive and inexperienced, and also considerably younger than the wily older man Jerry. In 1961 Day was 37, a year older than Hudson, and I think that a younger actress was needed in the role. A twenty-something Carol would have come over as fresher, more innocent and with more excuse for being taken in by Jerry than a woman approaching middle age who really ought to have known better.

I said that the film is both a satire and a romantic comedy, and as a satire it works very well. The idea of an advertising executive creating a demand for a non-existent product and then creating the product to match the demand is a brilliant satirical conceit and a sharp comment on the consumer society. As a rom-com, however, it does not work nearly so well, and would have been stronger had it been made as a pure satire without the need to conform to the standard romantic comedy formula complete with "happy" ending. I put that word in inverted commas because the marriage with which the film ends seems to be a recipe for perfect misery for at least one of the parties to it. Jerry, charming but completely unscrupulous both in business and in his private life, is really a comic villain rather than a romantic hero, and the naively idealistic Carol deserves something better than being lumbered, via a shotgun marriage, with such a rotter for a husband. The scriptwriters should have come up with a better ending, preferably one which involves Jerry getting his come-uppance or (if he is allowed to triumph on a material level) Carol walking away from him, a sadder but a wiser woman. 7/10, a mark which would have been higher had the ending been better.
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Doris Day and Rock Hudson work magic.
jfarms19567 December 2013
Lover Come Back is a movie that baby boomers will enjoy as well as a good movie for the family with children 7 and up. This movie is best enjoyed in the afternoon or possibly early evening for some light hearted fun. Doris Day and Rock Hudson work magic. Tony Randall, Joe Flynn, and Ann B. Davis all are good actors and comedians. I love seeing them all. I've seen this movie so many ties that I watch now the first 5 minutes and then the last seven. I still get a kick out of the movie. In a day or two, it is easily forgotten but the feeling that the movie gives me still lingers a bit longer. Grab you popcorn bowls and enjoy this movie with friends or by yourself.
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Once Upon A Time, Perhaps, But Now A Dated Relic
museumofdave2 April 2013
Criticizing this particular romantic comedy is like saying something bad about The Sound of Music. It simply isn't done! The enduring truth of this particular romantic comedy lies in it's dead-on reflection of the dinosaur social and sexual attitudes of it's time--not what was actually happening on the streets and in America's bedrooms (as Victorian sexual mores were finally collapsing in the sixties)--but what older white men in power were hoping would happen, instead--that women, after making a little noise, would behave, settle for nice clothes and a well-appointed apartment, and settle down, and shut up. The film clearly demonstrates that the only way to establish honesty in relationships was to dress up nicely and play parlor games with people's emotions.

This is quintessential fluff--very well-produced fluff with two very attractive stars--but fluff nonetheless, with little wit or literate dialogue or plot surprise--after five minutes, it's easy to guess the rest, is it not? Are there any surprises or are there any memorable lines? I am a great fan of vintage films and indeed of Doris Day (she's amazing in the Ruth Etting biopic, Love Me Or Leave Me, or in Hitchcock's The Man Who Knew Too Much) and wanted to enjoy this one, but found it far too synthetic to add up to much, except as a fascinating artifact of a time we hope is gone forever, even in the movies.
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Innocent sex comedy at its peak
elisedfr7 June 2012
Warning: Spoilers
I must say right now I am not a fan of Doris Day, neither of Rock Hudson, and that the only reason I got to watch their three pairings is called Tony Randall. As the overeager, neurotic sidekick, he's just as good as a younger Felix Ungar - and he's got the best lines. Still, the background is not without charm, and while Send Me No Flowers left me totally cold, I found myself thinking this one was pretty cute stuff.

The story is terribly similar to Pillow Talk, and reminiscent of Meg Ryan's 90s comedies : a successful working girl with a pretty face, a big mouth and a virginal past gets seduced by her worst enemy, whom she has never seen before, when he pretends to be even more inexperienced than herself- in fact, he's a casual womanizer. Somehow the two fall in love in the process. But here, script is sharper, rhythm quicker and scenes shorter: all in all, a kind of condensed formula with, backing the romantic plot, a silly yet amusing story of commercials for pills that don't exist, but everyone wants them anyway, and it's up to Jack Kruschen, the kind neighbor of The Apartment, to perform the task of creating the stuff.

