That Touch of Mink (1962)
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Answer: THAT TOUCH OF MINK. Passarella tosses out Mickey Mantle, Roger Maris, Yogi Berra, Cary Grant, and Doris Day from a game, because of some rule infraction caused by Day (who is in the dugout with the others during a game), and then for escalating reasons in which the three Yankees deny any infraction.
The reason Doris and Cary are in the dugout is that they are attending a Yankee Game (Cary has some stock in the Yankees - this film was in the period before George Steinbrenner took control of the baseball team.
Grant is a multi-millionaire whose limousine has damaged Days' clothing by spraying her when the car went through a puddle. He (at first) just wants to repair the damage but he slowly falls for her. But Day is acting like ... well like Day usually does; She is a NYC career woman, and does not want to be the victim of hanky-panky from any man. She is egged on in this by her closest friend, Audrey Meadows. Grant slowly uses his considerable economic muscles to get Day to agree to a trip to the Caribbean, but he finds having her there is not the same thing as getting to know her physically there.
This film is loaded with nice bits by the supporting players. One of the other reviews points out John Astin as an obnoxious suitor for Day, whom (at the end) she does willingly go out to a motel in New Jersey with, only to have him fail to score when Grant shows up. But also see this for Gig Young, as Grant's secretary, who finds that Grant's effortless economic and social success are undermining Young's delicate mental balance. See it too for Alan Hewitt, as Young's therapist, who finds that it really pays to have Young as a client (because of all the great stock market tips the naive secretary blabs to the Doctor). Their last moment on screen together is quite funny, when Young is gushing over the baby he is watching (actually Grant and Day's child) and Hewitt is momentarily left thinking that somehow Young and Grant had a baby together. Finally, the late John Fiedler has a good moment as a newlywed husband who concludes that a man's best friend is his mother.
An easy to take Day sex romp, I recommend it for the amusement it generates. The baseball trivia connection is also a reason (though a minor one) to watch the film at least once.
I should also mention the movie looks beautiful. Movies from this era tend to look great. The quality of production in movies seriously declined the closer Hollywood got to the 70's.
There are also some classic moments: The hand emerging from the 'atuomatic' restaurant where Doris and Audrey work to smack the face of a particularly offending male patron (those where the days when a woman could smack a man in a film and get great laughs...) - Doris's fantasy sequence as she's driven through the streets in a bed - with a man - and they're NOT MARRIED! It's a harmless, light film that still has such a centered beauty and sophistication that shows off the bright side of Hollywood-produced films of that era. As previous posters have commented, HD Digital video just cannot produce the same wonderful hues of celluloid - and there is something irresistible about Ms. Day in this film - her character's innocence is rather genuine, as is her male lead (Cary Grant) who obviously loves her for his ability to win her over with gifts and his own brand of charm.
I think it's important to have a second look at many of Doris Day's films in the lights of the 21st century. Touch of Mink, in particular, holds a dream-bubble of blissful idealism and moral irony that has incredible resonance today, when so many have found that we must reexamine our attitudes toward casual sex. This is the central core of the film, and many would now see's Ms. Day's character's reaction to such a thought as far more intelligent than when it was viewed in the 1970's- 80's.
Give the film a view; especially on a Friday night when you really, truly want to be entertained by a dazzling screen star.
The film starred a glamorously aging Cary Grant as Phillip Shayne, a wealthy businessman whose limo splashes the coat and dress of a woman on a rainy street one day. Shayne has his assistant track the woman down so that he can pay for the dry cleaning. The woman is a working girl named Cathy Timberlake (Doris Day) who is attracted to Shayne, but it is soon revealed that Grant wants to have a fling with the woman and she is saving herself for marriage.
This return to Pillow Talk territory is not nearly as successful due to the fact that there is NO chemistry between the leads and to Day's unappealing character...it was just a little too hard to swallow Cathy's naivety about what Shayne wanted from her and the idea that every time Cathy comes close to having sex with Shayne she breaks out in hives, was just silly.
