Fred, George, Doug and Howie are quickly reaching middle-age. Three of them are married, only Fred is still a bachelor. They want something different than their ordinary marriages, children... See full summary »
Joey Evans is charming, handsome, funny, talented, and a first class, A-number-one heel. When Joey meets the former chorus girl ("She used to be 'Vera...with the Vanishing Veils'") and now ... See full summary »
Photographer Grif Henderson is assigned a photo shoot in Paris. He decides to take his wife, Jenny, and his hippie son, Davey, with him on the shoot. Everything gets mucked up when she ... See full summary »
Cash McCall is a young and slick business man who buys failing businesses and resells them. Grant Austen's Plastics is even more of a prize to Cash, for Cash is also making a bid for ... See full summary »
Fred, George, Doug and Howie are quickly reaching middle-age. Three of them are married, only Fred is still a bachelor. They want something different than their ordinary marriages, children and TV-dinners. In secret, they get themselves an apartment with a beautiful young woman, Kathy, for romantic rendezvous. But Kathy does not tell them that she is a sociology student researching the sexual life of the white middle-class male. Written by
Originally, the movie's title song was to be sung by Frank Sinatra. His version was recorded on March 6, 1962, almost three months before the film's premiere. At last wind, Patti Page recorded her version which was initially optioned for use while Sinatra's original languished in the Columbia vaults until 1995 when his Reprise box-set was issued. See more »
[when remarking that Cathy sees the four men on different nights doing research for her master's thesis, with Fred being the Thursday night man, whom Cathy is falling in love with and thus remembering the best]
Wednesday was there Wednesday, Thursday was there last Sunday, yet you remember last Sunday's Thursday better than yesterday's Wednesday. Interesting, no?
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A feline and spacey Kim Novak seems to arrive from another planet in this romantic comedy from the blacklisted director of Pillow Talk. It's James Garner and Kim instead of Rock Hudson and Doris Day -- so underneath the squeaky clean froth, their clinches have just a hint of real sexual chemistry. Clever script has theatrical touches if no depth. Second bananas play their farcical roles well, especially Tony Randall.
However feast your eyes on the apartment, the height of Kennedy-era Mod; don't miss the turquoise kitchen, his-and-her bedrooms, and more.
Would make a nice double feature with the new remake of Stepford Wives. There's a happy ending (of course): The men discover 'boy's night out' is actually more fun if the women come, too. That's progress, in a tiny way.
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