Starring-Rock Hudson, Doris Day
Scott’s Review #907
Reviewed June 6, 2019
Pillow Talk (1959) is the ultimate in romantic comedies from the age of innocence in cinema. In 1959 pictures were still largely wholesome and safe, providing happy stories and charming characters. The film is a lovely and enchanting experience with intelligent characters and wonderful chemistry among its leads. Combined with good romance and comic elements it makes for a fun watch that still feels fresh and bright decades later.
Doris Day and Rock Hudson smolder with sensuality as singles living in Manhattan, New York City. Day plays Jan Morrow, a perky, independent interior decorator who dates frequently but has not yet found love. Hudson plays Brad Allen, a talented, creative Broadway composer and playboy who lives in a nearby apartment building. Jan is frustrated by a party line that allows her to hear Brad’s endless phone conversations with the women in his life. He is equally annoyed by her prim and proper, holier than thou attitude. They bicker on the phone but have not met.
Through their mutual, yet unknown to them, acquaintance Jonathan Forbes (Tony Randall), Brad realizes who Jan really is, which leads to hilarity as he fakes a Texan accent and invents a new persona: Rex Stetson, a wealthy Texas rancher. He succeeds in wooing Jan who falls madly in love with him while unaware who he really is. Events culminate in the inevitable big reveal when the couple vacations at Jonathan’s cabin in nearby Connecticut.
Rock Hudson oozes masculinity and charisma in this film with nearly every woman he meets falling madly in love with him. With Hudson’s sexuality preferences hidden from the public but well known within the film industry, one wonders if a few comical situations were added as an inside joke. One can speculate if these additions were done with or without the stars knowledge; rumors abound that Hudson reportedly carried on an affair with actor Nick Adams (Tony) during filming.
A recurring theme involves Brad mistakenly walking into an obstetrician’s office (twice!) and the doctor and nurse assuming he may be the first man to ever become pregnant as they attempt to locate Brad when he continues to disappear. Later, Brad attempts to trick Jan into believing Rex might be a homosexual because of his love for effeminate things.
The supporting players bring wit to Pillow Talk and is a key piece to the enjoyment of the film. Randall as Jonathan is not quite the nice guy but not entirely the foil either. As he has designs on Jan he warns Brad to keep away from her. His intention, which fails, is to woo her with money, but Jan seeks true love. Thelma Ritter as Alma, Jan’s boozy housekeeper, is delicious, adding necessary comic timing and a sardonic humor. When she ultimately finds love with the elevator operator we crackle with delight.
The lavish set design is flawless and brightens the film while adding luxurious style and sophistication that only New York City apartment living can bring. The combined sets of both Brad’s and Jan’s apartments are gorgeous to witness. With bright colors and 1950’s style furniture one can easily fantasize how beautiful it would be to reside in an apartment of this brilliance- I know this viewer did!
A Doris Day film would not be complete without the addition of several songs that the singer/actress performs. “Pillow Talk” during the opening credits, “Roly Poly” in the piano bar with Blackwell and Hudson, and “Possess Me” on the drive up to Jonathan’s cabin.
Pillow Talk (1959) is an example of a rich romantic comedy with great elements. A bit fantasy, a bit silly, but containing style, sophistication, and humor. The film was an enormous success, understandably so, being deemed “the feel-good film of the year” in many circles. Hudson’s career was re-launched following the film after having hit a snag year’s earlier.