It's New York in the late 50s, so there's a general feeling of happy days around: characters are sophisticated advertisement people with large flats, secretaries, shrinks (for Tony), masseuses (for Rock) and ridiculous hats (for Doris). They drive fancy cars, hunt mooses in Canadian rivers and at night, take a glance at the strip club. So, everyone's out to have a good time, including the viewer, who would not find such a pleasant, yet polished portrayal of city life in the comedies of today.

Dialogues are a reflect of this mood, between racy and terribly innocent. Innuendos, misunderstandings and blushed cheeks make the game. Some lines are truly funny, such as Tony Randall complaints about his dictatorial father: "Just once I spoke back to . He gave me me such a whipping in front of the girl...I was 25 and she was my fiancé". or the compassionate reaction of a middle-aged lady, to the no-longer virgin Doris : "It's like olives, dear. It's something you acquire a taste for". Too bad the ending gets a bit ridiculous, with a second wedding in front of the maternity ward. Close, huh?

Actors, all in all, are sweet people: I said I'm not usually much impressed by Hudson, but here with a beard, sad eyes and a weird green coat, he looked kinda disarming, as well as casually funny. Still, Doris Day was a bit too old to play such a naive girl: the blame must certainly be put on the script, but her character never seemed anything but annoyed or sarcastic, and in the end she get really annoying. She has sweet close-ups though. As for Randall, he's just a sweetheart with a good deal of psychological problems. And to see him hanging around big, menacing Hudson is always enjoyable. I'll keep it in mind for the rainy days.
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You listen to me, no alcoholic beverage, no drug known to science, no torture yet devised could induce me to stay married to *you*!
Spikeopath24 April 2012
Lover Come Back is directed by Delbert Mann and written by Stanley Shapiro and Paul Henning. It stars Doris Day, Rock Hudson and Tony Randall. Music is by Frank De Vol and Eastman colour cinematography by Arthur E. Arling. Plot finds Day and Hudson as rival advertisement executives who work for rival companies. Though having never met, both have had enough dealings with each other from afar to have formed less than favourable opinions of each other. When a chance meeting occurs, a case of mistaken identity sees Hudson's Lothario pretend to be a meek and virginal doctor type; which provides interesting results.

If it isn't broke, don't fix it. After Pillow Talk, the first and hugely popular pairing of Doris Day and Rock Hudson, Lover Come Back follows a similar filmic trajectory. Pillow Talk's formula is a template well worth following, what is arguably surprising is that this is every bit the first film's equal. There's a bit of satire in the Oscar Nominated screenplay, as plot takes in the world of advertising, but mostly this is about great gags, both visually and orally, and the thrill of watching three lead performers expertly making the material work. The chemistry of the performers is set in stone, the colour appealing and director Mann keeps it brisk. Yes it goes exactly where you think it's going, but to be honest if it didn't end the way it did I would have put my foot through the TV! With purple faces, beards, sly sexual eggings, alcoholic candy and a horny moose! What's not to like here? A delightfully fun and engaging comedy. 8/10
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Delightful and Witty Romantic Comedy
Claudio Carvalho15 March 2012
In New York, Madison Avenue is the center of advertising world and like in a beehive, divided in workers and drones. Carol Templeton (Doris Day) is a professional that has just arrived from Omaha, Nebraska, to work in the Bracket, McGalpin & Gaines Advertising expecting to be a winner through hard work. The unethical Jerry Webster (Rock Hudson) works in the Ramsey & Son and entertains his clients with sexy women, bribe and booze to ensure contracts for his agency.

When the Southern J. Paxton Miller (Jack Oakie) comes to New York to close the contract of the Cera Miller account, Carol prepares a presentation to the old man. However, Jerry wins the account bringing Miller to a nightclub with strippers, booze and a party later in his penthouse with the strippers led by Rebel Davis (Edie Adams).

