Tag Archives: Doris Day

Doris Day Birthday Blogathon–“With Six You Get Eggroll”

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Doris Day made her film debut in 1948 in the musical, Romance on the High Seas.  Many of Day’s films throughout the 1940s and 1950s cemented her role as one of Warner Brothers’ top musical stars.  Some of Day’s best known films during this period are: Tea for Two, I’ll See You in My Dreams, By the Light of the Silvery Moon, The Pajama Game and Calamity Jane.  During the 1950s, Day also demonstrated that she was a capable dramatic actress and appeared in non-musical films like The Man Who Knew Too Much, Julie, and Love Me or Leave Me.  Day ended the 1950s starring in Pillow Talk with Rock Hudson.  This film proved that in addition to musicals and dramatic roles, Day was also comfortable in sophisticated romantic comedies.  In 1960, Day starred in one more thriller, Midnight Lace.

The filming of ‘Lace’ proved to be so traumatic for Day that she refused to make another film of this type ever again.  ‘Lace’ depicts a woman terrified that someone is trying to murder her.  The intensity of Day’s fear conjured up old memories of her abusive first husband.  She was so traumatized by the filming of ‘Lace’ that she vowed to not make another thriller again.  Day kept her promise.  During the 1960s, Day made two more romantic comedies with Hudson and then appeared in other romantic comedies with the likes of Rod Taylor, Cary Grant and James Garner.  Day also appeared in family comedies like Please Don’t Eat the Daisies with David Niven and her final film, With Six You Get Eggroll co-starring Brian Keith.

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I love the caption for this poster: “Does this look like a movie that could give you bad dreams?”

With Six You Get Eggroll was one of Day’s top money-making films.  This film, much in the same vein as Yours, Mine and Ours (1968) and The Brady Bunch (1969-1974), dealt with the blending of two families and the issues that can arise.  Day portrays Abby McClure a widowed, single mom who supports her three sons as the boss of a lumberyard.  Abby’s sister, Maxine, played by Pat Carroll (aka Ursula from The Little Mermaid), is constantly trying to fix Abby up with men.  In this particular case, Maxine wants to hook her sister up with Brian Keith, who portrays widower Jake Iverson.  Iverson is the father to a teenage daughter, Stacey, portrayed by Barbara Hershey.  Abby’s oldest son Flip (John Findlater) and Jake’s daughter are classmates.  In true classic film fashion, Abby’s youngest kids are at least ten-plus years younger than their brother, Flip.  Abby’s one son, Jason, looks like a mini Mo Rocca from The Daily Show.

When we first meet Abby,  we see her committing a major OSHA violation by standing on the forks of a moving forklift in her lumberyard.  I really enjoy the fact that Abby is the boss of a male-dominated field and appears to be running it efficiently and effectively and has the respect of her subordinates.  Next, Abby’s sister Maxine shows up and convinces Abby that she needs to invite a date to the dinner party that she’s having that evening.  Abby ends up taking her sister’s advice and invites Jake to the party.

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Doris Day’s amazing shower cap!

While getting ready for the party, everything that could go wrong for Abby, does.  Her dog, Calico, gets a hold of her wig and ruins the hairstyle.  Abby is forced to re-curl her wig.  Her “hair” is soaking wet by the time she is finished, and she resorts to cooking her wig in the oven at 200F in an attempt to dry it out and set the style before the party.  Meanwhile, while Abby is “putting her face on,” the kids are taking a bath.  Abby hears a bunch of noise coming from the bathroom that is most definitely not kids bathing.  When she walks in, she sees that the kids have somehow spilled yellow paint into the tub.  With children that now resemble The Simpsons and a golden-hued arm, Abby comes across her dinner party guests who’ve let themselves in.  With her yellow-dyed skin, yellow and white splotchy robe, amazing flowered shower cap and a face covered in cold cream, Abby looks a fright, but soon manages to get it together and have her party.

Sister Maxine and her husband are all over Jake from the second he walks in.  When Abby finally enters the room, they go to work trying to convince Jake and Abby that they’re perfect for one another and should get together.  Both Jake and Abby are uncomfortable and try their best to keep their cool.  Jake finally has had enough and makes up a bogus excuse about having to meet clients at the airport in a couple hours.  Later, Abby and Jake run into one another at the supermarket and end up having coffee at the drive-in, which is run by Herbie Fleck, portrayed by George Carlin (!).

