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".
American couple Mike and Janet Harper move to England for Mike's work, his company which deals in wool textiles and wool fashions. Despite Mike's want for them to live in a flat in the heart of London, Janet, who is not a big city girl, ignores his want and instead finds them a house to rent thirty miles outside of London in Kent, which means that Mike has to commute into town by train. This commute is not ideal for Mike, who often for convenience stays in one of the company's flats in town rather than go home. This commuting situation makes Janet feel even more neglected than she already did previously. Janet believes Mike may be taking his neglect to the next level by having an affair with his secretary-quickly-turned-assistant, Claire Hackett. Janet's beliefs are fueled in part by the Harper's busybody landlady, Vanessa Courtwright, who thinks Janet can play Mike's game by entering into an affair of her own, whether it be real or made-up. It has the potential to be real with the ...Written by
When Janet is driving Mike in the convertible and meets the lorry, she is driving in the right lane and thus in the wrong. However in the close up shot of the two of them in the car, the car following them is also driving in the right lane. See more »
During the opening credits, an animated Doris dances around, while various characters also move around the screen. See more »
I caught this on American Movie Classics, thinking it would be a match for Doris' earlier comic work in, e.g., "Lover Come Back" and "Pillow Talk". The sparkling, fizzy, dialogue and non-stop comedic capering of those earlier films is here replaced by elephantine pacing and a leaden, unfunny script. Even Doris' valiant attempt to inject some carbonation into this flat brew falls, well, flat. The film really makes you appreciate the work of truly master comic writers such as Stanley Shapiro and Paul Henning, who made such a difference in her earlier work with Rock Hudson. And, by the way, Rod Taylor is no Rock Hudson. And - just to keep kicking while the victim is down - the phony portrayals here of English customs and character types, in conformity with the stalest and most parochial American stereotypes, is both unfunny and demeaning. A sad waste of Doris Day's talents.
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