Skip to main content

The Doris Day Blogathon: «Pillow Talk» (1959)

Directed by Michael Gordon, Pillow Talk (1959) tells the story of Jan Morrow (Doris Day), a successful and self-sufficient interior decorator who, much to her annoyance, shares a party line on her home phone with a philandering Broadway composer named Brad Allen (Rock Hudson). Even though they have never actually met face to face, they soon develop a feud over the use of the party line: Brad is constantly using the phone to chat with one woman after the other, while Jan needs to use it for business. One of Jan's clients is millionaire Jonathan Forbes (Tony Randall), who repeatedly throws himself at her to no avail. Unbeknownst to Jan, Jonathan is actually Brad's old college buddy and current Broadway benefactor.

Rock Hudson and Doris Day as Brad and Jan in Pillow Talk.

One evening in a nightclub, Brad finally sees Jan and learns who she is. Attracted to her, he decides to fake a Southern accent and invent a new persona: Rex Stetson, a wealthy Texas rancher. He succeeds in wooing Jan and the pair begin seeing each other regularly. When Jonathan finds out about Brad's masquerade, he forces his friend to leave New York and go to his cabin in Connecticut to write new songs. Brad invites Jan to join him and, once there, romance blossoms between them, until she finally discovers the truth.
 
Back in New York, Jonathan is pleased to learn that Brad has fallen in love at last, but Jan will have nothing to do with him. Brad asks the help of Jan's drunken housekeeper, Alma (Thelma Ritter), who suggests he hire Jan to decorate his apartment so that they will be forced to collaborate. Still angry, Jan decorates Brad's apartment in the most hideous manner, which makes him furious. He storms into Jan's apartment and carries her through the street back to his place, where he explains all the changes he has made to end the bachelor lifestyle because he thought they were getting married. At that moment, her face lights up and they lovingly embrace.
 
JAN MORROW (Doris Day): I have no bedroom problems. There's nothing in my bedroom that bothers me.
BRAD ALLEN (Rock Hudson): Oh-h-h-h. That's too bad. 

In the late 1950s, the film industry decided that it was essential for Doris Day to change her screen image if she was to survive as a top star. By 1959, she had not only dropped from the top box-office personalities, but her last five films had not been as profitable as previous ones. She had been the girl-next-door for too many years and now, at 35, she needed to catch up with the moviegoing public, who had grown more sophisticated with the passing of decades. 
 
When producer Ross Hunter sent Day a script for a new project called Pillow Talk, she was instantly attracted to its humor and cleverness. The story had been devised by Russell Rouse and Clarence Greene, who sold it to RKO in 1942. When it was not produced, they repurchased it in 1945, two years before selling it as play. They bought it back again in 1951, finally selling it in 1958 to Arwin Productions, the company owned by Day's then-husband, Martin Melcher. Being genuinely unaware of her potential as a sex symbol, Day could not see herself as a chic interior decorator. Fortunately, Hunter's argument that she had «one of the wildest asses in Hollywood» convinced her that she was not just an old-fashioned girl and she gladly took the job. 
 
Doris Day as Jan Morrow in two scenes from Pillow Talk.

Hunter envisioned only Rock Hudson as Day's leading man in Pillow Talk. He had already produced six of Hudson's pictures, including the hugely successful Magnificent Obsession (1954) and All That Heavens Allows (1955), and the two had become close friends. When Hudson read the screenplay for Pillow Talk, he was impressed by its witty dialogue, but apprehensive about it being a comedy. Apart from a brief appearance in an episode of I Love Lucy (1951-1957), he had no previous experience with comedic acting. He was unsure of whether he could succeed at it, but a meeting in Hunter's office with Day and director Michael Gordon (in his first film since being blacklisted in 1951) persuaded him to move forward with the project. 
 
In the meantime, Maurice Richlin and Stanley Shapiro were brought in to work on the script, while Tony Randall and Oscar nominee Thelma Ritter were added to the cast. Day, Hudson and Randall would later reunite in Lover Come Back (1961) and Send Me No Flowers (1964).
 
Rock Hudson, Doris Day and Tony Randall in Pillow Talk.