Throughout multiple dates and outings to the drive-in to escape their children, Abby and Jake end up falling in love.  While I suppose it’s understandable, I don’t enjoy the behavior of the oldest two children, Flip and Stacey.  Flip is worse than Stacey.  When Abby comes home late one night after stating that she was running to the market for pumpernickel, Flip rips his mother a new one as if she were a teenager breaking curfew.   He is particularly patronizing to Abby and I wish she would have chewed him out right then and there, but perhaps that isn’t Abby’s style.  Flip repeatedly treats his mother like a misbehaving child and treats Jake as if he were some deviant.  Stacey isn’t as bad, but does treat her father and Abby pretty poorly until she finally comes around.  I understand that Flip and Stacey are having trouble adjusting to their parents having new romantic relationships, but seriously.  They graduate from high school during the film and presumably will be going to college.  Does it really matter?

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 A young George Carlin takes Doris Day & Brian Keith’s coffee order at their drive-in rendezvous spot.  

After a few months of sneaking around and drinking copious amounts of coffee and champagne at the drive-in, Abby and Jake decide that they should just get it over with and marry, much to the chagrin of the oldest children.  After marrying, Abby and Jake try to figure out how their family will live together in one house.  Day’s house is larger, but needs at least one more bedroom for Stacey.  Jake’s house is much smaller.  The newly blended family tries to bounce back and forth between houses, but logistically, it becomes a nightmare.  They eventually decide that they’ll buy a larger house.  Until their respective homes sell, Abby and Jake purchase a camper trailer that will serve as an extra bedroom.  After fighting over who gets to sleep in the camper, Abby and Jake move in–much to Abby’s chagrin.

Up until the camper fiasco, much of this film resembles one of day’s more sophisticated comedies.  There are multiple discussions about sex and there are quite a few “did they or didn’t they?” scenes between Abby and Jake.  In a scene where Abby and Jake have just endured watching television with the younger children, they look forward to having time to themselves to (presumably) make out on the couch.  Flip, however, senses this and makes a point of staying in the room, effectively ending any makeout sessions.  The tension, both sexual and not, in this scene is palpable, with Flip very smug, knowing exactly what he’s doing.  If With Six You Get Eggroll had been made when the production code was in full swing, I do not believe that Abby and Jake could have been portrayed as being home alone, canoodling with champagne in front of the fire, especially since they fall asleep in front of the fire.  Finally, Abby’s maid, Molly, played by Alice Ghostley (aka Aunt Esmeralda from Bewitched) expresses her annoyance when Abby and Jake show up at Jake’s house unannounced, looking for a place to rendezvous away from everyone.  It seems that Molly was promised the use of Jake’s house for the same reason.

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  Doris Day in the family camper trailer.  

Another feature of this film that sets it apart from other family comedies of the same time is the look and portrayal of the leading man.  Jake uses fairly strong language (for a family film) with multiple instances of “hell” and “damn.”  He seems quick-tempered (though not violent) and stubborn.  It’s also interesting that he has a pretty rough looking tattoo on his arm, which is prominently displayed when the kids walk in on Abby and Jake the morning after they eloped.  Good on Abby and Jake for getting dressed again! We have to assume SOMETHING went on on their wedding night.

One of the best scenes in the film is when Stacey exerts her “lady of the house” attitude one too many times for Abby’s liking and Abby decides to show Stacey what it means to be in charge of the home.  She writes up a very long and difficult list of household chores (ironing, vacuuming, waxing floors, silver polishing, etc.) for her to complete.  After working all morning and day, Stacey completes the list.  Abby gives her a new list for the next day, a list consisting of going to the movies and visiting with friends.  Stacey has a new appreciation for her new step-mother and they have a very sweet bonding moment.  Of course father Jake comes in and sees the list and completely misunderstands the point Abby was trying to make.  This misunderstanding evolves into a very heated argument, which serves as the catalyst for the camper mayhem at the end of the film.  The ending of the film features Jamie Farr (Klinger from M*A*S*H) and Allen Melvin (Sam the Butcher from The Brady Bunch).

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 The crazy cast of characters that join Brian Keith and Doris Day at the jail. 

