IMDb > The Glass Bottom Boat (1966)
The Glass Bottom Boat
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The Glass Bottom Boat (1966) More at IMDbPro »

Photos (See all 14 | slideshow) Videos (see all 2)
The Glass Bottom Boat -- Doris Day stars as a widowed writer who is mistaken for a spy when she is hired to write a biography of handsome research scientist Rod Taylor.
The Glass Bottom Boat -- A way-out world of space and spies in this trailer


User Rating:
6.5/10   2,951 votes »
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Up 8% in popularity this week. See why on IMDbPro.
Everett Freeman (written by)
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Release Date:
9 June 1966 (USA) See more »
The spy who came out of the water. See more »
After a series of misunderstandings, the head of an aerospace research laboratory begins to suspect his new girlfriend is a Russian spy. Full summary » | Add synopsis »
1 win See more »
User Reviews:
Will spying spoil Mermaid Hunter? See more (38 total) »


  (in credits order) (verified as complete)

Doris Day ... Jennifer Nelson

Rod Taylor ... Bruce Templeton

Arthur Godfrey ... Axel Nordstrom

John McGiver ... Ralph Goodwin

Paul Lynde ... Homer Cripps

Edward Andrews ... Gen. Wallace Bleecker

Eric Fleming ... Edgar Hill

Dom DeLuise ... Julius Pritter (as Dom De Luise)

Dick Martin ... 'Zack' / Zack Molloy
Elisabeth Fraser ... Nina Bailey

George Tobias ... Mr. Fenimore

Alice Pearce ... Mrs. Fenimore

Ellen Corby ... Anna Miller
Dee J. Thompson ... Donna
rest of cast listed alphabetically:

Richard Alden ... Executive (uncredited)
Don Anderson ... Party Guest (uncredited)
Ellen Atterbury ... Wife (uncredited)
Bella Bruck ... Minor Role (uncredited)
John Burnside ... Reporter (uncredited)

Regina Carrol ... Minor Role (uncredited)
Pat Casella ... Secretary (uncredited)
Jerry Catron ... Executive (uncredited)
George Cisar ... Fat Man (uncredited)

Bill Cord ... American (uncredited)
John Dennis ... Policeman (uncredited)
Dick Dial ... Executive (uncredited)
Roy Eason ... Executive (uncredited)
M. Hakim ... Henchman (uncredited)

Florence Halop ... Lady on Telephone (uncredited)
Joe Haworth ... Reporter (uncredited)
Maurice Kelly ... Reporter (uncredited)
James Macklin ... Policeman (uncredited)
Mike Mahoney ... Reporter (uncredited)
Theodore Marcuse ... Gregor - Spy with Cigar (uncredited)
Gregg Martell ... Russian (uncredited)
Brett Parker ... Engineer (uncredited)
Joe Ploski ... Husband (uncredited)
Murray Pollack ... Party Guest (uncredited)
Christopher Riordan ... Party Guest / Computer Plant Worker (uncredited)

Michael Romanoff ... Husband (uncredited)
Rachel Romen ... Reporter (uncredited)
Jeffrey Sayre ... Party Guest (uncredited)
Bernard Sell ... Party Guest (uncredited)
Charles Stewart ... Reporter (uncredited)
Larry Strong ... Engineer Space Center (uncredited)
Leslie Vallen ... Miss Perkins (uncredited)

Robert Vaughn ... Napoleon Solo (uncredited)
Charles Victor ... Minor Role (uncredited)
Carolyn Williamson ... Party Girl (uncredited)

Directed by
Frank Tashlin 
Writing credits
Everett Freeman (written by)

Produced by
Everett Freeman .... producer
Martin Melcher .... producer
Original Music by
Frank De Vol  (as De Vol)
Cinematography by
Leon Shamroy (director of photography)
Film Editing by
John McSweeney Jr.  (as John McSweeney)
Art Direction by
Edward C. Carfagno  (as Edward Carfagno)
George W. Davis 
Set Decoration by
Henry Grace 
Hugh Hunt 
Makeup Department
Barbara Lampson .... hair styling: Doris Day's
Harry Maret .... makeup artist
William Tuttle .... makeup supervisor
Dee Manges .... body makeup (uncredited)
Production Management
Edward Woehler .... unit production manager
Lindsley Parsons Jr. .... assistant production manager: MGM (uncredited)
Second Unit Director or Assistant Director
Al Jennings .... assistant director
Art Department
Frank Wesselhoff .... painter (uncredited)
Sound Department
Franklin Milton .... recording supervisor
Van Allen James .... sound editor (uncredited)
Visual Effects by
J. McMillan Johnson .... special visual effects (as J. McMillin Johnson)
Carroll L. Shepphird .... special visual effects
Dick Dial .... stunts (uncredited)
Louie Elias .... stunts (uncredited)
Fred Hakim .... stunt coordinator (uncredited)
Camera and Electrical Department
Doug Byers .... underwater electrician (uncredited)
Costume and Wardrobe Department
Ray Aghayan .... costumes designed by: Miss Day's
Music Department
Albert Woodbury .... orchestrator (uncredited)
Crew verified as complete

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
110 min
Color (Metrocolor)
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
Mono (Westrex Recording System)
Australia:G | UK:U | USA:Approved (MPAA rating: certificate #21077) | West Germany:12 (nf)

Did You Know?

The song "Soft As The Starlight" was co written by Curly Howard, of Three Stooges fame, along with Joe Lubin.See more »
Continuity: The first time Bruce opens the safe with the GISMO data, the second phrase turns the first light on. Later, when Edgar Hill opens the safe, the first phrase turns the first light on.See more »
Jennifer Nelson:Donna, may I borrow a dime please? I have to call my dog.See more »
Movie Connections:
References The Man Who Knew Too Much (1956)See more »
Bossa Nova BessieSee more »


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13 out of 14 people found the following review useful.
Will spying spoil Mermaid Hunter?, 21 May 2004
Author: The Big Combo

This film has its moments of great screwball comedy, and Tashlin seems to keep alive the finesse and sophistication of a Hawks, McCarey or LaCava. The story built around the attraction between two opposite individuals never reach the sublime heights of `Bringing up Baby' –needles to say, Taylor and Day aren't Grant and Hepburn-, and it seems that this film greatest problem is not to dare going too far in its craze, as other Tashlin's films like `Rock Hunter' or `Artists and Models' did. Probably the cause is the plot dealing with the cold war, a subject pretty much on the focus at the time. Now and them you feel that the director is doing a sort of journalism through a territory that doesn't suit him as good as Hollywood and its superficiality, for example. But Tashlin always manages to insert his comments about the decadence of American life, a circumstance that not even the fanciest of technology can hide. In his anarchic fashion, Tashlin's films counterpart Douglas Sirk's melodramas. Both are about the same, but the path chosen to express its vision are opposite.

This film has a wonderful use of color, an admirable pacing and a freshness rarely seen in the studio comedies of the time (the singing scene in the boat looks totally improvised). But if Tashlin's background as a cartoonist often contributes to his creative ability to take situations beyond the edge, and to destroy a stiff established order, very seldom this very quality can work against him. And this is what happens with all the bad guys in this film. They are a mere caricature, and one can never feel them as a serious threat. The theme demanded something more serious, and these clumsy amateurs certainly fail.

Anyway, watch the film and sing the title's tune; it'll remain with you for ages.

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