Carol is upset and goes to the advertising council to throw Jerry out of the advertising business. However, Jerry lures Rebel, who is going to testify against him, offering the position of VIP girl in TV commercials for the new product VIP. Then he asks the team to not broadcast but only file the footages since VIP that does not exist. However, the insecure Peter 'Pete' Ramsey (Tony Randall), who has inherited the Ramsey & Son, orders a massive advertising campaign broadcasting the commercials to show himself off to his employees. In order to save his job and the agency, Jerry hires Doctor Linus Tyler (Jack Kruschen), who is a lonely man, to develop VIP.

Meanwhile, Carol decides to take the VIP account for her agency and she visits Dr. Tyler. However, she meets Jerry instead and believes that he is the famous scientist awarded with the Nobel Prize. Now Carol wants to convince Dr. Tyler to come to her agency and the cynical Jerry uses the situation to seduce Carol.

"Lover Come Back" is really a delightful and witty romantic comedy, with a funny story and a great screenplay that was awarded with the 1962 Oscar. Tony Randall is hilarious and his insecure character is among the funniest I have ever seen. Rock Hudson and Doris Day are excellent, showing magnificent chemistry. The two guys that stumble with Jerry Webster everywhere are also very funny. My only remark is to the disappointing rushed ending that gives the sensation that something is missing and makes Carol Templeton a stereotype of the women in the 50's and 60's. My vote is eight.

Title (Brazil): "Volta Meu Amor" ("Come Back My Love")
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Where's the laughs!?
brefane12 February 2012
Witless, belabored comedy with a distractingly soft focus Doris Day outfitted in terrible hats. With dreary grayish blue set design, and a supporting cast made up of recognizable TV regulars, it plays like a dull sitcom. An obvious retread of Pillow Tak that lacks charm and sprightliness. The situations and characters are basically uninteresting and you'll find it hard to believe that the script for this laugh deficient film was nominated for an Oscar. It's one-note and repetitious. Hudson's is inoffensively dull and Day is up to her usual tired tricks:wide eyed surprise and exasperation. Not a fan of either performer though this seems like the dullest of their film pairings.
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More than a little sad
Jeff Sultanof22 November 2011
Doris Day was and is a tremendous talent, an excellent singer and an excellent actress, but you wouldn't really know it from some of the idiotic stereotypical 'good girl' roles her husband forced her to play. While on a surface level, "Lover Come Back" has a lot of funny lines and good acting from everyone, it simply reminds me of the horrid choices Day made with regard to men. Forcing her to star in movies that were really beneath her was a form of abuse, and then when Marty Melcher (the husband) died, she found out that she was almost bankrupt. Her television situation comedy helped to restore her reputation and her self-esteem, but the damage had already been done. She is still thought of as a virgin-type, when her real life was anything but.

It's a real pity that she rarely got to show what she could do as an actress. Yes, "Lover Come Back" is funny, but it is also stupid, very dated and the ending is slap-dash. I'll gladly watch "Love Me Or Leave Me" or "Calamity Jane" over this movie.
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Stylish, witty, beautifully performed
TheLittleSongbird23 November 2010
I am a big fan of Doris Day, and Lover Come Back is no exception. It is stylish, with the beautiful production values, lovely music and sophisticated direction. It is witty, with a great story and a funny script, I have to admit those anti-advertising jokes are still amusing. And it is beautifully performed. Rock Hudson is immensely likable and charming and Doris Day hasn't lost her warmth. They are well supported by Tony Randall(in another of his better performances), Edie Adams and Jack Kruschen. My only real criticism is the ending really, I know it is all to do with taste but I do find the ending rather tasteless. Overall though, it is a delight of a film. 9/10 Bethany Cox
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One of the best comedies of its kind
Skragg18 February 2010
Even if I didn't like these kinds of comedies already, how can you not like one with Jack Kruschen as a comical mad scientist? One of the best parts is the sort of self-parody Doris Day does in the strip club scene and afterwards - "Will you please put that away?" And one of the more surprising ones is Rock Hudson's very innocent line about being slipped a "funny" cigarette with "no printing on the paper." It isn't an unheard-of subject in early ' 60s comedies, but you don't exactly expect it in one of THESE - Doris Day and a marijuana joke?! I only have one real problem with it. I don't always like those comedies (or dramas) with characters whose job it is to TELL the audience something, sometimes right to the camera in a "Greek Chorus" way and sometimes not, and sometimes things the audience can see perfectly well for themselves! Nothing against Jack Albertson, but I never see the point of those two tourists who keep popping up to comment on the Jerry character's wild personal life. I mean, you already have Doris Day doing that in one way, and Tony Randall doing it in ANOTHER way, so do you really need these extra characters doing the same thing?
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Rock Doris and Tony deliver the goods
Greg8 April 2009
Warning: Spoilers
This movie is a gem. And there are so many things to like.