One of my favorite things about 1960s comedies, is that there is almost always a scene taking place in a club with some crazy music playing.  The music is never identifiable and I imagine that it’s just being performed for the film.  With Six You Get Eggroll features a wild dance club with some music that sounds like they sampled the marimba track from The Rolling Stones’ “Under My Thumb.” What’s also amazing about these scenes is the dancing.  As someone who is rhythmically challenged, the dancing that appears in these 1960s movies or the Beach Party movies looks like something I could do.  Cactus Flower, Yours Mine and Ours, and Bob, Carol, Ted and Alice all feature amazing club scenes.  I also think it’s funny that the music is pretty much the same throughout the entire duration of the club scene–it never changes.

With Six You Get Eggroll was released in 1968. At this time, the sexual attitudes in the United States were greatly evolving and Day’s brand of clean comedy was falling out of style.  Day was offered the role of Mrs. Robinson in The Graduate, but her manager/husband, Marty Melcher, turned the role down on her behalf.  Both Day and Melcher felt that the script was vulgar.  While Day’s films still attracted an audience, they were not turning the type of profit that they had prior.  During filming of ‘Eggroll,’ Melcher unexpectedly died.  Doris was devastated in more ways than one.  Of course, she was devastated that her husband had died; but she also discovered that her husband and his business partner had squandered all her earnings, leaving her deeply in debt.  She also discovered that her husband had signed her up for a weekly sitcom on CBS.  Day did not want to do a television show, but she had no other option.  She was obligated and also needed to repay her debts.  The Doris Day Show which aired from 1968 to 1973 essentially ended Day’s film career.

After the end of Day’s sitcom, she appeared on a few more variety shows and talk show interviews, but she was all but retired by the 1980s.  In 1989, she came out of seclusion to attend the Golden Globe Awards and accept the Cecil B. DeMille Lifetime Achievement Award.  Since her retirement, Day has dedicated herself to animal rights and welfare.  She continues to keep busy at her home in Carmel, CA and tomorrow, on April 3, she will celebrate her 96th birthday–you go Doris!

 

 

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Down With Love (2003)

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I apologize for being so lax on my blogathon entries.  I over-committed and apparently cannot sign up for every blogathon during end of the quarter time at work.  We were very busy during the month of May and frankly, I just didn’t have the ambition to write anything after getting home.  I’m trying to get back on track, because I do enjoy watching movies and writing about them and sharing my love of movies with everyone.  I should hopefully have some more time.

Lately, I’ve been catching up with Ewan McGregor, who I’ve proclaimed as my new Scottish boyfriend.  I realize that he isn’t a classic movie star, but I enjoy movies of all kind–not just classic film.  Classic film is my favorite, but I do watch newer films as well. Anyway, a film that I just recently discovered and found completely enjoyable is Down With Love.

Down With Love, while a film from 2003, is an homage to the classic Doris Day/Rock Hudson sex farces of the late 1950s-early 1960s.  Pillow Talk, in particular, shares many similarities with this pastiche film.  The film takes place in 1962 Manhattan.  The film has a very stylized appearance with numerous tongue in cheek jokes and corny dialogue that was present in the rom-coms of yore.  The costumes and sets are colorful and gorgeous. Renee Zellweger’s apartment is hilarious and very 1960s.  There is also lots of innuendo which is always delightful.  Especially in this film, as the innuendo is pretty racy, but not crass.  A funny scene involves McGregor’s new secretary, Sally, overhearing a conversation between McGregor and his boss.  They’re discussing the newest innovation in men’s socks (no need for sock garters!), but without being in the room, Sally assumes that they are comparing the size of each other’s “manhood,” with McGregor coming out well ahead (“16 inches!” “And don’t forget, I have two of them”).

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Just one of many split screens in Down With Love

In Down With Love, Zellweger plays Barbara Novak, a feminist writer who writes the best-selling non fiction book, Down With Love.  The book is a sensation and soon every woman on the planet is engrossed in it and adopting its philosophy.  Down With Love tells women that they don’t need to fall in love with a man and assume a life of domestic servitude.  Women, like men, can have a fulfilling career, social life and have meaningless sex.  They don’t have to have a man around to be happy.  A love of chocolate can be substituted for a man if they wish.  The main thing that the men of the world dislike about Zellweger’s book is that it promotes an independent life for women.

