gavin6942 A man (Rock Hudson) and woman (Doris Day) share a telephone line and despise each other, but then he has fun by romancing her with his voice disguised.This is an absolutely brilliant romantic comedy. Today (2015) it might confuse people, because the concept of "party lines" is so foreign. But it was quite clever in its day, and remains rather humorous now.One thing in particular that is strange now is the part where it is suggested that Rex is gay. (Never said directly, but strongly implied.) We know now that Rock Hudson himself was actually gay. And it seems that some people at the time must have been aware. Doris Day likely knew, as the rumor had been around for years when this film was made.

Blake Peterson Movies that were controversial during the Hollywood Golden Age are rarely still controversial in the contemptuous decade of the 2010s; Pillow Talk is yet another reminder of this notion. Back in 1959, S-E-X was on the shitlist of every major movie studio, but audiences were sickening of perfumey, sanitized entertainment. Doris Day was the epitome of that cloying wholesomeness — to the world, she was the 40 year-old virgin, a woman carrying all the sexiness of your mom. So imagine. It's 1959. You're sitting in a theater, waiting for your movie to start. Then, a preview for Pillow Talk comes on. You see Doris Day, her buttery voice in the background, singing the title theme. You automatically roll your eyes. But then, Rock Hudson, playing a womanizing cad, blames Day's hygienic uptightness on her lack of action in the bedroom. You're taken aback. Since when have "bedroom problems" been discussed in a movie?Naturally, everyone saw the film when it was released; it made $19 million (which was considered to be a blockbuster in the penny-for-an- ice-cream decade), renewed Day's status as a bona fide movie queen, and reestablished Hudson's box-office appeal. It was the talk of the town, a "racy" romantic comedy that could be charming but also risky.But now, Pillow Talk is merely a charming romantic comedy without the racy riskiness it carried in 1959. Doris Day is still about as sexy as your mom and the film is still perfumey, even if it is a little less sanitized than other rom-coms of the decade. Yet, Day and Hudson are attractive. The CinemaScope makes even the gaudiest of colors feel chic and nostalgic. The exchanges between the characters are sitcomy in an I Love Lucy way. The ballsy courageousness of Pillow Talk has severely waned over the years, but its appeal hasn't.Day portrays Jan Morrow, an interior decorator, and Hudson plays Brad Allen, a playboy musician. They live in the same apartment building and are forced to share a telephone party line; naturally, Jan accidentally interrupts many of Brad's gooey conversations with various women. She scoffs. She needs to make calls too, after all. Jan goes to the telephone company to complain, but the employee they send to resolve the situation is seduced by Brad. Of course. Jan has never seen her enemy in person, but if she did, she'd surely sock him.Well, that's what'd you think. When the two bump elbows at a local restaurant one night, Jan, unaware of who Brad actually is, is instantly smitten. Brad, meanwhile, knows who she is as his best friend is taken with her himself. But the former is surprised to find how much he is attracted to Jan, even if she does have bedroom problems. In panic, he devises a Southern accent and a fake name to fool her. Brad finds himself in quite a pickle, however, when the romance begins to take a more serious turn.The chutzpah in Pillow Talk is not balls-to-the-wall daring, but rather, hesitant, somewhat unsure of its footing. If it makes a sex joke, a double-entendre of sorts, it covers it with a sheen of CinemaScope glamour. It's a precursor to the soon-to-be sexual revolution. But if the film's gutsy movements aren't as penetrative as they once were, then there should be a much bigger focus on its stars. Day has become the underdog when reflecting on vintage films, as more attention is turned towards the voluptuous Marilyn Monroe or the exotic Sophia Loren. But she is a true talent, effortlessly at ease in her performances and radiant when she sings. She is at her best in Pillow Talk, marking a new name for herself in bright red permanent marker and knowing it will stick. The chemistry between Hudson and Day is uncomplicated and natural, transitioning smoothly from comedy foils to love interests.These days, you can see Pillow Talk's influence. Some scenes have the pupil staining pigmentation of an Almodóvar film. Others contain the split screen camera-work that would plague mod '60s capers and various television shows. If it hasn't aged well in consideration to the new age, then Pillow Talk should be seen as a template, a quintessential romantic comedy.

wc1996-428-366101 There are some films that are absolutely perfect in every way and this is one of them. No matter how many times I see it, I just enjoy every moment, savoring it like a delectable pastry. The fact that the script won an Oscar is indicative of how good the film is. When Doris Day talked to Rock Hudson about the script she said it was very funny and she was right on the money. Apparently, Hudson had some misgivings about doing a light comedy when he had developed into a top flight dramatic actor. He was the top male lead in movies at the time and did not want to do a thing to damage his reputation, but Day convinced Hudson the film would work and they would have fun making it and they did. And they became fast friends too with Day standing by Hudson even during the darkest days of his life with AIDS. The fact that Day and Hudson followed up this film with an equally good one with Lover Come Back is even more incredible. Between Pillow Talk and Lover Come Back Day and Hudson established themselves as one of the great romantic pairs in film.

TheLittleSongbird Before I saw Pillow Talk, as much as I did love Young At Heart, Move Over Darling, Love Me or Leave Me and The Thrill of It All, I thought I'd never see a Doris Day film that I loved more than Calamity Jane. Well with Pillow Talk, I found it. It is witty, charming, smart, fresh and funny, and like I said with Move Over Darling it doesn't have a single wasted scene. Also it is my personal favourite of the films Day made with Universal Studios.I will admit when I first saw the film I did occasionally find it slow and the ending a little abrupt. Seeing it again, any flaws I had with it initially went completely, and the more I saw Pillow Talk the more I found to like and the more I liked it. The story about a telephone party line is smart and quite original. It is glossy froth, but I like glossy froth. The production values are pretty simple yet glamorous and the music is pleasant and memorable, I especially loved the title song which is really quite catchy. The screenplay is witty and funny and has charm to it too, while the film is very well directed by Michael Gordon.Even better are the performances. Doris Day once again is fresh and endearing, and Rock Hudson also has his share of adroit humour and does it with flair. But these two are superbly supported by Tony Randall, who I think gives his best performance in this film and Thelma Ritter who also have the best material. In conclusion, a truly wonderful film, if you give it a chance I think you'll like it. 10/10 Bethany Cox