In this comedy-thriller, Patricia Foster is an industrial designer who gets herself into a whole heap of trouble when she sells a secret cosmetics formula to a rival company in Paris. Written by
Jonathan Broxton <firstname.lastname@example.org>
In her autobiography, Doris Day wrote that when she read this script, she remarked to her manager/husband Martin Melcher: "Thank God we don't have to do movies like that anymore!" His response: "We've already made the deal - there's no sense getting all steamed up about it!" Melcher had power of attorney for Day and signed her up for this film without her knowledge or consent. See more »
Each screen of the opening credits is presented uniquely. The names of the leads appear in speech/thought bubbles of an extra. One page appears gradually as a walkie-talkie's antenna extends. Others fade in, slide in, are pulled from behind walls, appear with different clipart, etc. See more »
A rather sad farewell for Twentieth's famous CinemaScope logo.
The talents of Frank Tashlin and Doris Day would seem to be a Hollywood combination made in heaven but, with "The Glass Bottom Boat" (made at M-G-M a year earlier than "Caprice') and this one, their fans were doomed to a certain degree of disappointment. The main trouble with this film is its impossibly convoluted and ridiculous script, giving little opportunity for anyone to shine, except, perhaps, the set and clothes designers, though one must appreciate that their efforts look very, VERY much of the dreaded "Mod" period when this one was conceived.
Technical credits are, for the most part, top-notch, especially that old pro Leon Shamroy's lush cinematography (although I do recall that the back projections were very obvious when I saw this on a 40-foot wide CinemaScope screen when it was first released).
I've never been a particular fan of Richard Harris and he was most definitely miscast opposite Doris. His too-clipped delivery of some of his lines can be attributed, I suspect, to Mr. Tashlin's rather slack direction (unusual for that comic master).
All in all, when one considers that producer Martin Melcher, Doris's husband, was, at the time, squandering her hefty paychecks in unwise investments, it's easy to understand why Ms. Day has since been content to retire form the screen and allow us to remember her better, earlier efforts.
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