Pillow Talk was filmed between early February and mid-April 1959. According to Hudson, the final scene — in which Brad storms into Jan's apartment, pulls her out of bed and when carries her through the streets of Manhattan, back to his re-decorated apartment — was actually the first one that they shot. Due to back problems, Hudson carried Day on a shelf with her sheets and blankets over her to get through the many takes. According to Hudson, 
«I could have managed if only one take had been involved, but we went on endlessly, primarily because there was a bit actor who played a cop on the street, and as we passed him Doris' line was 'Officer, arrest this man,' and the cop was supposed to say to me, 'How you doing, Brad?' but that stupid actor kept calling me Rock. So back to our marks we went for another take and another and another. I'll bet we did that scene twenty times. That's why the shelf for Doris to sit on.» 
 
In addition, Hudson related that when he pulled Day out of bed, he forgot to let go of her ankles, «with the result that [his] leading lady crashed to the floor.» 
 
Doris Day and Rock Hudson in scenes from Pillow Talk.

Although Hudson had been a fan of Doris Day since serving as an aircraft mechanic with the U.S. Navy during World War II, the two had never met before they started filming Pillow Talk. He was nervous to be working with Day, whom he considered to be one Hollywood's most accomplished comediennes, but she quickly put him at ease. «You don't have to worry about it,» she told him. «The script is funny. When you have funny lines, you're funny.» 
 
Hudson and Day soon realized that there was great chemistry between them and that they could make each other laugh off camera. «Doris and I became terrific friends,» Hudson later said. «She's a dynamo — a strong lady. And boy, what a comedienne she is! The trouble we had was trying not to laugh. Doris and I couldn't look at each other. You know, that sweet agony of laughing when you're not supposed to? That's what we had.» For her part, Day said, «Every day on the set was a picnic — sometimes too much of a picnic, in that we took turns at breaking each other up.» According to Hudson, the producers had to add a week to the film's shooting schedule because he and Day could not stop laughing.
 
Doris Day and Rock Hudson on the set of Pillow Talk.
 
Pillow Talk premiered simultaneously at the Palace and Murray Hill Theatres in New York on October 7, 1959. Critical reviews were generally positive. Bosley Crowther of The New York Times called it «one of the most lively and up-to-date comedy-romances of the year», while the reviewer for Variety described it as «a sleekly sophisticated production». The film was also successful at the box-office, grossing $18,750,000 domestically.
 
At the 32nd Academy Awards held on May 4, 1960, at the RKO Pantages Theatre in Los Angeles, Pillow Talk won the Oscar for Best Original Screenplay and was additionally nominated for Best Actress (Doris Day), Best Supporting Actress (Thelma Ritter), Best Art Direction (Colour) and Best Original Score. Day lost to Simone Signoret for Room at the Top (1959). 
 
Original theatrical release posters for Pillow Talk.
 
The popularity of Pillow Talk not only revived Doris Day's career, but also Rock Hudson's, which had hit a slump in the previous years with a series of commercial failures, including A Farewell to Arms (1957) and Twilight for the Gods (1958). Day and Hudson became lifelong friends after appearing on screen together and she helped him through his battle with AIDS, then an unknown virus, which unfortunately ended up costing his life 1985.
 

This post is my contribution to The Doris Day Blogathon hosted by Michaela at Love Letters to Old Hollywood. To see all entries, click HERE.


 
______________________________________________
SOURCES:
Considering Doris Day by Tom Santopietro (St. Martin's Press, 2007)
Doris Day by Eric Braun (Orion Publishing, 2010)
Doris Day: Sentimental Journey by Garry McGree (McFarland & Company, Inc., 2005)
Rock Hudson: A Bio-Bibliography by Brenda Scott Royce (Greenwood Press, 1995)
Rock Hudson: His Story by Rock Hudson and Sarah Davidson (Da Capo Press, 2007)  

Comments

  1. This post was vital to the blogathon -- thanks so much for writing it. I love Pillow Talk immensely, but I didn't realize some of its history, such as its beginning in the 1940's. Really interesting information!

    ReplyDelete
  2. Great review! I loved the stories you added about how was their first meeting and how their beautiful friendship blossomed.
    Kisses!
    Le

    ReplyDelete

Post a Comment

Popular posts from this blog

Golden Couples: Gary Cooper & Patricia Neal

It was April 1948 when director King Vidor spotted 22-year-old Patricia Neal on the Warner Bros. studio lot. A drama graduate from Northwestern University, she had just arrived in Hollywood following a Tony Award-winning performance in Lillian Hellman's Another Part of the Forest . Impressed by Patricia's looks, Vidor approached the young actress and asked if she would be interested in doing a screen test for the female lead in his newest film, The Fountainhead (1949). Gary Cooper had already signed as the male protagonist, and the studio was then considering Lauren Bacall and Barbara Stanwyck to play his love interest.          Neal liked the script and about two months later, she met with the director for sound and photographic tests. Vidor was enthusiastic about Patricia, but her first audition was a complete disaster. Cooper was apparently watching her from off the set and he was so unimpressed by her performance that he commented, « What's that!? » He tried to con

