American couple Janet and Mike move to England for his business. She soon becomes paranoid that he is having an affair with his attractive secretary, and decides to get back at him by pretending she herself has been unfaithful.
Jane Osgood runs a lobster business, which supports her two young children. Railroad staff inattention ruins her shipment, so with her lawyer George, Jane sues Harry Foster Malone, director of the line and the "meanest man in the world".
In New York, the interior decorator Jan Morrow and the wolf composer Brad Allen share a party line, but Brad keeps it busy most of the time flirting with his girlfriends. They do not know each other but Jan hates Brads since she needs the telephone for her business and can not use it. Coincidently Jan's wealthy client Jonathan Forbes that woos her is the best friend of Brad and he comments with him that he feels an unrequited love for Jan, who is a gorgeous woman. When Brad meets Jan by chance in a restaurant, he poses as a naive tourist from Texas named Rex Stetson and seduces her. But Jonathan hires a private eye to find who Rex Stetson is.Written by
Claudio Carvalho, Rio de Janeiro, Brazil
At the diner, after Jonathan (Tony Randall) slaps Jan (Doris Day), a truck driver (John Indrisano) punches him in the jaw. In an interview, Randall said that he and Indrisano practised the punch many times and Indrisano assured him that he would not be hit. During the take, Indrisano misjudged and Randall was actually struck and knocked unconscious. See more »
Jonathan drives Jan back to New York in a black car with a hard-top, but when they arrive at the diner it is black with a white vinyl roof. See more »
[Tony has taken Jan to a nightclub; he's drunk while she hasn't even touched her glass. Sitting at the table next to them is the other end of Jan's party line, Brad, who she's never met]
Come on, come on, drink up. You're still on your first one.
Tony, your mother is going to be terribly worried about you. Now, what do you say I *pour* you into a cab and send you home?
You know something? You are being very uncooperative.
[rolls her eyes]
Ah, come on, Jan!
[...] See more »
As Doris Day sings 'Pillow Talk' over the closing credits, the film finishes with 'the end' on two horizontal pillows' followed by 'not quite' 'not quite' 'not quite' 'not quite' stacked vertically on four pillows. See more »
Internal designer Jan Morrow moves into a shared apartment block to find that the lack of phone lines means she has to share a phone with a man in another apartment. However that man, Brad Allen, spends so much time talking to other girls that Jan can't get a call in. However through a common acquaintance the two meet but Brad covers his accent and woos her with her never suspecting his true identity.
The story won an Oscar! How! The contrived and unlikely plot is just one of many unlikely set ups that romantic comedies use to get people to fall in and out of love before sorting everything out in a big happy hug of an ending. The plot here is OK (but an Oscar?!) and is slightly better than average in it's scenario. It's quite predictable and unlikely but as long as it's fizzy and enjoyable then it shouldn't matter.
The delivery is quite enjoyable and is fizzy without being hilarious. The jokes are never more than amusing but still add enough fizz to the mix to the film. The chemistry between Hudson and Day is at an early stage in their career together and doesn't always come together although it may be the fact that she spends the majority of the film disliking him. Hudson however is actually pretty good throughout and delivers a lot of really good jokes and asides. I'm not a big fan of him as I've always seen him as just a matinee hunk but the material suits him here. The two leads are OK but the support cast are wasted for the most part. Tony Randall is capable of much more than the bitter friend role given to him here, and only occasionally does he get a chance to look good. A bigger waste is Ritter as Alma. She has delivered a similar character in other films to good effect (most famously Rear Window) but here she barely has any screen time to work her world weary, drunken wonder.
Overall this is a Saturday afternoon matinee at best. The predictable plotting and unlikely set up would be terrible if it didn't have fizz and some nice humour. If you're in an undemanding mood then this would suit you well for a wet Saturday indoors.
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