Others have commented on Doris Day's hats throughout, and they really are something. That shocker on the beach is a highlight.

There are a couple of lines which have humorous overtones given that we now know that Rock was gay. When Doris abandons him, naked at the late night swim, he gets a lift back in a Fur Delivery van and strides across the lobby wearing a full length mink. The two guys who have seen him throughout the movie in full on playboy mode - always very admiringly - see him and one says to the other - "He is the last guy you would have suspected". Very ironic. The other was when Doris was persuading Rock to stay the night in the guest room, in an apartment, she said "You even have your own back entrance". Made me laugh anyway.

Great to see TV favourites Capt Binghampton (McHales Navy) and Ellie May Clampett (Beverley Hillbillies) with roles.

Tony Randall is his usual brilliant self.

We have been watching a few Rock Hudson movies of late and he is invariably a joy. He really was a fine comedic actor. If you haven't seen it, Man's Favourite Sport (without Doris or Tony) is pure gold.
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romantic comedy with lots of laughs
vouty6 January 2009
I saw this movie the for the first time many years ago and definitely did not catch all the innuendos the first time. The aquarium scene, and the Doris Day (Carole Templeton)'s apartment scene are among my favorite scenes, hysterically funny-- The most fun, however, was just because I thought Rock Hudson was having trouble holding himself back from cracking up over the ridiculous lines and con job he was doing on Doris Day. I wish I could have seen the outtakes for this film. He seemed to be having such a ball!

A great fun film! Great dialog! Rock and Doris -- what a team! I laughed out loud many, many times.
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Funny funny funny and stylish...
ptb-813 July 2008
and with a lavender floor joke!... among an avalanche of gay jokes, a marijuana joke, and plenty of virgin cracking gags. ...LOVER COME BACK is - in widescreen - an hilarious all star advertising comedy with a gorgeous Doris Day (in a million spectacular outfits) and a very he-man Hudson poking fun at his image. If you have seen the 1957 sex farce WILL SUCCESS SPOIL ROCK HUNTER also with Tony Randall and also spoofing the advertising industry, this sparkling 1961 comedy is a worthy chaser.. as well as fleshing out the PILLOW TALK imagery and settings. I found this film to be really funny, and in superb colour art direction and photography that just made it a treat to watch. it does not matter that it is dated by our clever new standards, or that Hudson really did turn out to be gay, because this film is already having fun with itself... and recalls how witty and delightful these pix were designed to be. The recent DOWN WITH LOVE attempt with Ewan Macgregor and Renee Zellweger miscast completely only shows how these 60s pix got it right the first time and should be left alone and not 'spoofed' as they already were satires and ideal as they prove in this DVD. Randall as usual is hilarious.
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"We're just wild about VIP!"
theowinthrop29 June 2008
Warning: Spoilers
The second of the three Doris Day - Rock Hudson - Tony Randall romps, LOVER COME BACK actually is a slightly sharper film than it's closer rival PILLOW TALK, with SEND ME NO FLOWERS a bit behind them. The reason for this positioning is that PILLOW TALK did not really spoof anything (Randall is producing a show and needs music composed by Hudson; until the end when Hudson decides to allow Day to decorate his apartment - with horrendous results - Day's interior decorating career really was just a mild peg in the screenplay). SEND ME NO FLOWERS comes closest to satire in the business with Paul Lynde's friendly, helpful cemetery plot salesman. Most of the rest deals with hypochondria and the world of the suburbs. Only in LOVER COME BACK does the center of the script involve itself in the profession of the three leads: Madison Avenue Advertising Agencies.