Golden Couples: Henry Fonda & Barbara Stanwyck

In the mid- and late 1930s, screwball comedy was in vogue and practically every actress in Hollywood tried her hand at it. Barbara Stanwyck never considered herself a naturally funny person or a comedienne per se , but after delivering a heart-wrenching performance in King Vidor's Stella Dallas (1937), she decided she needed a « vacation » from emotional dramas. In her search for a role, she stumbled upon a « champagne comedy » called The Mad Miss Manton (1938), originally intended as a Katharine Hepburn vehicle. Barbara Stanwyck and Henry Fonda as Melsa and Peter in The Mad Miss Manton .   Directed by Leigh Jason from a script by Philip G. Epstein, The Mad Miss Manton begins when vivacious Park Avenue socialite Melsa Manton finds a corpse while walking her dogs in the early hours of the morning. She calls the police, but they dismiss the incident — not only because Melsa is a notorious prankster, but also because the body disappears in the meantime. Sarcastic newspaper editor

Golden Couples: Clark Gable & Jean Harlow

  At the 3rd Academy Awards ceremony, MGM's hugely successful prison drama The Big House (1930) earned writer Frances Marion an Oscar for Best Writing. Hoping that she would be inspired to repeat that accomplishment, Irving Thalberg, head of production at Metro, sent Marion to Chicago, Illinois to research story ideas. While flicking through the pages of The Saturday Evening Post , she found an article revealing that, in a city where people distrusted the police, a small group of leading citizens met in secret to arrange their own justice for criminals. Marion took inspiration from that story and wrote The Secret Six (1931), in which Wallace Beery and Lewis Stone, stars of The Big House , play two mobsters prosecuted by a half a dozen vigilantes. Thalberg was pleased with the leading roles Marion wrote for Beery and Stone, but asked if she could also fill out one of the minor leads for Clark Gable , a tall, dark and handsome 30-year-old actor whom Metro-Goldwyn-Mayer had recen

Film Friday: «Who Was That Lady?» (1960)

Theatrical release poster Directed by George Sidney , Who Was That Lady? (19 60 ) begins when che mistry p rofessor David Wilson (Tony Curtis) is caught by his wife Ann (Janet Leigh) kissing one of his female st u de nts. To stop her from divo rcing him , he a sk s for hel p from his good friend, television writer Michael Haney (Dean Mart in), who invents a crazy story that Davi d is working undercover with the FBI and kissed the student — a foreign agent — in the line of du ty. To convince Ann, Mi ke tricks Schult z (William Newel l), a prop man at the T V studio, into fabricating an FBI identification card for David and s up plying him with a g un. Ann is so t hrilled by the idea of being married to a secret agent t hat she forgives David. Meanwhile, Mike sets up a date wi th the Coogle sisters, Gloria (Barbara N ichols) and Florence ( Joi Lan sing), and takes David along , telling Ann that the girls are foreign agents. Just as Ann realizes that her h usband ha s

Christmas in Old Hollywood

The beautiful Elizabeth Taylor with an extremely cute little friend. Humphrey Bogart and Lauren Bacall with their son Stephen (early 1950s). Here they are again. What an adorable picture! Paulette Goddard looking rather uncomfortable next to her Christmas tree. Boris Karloff and Ginger Rogers at a Hollywood Christmas party in 1932. The adorable Shirley Temple chatting with Santa. Here she is again with a dolly friend. Look how cute she looks here, modeling a new Christmas dress (1935). The fur-tastic Joan Crawford. Doris Day asking us to "do not disturb until Christmas." Don't worry, Doris, we shall not. Though it's past Christmas now, so I'm sure Doris won't mind if we disturb just a little bit. Priscilla Lane looking sparkling drapped in her garlands. A VERY young Carole Lombard sitting next to her tree (1920s). Jean Harlow looking stunning as always. Janet Leigh looking extra cute unde