McGregor’s character, Catcher Block, is a star reporter at Know Magazine For Men, is assigned to write a story on Zellweger’s book.  McGregor is a playboy, “a ladies man, a man’s man, a man about town.”  At first, he is completely against the idea, because he finds the idea of her book dumb and boring.  However, he has a change of heart when he finds out that he’s losing dates because they have embraced Zellweger’s idea that women don’t need men.  McGregor decides that he’ll write an exposé about Zellweger, exposing her for what he feels are her true feelings, based on his assumption that all women really want love and marriage.

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Just one stop on a parade of hot night spots that McGregor as “Zip” and Zellweger visit

To bait Zellweger into admitting that she really wants love and not just meaningless sex (so he has fodder for his article), he arranges for a chance meeting at a dry cleaner, knowing that she’s only heard his voice, but doesn’t know what he looks like.  He puts on a pair of glasses and poses as Major Zip Martin, a kind and naive astronaut from the South who is content on remaining chaste until he feels ready for a physical relationship.  Essentially Zellweger and McGregor are working toward opposite goals (opposite from their own and from each other’s).  Zellweger grows frustrated that McGregor won’t have sex with her and McGregor is enjoying frustrating her until he finds himself falling for her and suddenly his plan becomes frustrating for him as well (emotionally and physically).  One particularly funny scene involving McGregor’s frustration (more physical, than anything else) is where after a particularly hot first kiss, he has to literally cool himself off by dumping a champagne bucket full of ice water on top of his head.  In fact, there are a lot of sexy kissing scenes in this movie.  It definitely helps that McGregor is so cute.  Lol.

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Ewan McGregor as Catcher Block, “a ladies man, a man’s man, man about town.”

There is considerable sexual tension between Zellweger and McGregor’s characters throughout the entire film.  They have great chemistry with one another and are very adept at bringing their respective personas to the screen.  Zellweger’s Doris Day-esque character is not as squeaky clean as Day’s characters, such as when Zellweger is trying to outright ask McGregor (as “Zip”) to go home with her, after having literally just met him ten minutes earlier in the dry cleaner.  McGregor, in a very unusual role for him (no nudity for one, lol), is excellent as the European playboy.  Even his faux Southern accent is adorable and hilarious.  He is very charming and you can see how so many women succumb to his charms.  He also displays excellent comedic timing (which was also present in Moulin Rouge! to some extent).

David Hyde Pierce lends support as McGregor’s boss and best friend, Peter.  Pierce is essentially his Niles Crane (from Frasier) persona here, unlucky in love and neurotic.  He pines over Sarah Paulson, who plays Vicky, Zellweger’s editor and best friend.  Pierce and Paulson have a subplot where their two characters try to get together while at the same time, supporting their respective friends in their relationship.  Of course, Pierce is aware of McGregor’s deception in his relationship with Zellweger.  Pierce and Paulson also provide much of the humor of the film, as they get all the hilarious one liners that are ubiquitous in the world of “the best friend” in the Doris Day/Rock Hudson comedies.  Pierce and Paulson are essentially the male and female versions of the Tony Randall character who provided support in all three Day/Hudson features.

Speaking of Randall… He shows up in a very funny segment in the film where be bemoans the success of Down With Love because it’s affecting his relationship with his mistress.

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A very funny scene toward the beginning of the film where Sarah Paulson and Renee Zellweger show off their fashionable wares.  The best parts about these scenes, aside from the dramatic way they remove their coats, is the music.

Down With Love didn’t do well upon its initial theatrical release.  I believe it only barely turned a profit.  This film is greatly underrated and perhaps may have been overlooked when it was new, because audiences didn’t know what to make of this pastiche film that pays tribute to the 1950s-1960s sex farces.  Perhaps if this had come out a few years later when Mad Men came out, it may have done better.  I only found out about and watched this film less than a month ago, and I won’t even share how many times I’ve watched it since then.  I originally borrowed it from the library and have since procured my own copy.  I may have watched it two times in a row today while I wrote this blog entry.

Up with Down With Love!

PS: Watch the beginning of the ending credits of the film.  You won’t regret it.  Unless you dislike cheesy 1960s inspired lounge music numbers, then… I don’t think we have anything else to discuss.

This film is just plain fun.  And really, in the end of the day, that’s really all that matters.

