“Have you any idea what it’s like to be on a party line with a sex maniac?”
When a frustrated interior designer (Doris Day) lashes out at the playboy composer (Rock Hudson) who’s been monopolizing their party line, Hudson retaliates by wooing her in the guise of Texas oilman “Rex Stetson” — much to the chagrin of her would-be suitor (Tony Randall), who also happens to be good friends with Hudson.
Genres, Themes, Actors, and Directors:
- Doris Day Films
- Love Triangle
- Mistaken or Hidden Identities
- Rock Hudson Films
- Romantic Comedy
- Thelma Ritter Films
- Tony Randall Films
Response to Peary’s Review:
Peary labels this “Stanley Shapiro-scripted American sex comedy, co-written by Maurice Richlin, lavishly produced by Ross Hunter, and bringing together Doris Day and Rock Hudson ([in] his first comedy) for the first time” as “quintessential”. Yet he simultaneously refers to it as a “claustrophobic comedy… full of unfunny sexual innuendo” which “has a smutty feel to it”. He argues that the “film seems to imply that because [Day] has a job rather than a love/sex life, she feels much anger and hostility”; at the same time, however, he concedes that Day’s character is actually quite laudable and progressive, given that “she seems more determined to maintain personal integrity than her virginity; [she believes] having a boyfriend is more important than having a husband; she is as successful at work as Hudson is; [and] she does not take being treated badly lying down — she has claws”.
I’m not quite sure I agree with Peary’s cynical take on this one. Surprisingly, I didn’t find it “smutty”; instead, I simply enjoyed the calculated sexual banter liberally sprinkled throughout the screenplay:
Day: “I have no bedroom problems; there’s nothing in my bedroom that bothers me.”
Hudson: “Oh, that’s too bad…”
Yes, Day and Hudson go at it like the inevitable to-be-couple they’re posited as from the beginning — but them’s the rules of this particular genre. And it’s exactly Day’s strength and feistiness as a female protagonist (outlined by Peary himself) that prevent the film from descending into ho-hum mid-century mores. Meanwhile, though one really should detest Hudson’s character on some level (given that the charade he’s carrying out it with Day is questionable at best, and mean-spirited at worst), somehow his character remains oddly likeable throughout. I’ll bet this is due in large part to the fun Day and Hudson admitted to having with each other on set; their (asexual) attraction to one another is in clear evidence.
Redeeming Qualities and Moments:
Yes, as a classic mid-century romantic comedy.