Hudson is the right hand man (one might say the central brain) for an ad agency that is owned (by inheritance, not character or brains) by Randall. Hudson has a formula for getting accounts - find the client's weakness, and play to it, pushing booze and girls at the same time. We see him steal the account of Jack Oakie (his final performance on film, but a nice one) as a Virginian who is still a loyal Confederate, and likes his booze ("jest a tetch" is a mantra of his, with Hudson or anyone else filling up the glass), and likes his fair ladies as well. Unfortunately for Hudson, Day had been scheduled to give a presentation to Oakie, and is really angry by the way Hudson stole the account. She starts asking questions, and finds the chief one of the chorus girls that Oakie was set up with (Edie Adams). When Hudson learns Adams plans to talk he tries to talk his way out by saying he was planning to make Adams the new "girl" for a new product. "Well, what is the product?", Adams asks. Hudson looks at a newspaper headline referring to V.I.P.s and says it is called "Vip". Adams does not testify against Hudson because he has a number of specious and vague, but sexy commercials shot with Adams selling "Vip".

All this might have still remained under wraps, but Randall, in his first attempt to show he can make decisions rather than Hudson, tells his assistant (Joe Flynn) to release the commercials and saturate the television airwaves with them. Only later does a horrified Hudson tell him that there is no product called Vip.

Day learns of "Vip" from Adams. She starts more of an investigation, and discovers that nobody is quite sure what VIP is. Her boss, Howard St. John, is dubious of any result. Her own job on the line she decides to investigate on her own. Hudson has decided to use an eccentric Nobel Chemistry Laureate (Jack Kruschen - in a fun performance) to concoct a product called Vip. At one point Day shows up at Kruschen's house, and sees Hudson wearing an apron. She jumps to the conclusion he is Kruschen, and starts trying to prevent him from signing with Hudson's agency. Hudson decides to take full advantage of this situation: it preoccupies Day in her snooping, and she is more attractive than he imagined.

The plot then follows that of PILLOW TALK with Day not realizing she is dating the man she loathes, not the imagined great man of science with a fragile psyche. Hudson plays it to the hilt (his comic abilities were first brought out by Day in their films, and it possibly enabled his career as a star to last really as long as it did). As for Randall, his desire to show he is worthy of his father "the Commodore" (a forbidding portrait of Randall in yachting costume is above the desk the son sits at) is confronted by his total lack of understanding his business, of making decisions, or taking responsibility. He keeps hoping either Hudson or Flynn will fall on their sword (symbolically will do, but he is open for actual suicide) to save his firm from being wrecked. His only apparent close relationship is with his therapist Dr. Melnick (Richard Deacon - in a sadly wasted single scene with Randall at the end), and even Randall mentions that Deacon has said he finds him boring.

So what does the great Kruchen concoct out of chemicals and smoke (multi-colored, as Randall finds to his cost)? Put it this way: It is very possible that that great Vice President of the U.S., Thomas Marshall, would have fully appreciated the perfect companion invented by Kruschen for Marshall's really good five cent cigar!
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Best Day/Hudson Script By Far!
krdement10 October 2007
Warning: Spoilers
My personal preference is for films of all kinds from the '30's to the mid '40's. For me the writing is generally much more sophisticated than later films - especially films from the era of Lover Come Back. That said, I give this film extremely high marks for the script. The writing here is much more sophisticated than Pillow Talk. There is nothing in any of the Day/Hudson movies to compare with the aquarium scene. It is classic.

Another key scene is when Rock comes up to Doris' apartment for dinner. The dress that she wears in that scene is one of the best ever! It is sophisticated, chic, glamorous and as sexy as they come! It accentuates her knockout figure without revealing anything! Wow is she ever hot in that dress!