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Doris Day Blogathon–“It’s a Great Feeling” (1949)

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Today is Doris Day’s 95th birthday–not her 93rd like previously thought.  It’s only fitting that I honor Doris’ birthday by discussing one of her films.  Doris made her screen debut in 1948 with Romance on the High Seas after forging a career for herself as a big band singer and radio performer.  She had originally wanted to be a dancer, but a 1937 car accident injured her legs and essentially ended her dancing career before it even began.  She landed a job at Charlie Ye’s Shanghai Inn as a waitress in her hometown of Cincinnati, OH while she pursued a singing career. In 1939, she landed a job as a big band singer, which evolved into also performing on radio.  Her singing career led directly to her career in film.  By 1949, Doris was appearing in her third film, It’s a Great Feeling, a lightweight Warner Brothers film that was essentially a “who’s who” of the Warner Brothers lot in 1949.

It’s a Great Feeling isn’t a great film by any means and isn’t even a definitive Doris Day film. It is most likely a foot note in the careers of the stars who appeared as themselves (if the film was even mentioned at all).  However, the film did serve its purpose.  It put Doris Day’s star on the map and directly led to her getting bigger and better roles in every successive film.  Doris Day was a star for over thirty years before she retired (by choice) from her career.  She is a living legend and one of America’s most beloved stars.

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Dennis Morgan (left) and Jack Carson (right) scheme to discover a new star

In It’s a Great Feeling, Doris plays Judy Adams, a waitress in the Warner Brothers commissary.  Star Jack Carson has been signed to appear in the new film, Mademoiselle Fifi.  Multiple famous directors (Michael Curtiz, Raoul Walsh and King Vidor) are approached to direct the film, but refuse once they find out about Carson’s casting.  A running joke in the film is that Carson is such a terror to work with that nobody will work with him.  The studio reluctantly agrees to let Carson direct the film (since nobody else will).  Now, he needs to find a female co-star.  He tries enlisting well known female stars, like Jane Wyman, but nobody will have anything to do with him.  Carson enlists friend Dennis Morgan to help him find a co-star and Morgan suggests he look for an unknown–rationalizing that nobody who knows Carson will work with him, so he’ll have more luck finding someone who doesn’t know any better.

Carson and Morgan end up coming across Judy, the waitress in the commissary.  Carson and Morgan’s first step to “discovering” her, is to introduce her to fictional studio head, Arthur Trent.  They remember that Trent likes to discover his own talent, so Carson and Morgan “arrange” to have Judy conveniently pop up in random places–elevator operator, cab driver and dental hygienist.  All Carson and Morgan end up doing is driving Trent bananas.  Judy keeps trying too hard to appeal to the casting director by looking at him with a goofy smile and rapidly fluttering eyelids.  (I do think that the weird sounds that accompany Judy’s smile and eye flutters are very annoying, and really the only blight on this otherwise entertaining film).

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Doris dresses as French singer “Yvonne” in an attempt to be cast as a Frenchwoman in “Mademoiselle Fifi.”

After their first scheme fails, Carson and Morgan arrange a screen test for Judy.  That too is a disaster, as it experiences technical problems and actually causes studio head Trent to experience a nervous breakdown.  Judy later re-appears as a French singer in an attempt to convince Trent that she is right for the role.  However, despite an elaborate ruse and help from two major actresses, Trent sees through Judy’s charade and she’s turned down.

Disillusioned with her lack of success and treatment in Hollywood (including all the nonsense that Carson and Morgan made her endure), Judy decides to head back home to Goerkes Corner, WI to marry her longtime sweetheart Jeffrey Bushdinkle, whom she left to pursue her career in Hollywood.  After discovering that there may be an opportunity for Judy in pictures, Carson and Morgan follow her to her hometown and plan on breaking up the wedding.  When they arrive, the Adams/Bushdinkle nuptials are already in progress.  Watching in bemusement to see who Judy could possibly want to marry in lieu of pursuing a film career, Carson and Morgan watch through the window.  The groom’s face is hidden until after the vows.  The bride and groom are declared man and wife and they go in for the kiss.  When their faces part, Carson and Morgan finally get to see the groom.  With a name like Jeffrey Bushdinkle, how attractive could be possibly be?

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Jack Carson (left) and Dennis Morgan (right) look on in astonishment when they see Judy’s groom. “What some girls will go for, he’s got nothin’,” Carson says, unconvincingly.

Answer: Very.  I won’t give it away, but if this man were waiting for me in Small Town, USA and there was a choice between living in this tiny town and being with this gorgeous man… well… it would be a very difficult choice and I don’t blame Doris Day’s character for one second.

Jack Carson, eat your heart out.