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.
There is an on-going battle of industrial espionage between rival cosmetics companies, Femina, owned by Sir Jason Fox, and May Fortune, owned by Matthew Cutter. Caught in the middle between the two are among others top industrial designer Patricia Foster, who officially is on May Fortune's payroll after being fired by Femina, and Christopher White, a suave Brit who also is officially on May Fortune's payroll as Cutter's right hand man. On the surface, Patricia is still working for Femina trying to steal the new top secret formula for a water repellent hairspray developed by Dr. Stuart Clancy for May Fortune, that hairspray which would make all other hairsprays obsolete, while Christopher secretly tries to stop her. Below the surface, it is not clear whether either Patricia or Christopher truly are working for May Fortune, Femina or someone else. But as they progress through these on the surface missions, their true missions are eventually revealed as are their true allegiances, which ...Written by
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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