There is a solid supporting cast including Gig Young as Shayne's assistant and Audrey Meadows as Cathy's best friend, but a comedy like this pins a great deal on the chemistry between the stars and it just wasn't there.
"That Touch of Mink" is a silly and naive but funny romantic comedy. The premise is dumb and is irritating to see Cathy buying expensive clothing and traveling to Bermudas with a playboy expecting to give nothing in return. But the comedy has many funny situations, like the just married couple in the motel or Roger being mistakenly taken as Philip in Cathy's apartment building. My vote is seven.
Title (Brazil): "Carícias de Luxo" ("Caresses of Luxury")
Audrey Meadows is very good as well, as Doris Day's cynical roommate, and John Astin (of "The Addams Family" fame) nearly steals the show as a smarmy Government clerk. "Muscatel, for my lady's pleasure." Sure the plot is dated and predictable, but everything is handled with a light touch and the movie is very watchable. Love the scenes in the automat simply for nostaglia's sake.
Funniest moment. Gig young getting slapped by a hand that emerges from the tiny automat window.
This is a sex-comedy in which a sympathetic woman falls in love with a man not interested in marriage. Classic and light romantic comedy of the 60s with masters Doris Day and Gary Grant exhibiting considerable rapport even when are arguing. Day was probably the only Hollywood actress by time who could have handled this brand of bright comedy with kinks in such expert fashion. The film is one of the various starred by Doris Day during the 50s and 60s such as ¨Lover come back, Send me flowers, More over darling, Do not disturb, Glass bottom boat, Do not disturb¨ among others, with usual partner of Rock Hudson and eventually James Garner, Rod Taylor and Gary Grant. As secondaries appear Gig Young, he's ever better than habitual as the inevitable sidekick of the protagonist , John Astin also scores as a man with a lugubrious leer and besides Dick Sargent (bewitched) as nervous husband justly married. The screenplay gets funny lines and amusing situations written by Stanley Shapiro(also producer) which enable the actors to make the most of themselves. Furthermore, it displays a colorful cinematography by Russell Metty and and lively score by George Duning. The motion picture is well directed by Delbert Mann ( Separate tables, Desire under the Elms, Marty). The flick will appeal to Gary Grant and Doris Day fans.
Regrettably the currant DVD offered by Artisan Entertainment is sub par. "That Touch of Mink" isn't the greatest film ever made, but, like so many other offerings of the period, it is a solid piece of cinema, and deserves a better visual release.
Currently Artisan Home Entertainment bolsters a "Digitally Mastered" disk, but the only mastering that was done was to put the film onto DVD format in the first place, and nothing more. I say nothing more because the film image is absolutely horrible. There's lots of video noise overlaying the film image, and where the film is shown in widescreen format, it's hardly an anamorphic transfer. Instead the consumer is given a low resolution transfer which, were it not for Day, would not be worth watching.
The audio is clear, even though its monaural. A remastered soundtrack really isn't required for a film like this, as there's really nothing more to listen to other than dialog and incidental music. That is there're no explosions, gun shots, rockets, bands or other things demanding a digital 5.1 mastered soundtrack. Still, having said all this, good clean audio should accompany a good clean image.
Too bad this disc is missing both.
Not that they don't have their moments, but basically both of the stars just go through the motions doing material they've both done before.
Cary's a rich sophisticated businessman and probably the quintessence of a phrase most popular at that time, a limousine liberal. As he's going to his office he drives through a puddle and a big splash hits Doris Day. He's sincerely troubled by the whole thing, but by mere coincidence he spots here from his office window going into the Automat where Day's roommate and confidante Audrey Meadows works.
He sends his assistant Gig Young after here and that starts an involved courtship ritual.
The really good performances here come from the supporting cast. Gig Young and Tony Randall at this point were playing interchangeable roles as the hero's best friend. Young has some funny moments in that selfsame Automat where he's being victimized by Meadows.
If That Touch of Mink were made today, Audrey Meadows's part would have been more explicitly lesbian. She's full of all kinds of advice for Day, but notice she's older with no husband of her own or mention of one in the past.
