Shot by a jealous husband, Charley falls out a porthole and is lost at sea only to find himself returned as an attractive blond woman. His best friend is staying at his house as he puts Charlie's affairs in order and after being convinced, finds himself an unwilling helper in Charlie's new plan to marry into money.Written by
John Vogel <email@example.com>
Uncredited, nm0000981 is shown in the movie's first scene. He is the young man in an orange polo shirt doing the twist with Playboy's 1964 Playmate Of The Year nm0585029. See more »
George pulls up to the front of the hotel to meet with Sir Leopold and he sees the detective standing out front looking away from the hotel. He sneaks into the hotel elevator keeping his eye on the detective not realizing the elevator has a glass front that faces the street and he turns around he sees the detective now looking at the front of the hotel. It could have been the detective was always looking at the front but they don't give that impression (not very clearly anyway) and besides if that was the case wouldn't he have noticed George sneaking into the front door as any good detective worth his salt would be watching that front door? The way it's shown is just a little confusing. See more »
I saw this movie for the first time over twenty years ago but could never remember the title. I saw it again on AMC and recognized it immediately, but my memories of it have strayed quite a bit from what I thought it was. In fact, this movie takes an amusing idea, a man in a woman's body, throws in some funny lines, but misses the point and goes no where. Tony Curtis plays a very funny straight man to Debbie Reynolds, and while she may have been attractive for the time, the outdated values and generation gap haven't exactly endeared this movie to a whole new generation. While still more enjoyable than it's recent re-make, "Switch" with Ellen Barkin and Jimmy Smits, the movie almost immediately drags after the opening sequences and sets up a premise that really goes nowhere. Pat Boone's role is seemingly tagged on as is Roger C. Carmel's, but Walter Matthau is nearly unrecognizable as a worldly skirt-chaser giving Reynolds something to run from. While I can't in good conscience give this a ten, the movie is worth while a look as a seven.
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