Films I Saw in 2020

For the past four years, I have shared with you a list of all the films I saw throughout 2016 , 2017 , 2018 and 2019 , so I thought I would continue the «tradition» and do it again in 2020. This list includes both classic and «modern» films, which make up a total of 161 titles. About three or four of these were re-watches, but I decided to include them anyway. Let me know how many from these you have seen. As always, films marked with a heart ( ❤ ) are my favorites. Sherlock Jr. (1924) | Starring Buster Keaton, Kathryn McGuire and Joe Keaton The Crowd (1928) | Starring James Murray, Eleanor Boardman and Bert Roach Young Mr. Lincoln (1939) | Starring Henry Fonda, Alice Brady and Marjorie Weaver Brief Encounter (1945) | Starring Celia Johnson, Trevor Howard and Stanley Holloway The Bells of St. Mary's (1945) | Starring Bing Crosby and Ingrid Bergman The Girl He Left Behind (1956) | Starring Tab Hunter and Natalie Wood Gidget (1959) | Starring Sandra Dee, Cliff Robertson an

Wings of Change: The Story of the First Ever Best Picture Winner

Wings was the first ever film to win the Academy Award for Best Picture. Since then, it has become one of the most influential war dramas, noted for its technical realism and spectacular air-combat sequences. This is the story of how it came to be made.   A man and his story The concept for Wings originated from a writer trying to sell one of his stories. In September 1924, Byron Morgan approached Jesse L. Lasky, vice-president of Famous Players-Lasky, a component of Paramount Pictures, proposing that the studio do an aviation film. Morgan suggested an «incident and plot» focused on the failure of the American aerial effort in World War I and the effect that the country's «aviation unpreparedness» would have in upcoming conflicts. Lasky liked the idea, and approved the project under the working title «The Menace.»   LEFT: Byron Morgan (1889-1963). RIGHT: Jesse L. Lasky (1880-1958).   During his development of the scenario with William Shepherd, a former war correspondent, Morga

80 Reasons Why I Love Classic Films (Part II)

I started this blog six years ago as a way to share my passion for classic films and Old Hollywood. I used to watch dozens of classic films every month, and every time I discovered a new star I liked I would go and watch their entire filmography. But somewhere along the way, that passion dimmed down. For instance, I watched 73 classic films in 2016, and only 10 in 2020. The other day, I found this film with Douglas Fairbanks Jr. that I had never heard of — the film is Mimi (1935), by the way — and for some reason it made me really excited about Old Hollywood again. It made me really miss the magic of that era and all the wonderful actors and actresses. And it also made me think of all the reasons why I fell in love with classic films in the first place. I came up with 80 reasons, which I thought would be fun to share with you. Most of them are just random little scenes or quirky little quotes, but put them together and they spell Old Hollywood to me. Yesterday I posted part one ; her

Top 10 Favourite Christmas Films

Christmas has always been a source of inspiration to many artists and writers. Over the years, filmmakers have adapted various Christmas stories into both movies and TV specials, which have become staples during the holiday season all around the world. Even though Christmas is my favourite holiday, I haven't watched a lot of Christmas films. Still, I thought it would be fun to rank my top 10 favourites, based on the ones that I have indeed seen. Here they are.  10. Holiday Affair (1949) Directed by Don Hartman, Holiday Affair tells the story of a young widow (Janet Leigh) torn between a boring attorney (Wendell Corey) and a romantic drifter (Robert Mitchum). She's engaged to marry the boring attorney, but her son (Gordon Gebert) likes the romantic drifter better. Who will she choose? Well, we all know who she will choose.   Holiday Affair is not by any means the greatest Christmas film of all time, but it's still a very enjoyable Yule-tide comedy to watch over the holi

The Sinatra Centennial Blogathon: Frank Sinatra & Gene Kelly

  In January 1944, MGM chief Louis B. Mayer happened to see a young crooner by the name of Frank Sinatra perform at a benefit concert for The Jewish Home for the Aged in Los Angeles. According to Nancy Sinatra, Frank's eldest daughter, Mayer was so moved by her father's soulful rendition of « Ol' Man River » that he made the decision right then and there to sign Frank to his studio. Sinatra had been on the MGM payroll once before, singing with the Tommy Dorsey Orchestra in the Eleanor Powell vehicle Ship Ahoy (1942), although it is very likely that Mayer never bothered to see that film. Now that Frank was «hot,» however, Metro made arrangements to buy half of his contract from RKO, with the final deal being signed in February of that year. Gene Kelly and Frank Sinatra in  Anchors Aweigh Being a contract player at the studio that boasted «more stars than there are in the heavens» gave Frank a sudden perspective regarding his own talents as a film performer. The «g