But the guy who steals this film and dominates every scene he's in is the pre-Gomez Adams John Astin. He's Mr. Beazley who works at the Unemployment office and he's obviously been watching too many old films because he thinks he's Cary Grant. We meet him hitting on Doris Day as she goes for her unemployment check.
And later when Day tries to get Cary jealous by going off to a motel in New Jersey with the most repulsive man she knows, Astin, ever the charmer, hits her with that never to be forgotten line, "Muscatel for my lady."
Who could possibly resist that?
Much of the story centres around Day's grating, all-too-wholesome character as she goes around shopping and the like. I wasn't really interested in these moments, but the scenes she shares with the naturally charismatic Grant are better. There are also a couple of decent characters in support, namely John Astin and Gig Young, but the emphasis is very much on putting across Day's carefully-manufactured image. I guess I'm completely the wrong demographic for this sort of picture.
Doris Day is paired with the debonair Cary Grant in this movie, and their differences are only magnified by the film. He's extremely classy yet direct; she's common and frazzled. When paired with other costars, like James Stewart and Clark Gable, Doris comes across as classy, but up against Cary Grant, she doesn't stand a chance. Since I wasn't able to see why he was interested in her, I wasn't really able to root for the romance.
Another problem with this dated flick are the so-called scandalous jokes about premarital sex and feminine honor. By that point in her career, audiences expected Doris Day to act like a prim prude, but the movie just doesn't stand the test of time very well. It's supposed to be insulting for Cary Grant to give Doris an indecent proposal, and the mere thought of spending the night in a hotel with a man fills her with anxiety. Attitudes have changed for most people today, so unless you are looking for amusement in a cultural history book, you probably won't really like this movie.
Sure, there are a few memorable moments, and whenever I stumbled upon this flick I will wait for the scene where Doris had a little too much to drink and falls off the hotel balcony and lands on an awning. "I fell out of Mr. Shayne's room. See that I'm returned!"
Another scene worth watching, if only for the chuckle factor, is Cary discussing his bedroom problems with Dick Sargent (of Bewitched fame) knowing what we now know about these two. If you have nothing better to do, it's worth a look, otherwise change the channel.
Audry Meadows takes a break from the Honeymooners as Day's protective conscience who dispenses advice along with lunch through the tiny windows at the Automat, and Gig Young shines as Grant's employee and confidant who worships the industrialist but openly hopes someday he will get his comeuppance.
It's actually never said that Day is inexperienced. The joke of her being the "world's oldest virgin" is a sexist slur. The real trophy at stake isn't her virtue but her value. Easily won is easily discarded it takes a woman of experience to know how men think, and to hold out for what she really wants. Far from being a prudish throwback in an age of carefree swingers, Day forges her own brand of lipstick feminism: the right to wear skirts and high heels and still insist that men respect you in the morning, no matter what your age or experience.
Plenty have criticized Day's comeback career as an outdated fantasy with its aging star and wrinkled morality, but it probably plays better now than it did in the pseudo-liberated '70s. Nearly half a century has passed since this film debuted and women still earn less, are still judged by their femininity, and still struggle with society's double-standards on sex and marriage Day's comedies are perhaps more resonant now after the collapse of equality. Women now want to be respected on their own terms, not for adopting the cavalier morality of bachelors.
What works for this Cinderella fairytale is its satire of the age, poking fun not just at stunted feminism but also at eligible industrialists who welcome womanly advice and donate huge sums of money to help unmarried mothers. Plenty of laughs are at the expense of a Freudian psychologist who is perplexed when he mistakes Young's obsession with Grant for romantic attraction. Day admits she has an uncle who is a socialist, and even UNIVAC is spewing pastel colored punch cards after one of her emotional piques.
The whole courtship takes place in a matter of days, as if modern romance can be plucked as easily as a sandwich from the Automat.... If it's not exactly fresh, That Touch of Mink is something akin to refrigerated left-overs: comfort food in a microwave age for women old enough to measure and know their own worth.
Recommend Shapiro and Monaster's How to save a Marriage and Ruin Your Life (1968) as a similar romantic comedy of the sexes.