But that scene, paradoxically, is why I do not rate this film more highly. Rock really overdoes the poor, sheltered, inexperienced guy. (I wish he had played that scene with the subtlety he displays when Doris mistakes him for the professor in the lab, and in the subsequent aquarium scene. They are both perfect.) As hammy as it is, it is a real blemish on an otherwise great performance and fabulous comedy. That scene just seems more hammy than the rest of the film.

One other criticism is the ending. It comes very abruptly. I wish there had been some film footage showing his mailing letters for 8 months before giving up in the 9th, rather than just having his character tell us about that long interval while proposing to Doris on her way to delivery.

Lastly, I think that this film gets overlooked because of its title. If it had a title that actually reflected the story, it would be more memorable. Every time I hear "Lover Come Back" I just draw a blank. Day and Hudson aren't lovers except for one night very late in the story, and they are reunited a few scenes later at the very end of the film. The bulk of the film deals with their conflict! The title leads you to expect a story built around the efforts of one lover to rekindle a romance with an estranged beloved - not this movie at all! Big mistake.
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classic script
uptownmyrnafan9 October 2007
Warning: Spoilers
classic scripting of the 60's "sex-comedies". The Rock & Doris pairing is way above par to todays so-called date-flicks. plus you have the scenery & music of the times. not to mention a really good story. its got Eddie Albert ("the man"), & a really great cast. including Ann B. Davis who has some of the best dialogue. incl.: "you're going to play golf with him? Today you are a woman. "

DD: Well then we'll fight rough, this means war ! ABD: Then this means music, liquor, & wild parties, & ALL the sponsor's girls, Right ?? RIGHT! then sign me up for the front lines !!

and this exchange :: Rock: i don't know what happened.

DD : he probably gave you something to drink.

Rock: yes, but then i was dizzy from the cigarette that he gave me.

DD : What Cigarette ??

Rock: i don't know ..... it didn't have any printing on it.

DD : That Depraved Monster !!!!!

of course nowadays this all Disney-type innuendo fair. but for those who realize their film history ........ & for those who don't care .................. a very, very good film.
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Bright romantic comedy marred by the separation of the cast.
Poseidon-313 September 2007
Warning: Spoilers
Following the tremendous success of "Pillow Talk", Universal re-teamed the trio of Hudson, Day and Randall (this time elevated to above-the-title billing) for another go 'round. Day plays a straight-laced ad exec who is mortified to lose a prime account to competitor Hudson, who uses immoral and underhanded tactics to get his accounts for his boss Randall. When Day reports Hudson to the Ad Council, it sparks a game of cat and mouse that involves Hudson luring Day into a romantic relationship in the name of landing a product that doesn't even exist! Day falls for Hudson in his guise of a chemist, not realizing that he's the competitor she loathes so much. The magic present in "Pillow Talk" is only here to a degree. For one thing, save one very brief phone conversation, Day and Hudson don't meet at ALL until 45 minutes into the film. Additionally, Day and Randall do not share one frame of footage in the entire movie, squandering an opportunity to repeat the splendid chemistry they displayed in the prior film. Fortunately, once Day and Hudson finally meet up, their terrific rapport with each other kicks in and the film begins to show some of the comedic and romantic sparkle that this team is known for. Day is in tremendous shape here, looking wonderful in some sharp Irene ensembles (most of which are spoiled by some distinctly unappealing hats, though they're good for a chuckle at any rate!) Unfortunately, she is bathed in soft-focus for even the most remote close-ups and there's a severity in her makeup, mostly in the brows, that detracts from her usual sunny visage. Still, this is Day at her prime and she delivers a lot of great lines and expressions along the way. Hudson is at his most handsome and has quite a few shirtless scenes. He gets to deliver a lot of amusing lines as well and is allowed to play the charming heel he perfected during this time. Randall is given a funny role to play as a rich CEO who lacks the backbone and confidence to do anything whatsoever. He and Hudson play off each other well, as always. Also appearing are Adams as one of Hudson's playthings, Oakie as a southern-fried potential client, Krushen as a dangerous inventor and Davis (pre-"Brady Bunch") as Day's devoted secretary. In much smaller roles, Douglas appears as Randall's secretary, Albertson and Watts are a pair of bemused salesmen visiting the city and Bessell has a bit part as an elevator operator. All the ingredients are here for this to be a smash to at least equal "Pillow Talk", but somehow it never reaches its full potential. Part of the problem is the aforementioned lack of connection between the actors, but also the editing seems to leave room for long laugh pauses, giving the film an awkward sense of timing if things aren't quite as knee-slapping as hoped for. It just lacks the zip and zing and freshness that punctuated the earlier movie (and the one after this.) It also goes a tad overboard with the colored explosions and the product revealed in the resolution. Still, this team is charming in the extreme and they make it worth watching. One casting tidbit: Norris, who plays Hudson's secretary, was the telephone inspector he seduced in "Pillow Talk".
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Rock & Doris & Tony & Vip
wes-connors11 August 2007
Rock Hudson, Doris Day, and Tony Randall are excellent - the movie is not so much. First of all, the film is a one of those sophisticated (?) '60s "sex comedies". There are suggested sexual situations throughout: Mr. Hudson is, I believe, fairly explicitly stated as a promiscuous man; and, Ms. Day makes a conscious decision to have out-of-wedlock sex with Hudson. Also, there are "gay jokes"; and, there are suggestions of marijuana use (note the scene where Hudson explains away an uncomfortable situation by saying he smoked a funny cigarette, lacking a label).

The advertising industry is effectively satirized. The VIP storyline is funny. The scenes between Hudson/Day and Hudson/Randall are witty and well-played. I liked Hudson and Randall with their beards. You'll get to see Hudson in his underwear (boxers) and Day in a bathing suit (one-piece, alas).

BUT, the script is filled with tired old jokes. The ending is too rushed. Very distracting are the blurring of Doris Day's close-ups in this film. The other performers have very clear close-ups. I would rather they not blur Ms. Day's close-ups, or just blur everyone. I suppose this is a feature of several of Day's sixties films - it's unfortunate.

******* Lover Come Back (1961) Delbert Mann ~ Rock Hudson, Doris Day, Tony Randall
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Best of the Day-Hudson Romps Shows the Stars in Zesty Comic Form
Ed Uyeshima24 July 2007
Even though it seems like Doris Day and Rock Hudson made as many films as Tracy and Hepburn, they actually made just three for Universal between 1959 and 1964. The trio of films Day and Hudson made hardly reflects pinnacles in cinema history, but they show what deft writing, nimble direction and expert farceurs can do to make these soufflé-light romantic comedies thoroughly enjoyable. As my favorite of the three, this frenetic 1961 farce evolves from a familiar act of deception initiated by Hudson's character, at which point it becomes a series of humiliations and comeuppances for both principals before the inevitable happy ending.

Directed by Delbert Mann and written by Stanley Shapiro and Paul Henning, the movie works the exact same plot devices as 1959's "Pillow Talk", even the split-screen confrontations, but converts the pair into highly competitive advertising account executives at separate agencies. This time, Day is even more priggish as Carol Templeton, who loathes Hudson's Jerry Webster, as he manages to steal accounts under her and everybody else's nose by holding wild parties for the prospective clients. In an effort to pacify an ambitious model who wants to become a TV star, he shoots her in commercials for VIP, a product that doesn't exist.

Through the incompetence of his nominal boss Pete Ramsey, the commercials hit the airwaves, which force Jerry to recruit reclusive scientist Linus Tyler to invent a product for VIP. In her effort to steal the VIP account from Jerry, Carol mistakes Jerry for Linus, and the rest becomes inevitable. Since Shapiro also co-wrote "Pillow Talk", this one gets even more far-fetched, but its lightning-quick pace, plethora of sexual double-entendres, constant tweaking of Madison Avenue ad agencies and a wildly improbable ending make it a funnier movie. Both Day and Hudson show themselves to be expert at this type of formulaic romantic comedy, and perennial third-wheel Tony Randall plays Ramsey with his trademark boastful befuddlement. The 2004 DVD contains only the original theatrical trailer as an extra.
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