Starring-Doris Day, Rex Harrison
Scott’s Review #909
Reviewed June 13, 2019
Midnight Lace (1960) is a straight forward psychological thriller made during a period in cinematic history when the genre was beginning to garner more popularity. The film was clearly influenced by the Alfred Hitchcock craze which was front and center at this time, and a robust departure for its lead, Doris Day, who until this time was mostly nestled securely in the romantic comedy domain. The film is a good watch and a challenging role for Day, who proves she has the acting chops to carry the film.
Day portrays Kit, an American heiress, newly married to British financier Tony (Rex Harrison), residing together in London. When she is terrorized by an odd voice in a London park one misty night, her panic is dismissed as rubbish and pranksters having their way with her. When the threats return and escalate by way of telephone calls, Tony alerts the authorities who question whether Kit may be imagining things or creating a panic to gain the attention of her husband. Tony, in turn, begins to ask the same questions.
Day, an American sweetheart and forever good girl, was brave to tackle a role that was left of center for her. Despite her fine acting and impressive range during scenes of peril though, Doris Day is still Doris Day, and it is tough to shake the image of her playing herself. Attractive, Day is not the sexpot type, so a few scenes of her being flirty by attempting to seduce Tony with sexy nighties do not work so well. To be fair, Day has never looked lovelier than she does in this picture.
The plot rolls along at a quick pace with wonderful glossy production values and I never found myself tuning out or wondering when the film would end. The drama heightens minute by minute turning into a whodunit while the film wisely never disqualifies the question of whether Kit could be staging the shenanigans herself.
Did she fall into a bus or was she pushed? Why did she hire someone to call her? Is the menacing voice disguised? The questions become more frequent as the film progresses which is what good thrillers should do. I was able to figure out only half of the big reveal, but the other half caught me off guard so that the finale was climactic and satisfying.
The film belongs to Day, but the additions of Harrison and the legendary Myrna Loy add class and flavor to a film that could have been dismissed as only cliched in lesser hands. Harrison is effective as the concerned but stoic husband and the audience is made to wonder if Tony has something to do with Kit’s stalking or if he is a caring man. Does the sub plot of a discovered embezzler in Tony’s company have anything to do with it? If so, how are the stories connected?
Handsome John Gavin, a Rock Hudson type who was made famous for Psycho (1960) is a handsome addition as contractor Brian, the man showing up at the right time to save Kit making him a prime suspect. Loy plays Kit’s Aunt Bea, who comes to town for a visit; the part is nothing special but it’s lovely to see the actress in whatever role she tackles. Finally, Malcolm Stanley (Roddy McDowell) adds drama as a money hungry man, and son of Kit’s maid. Characters are added to the story as potential suspects.
The viewer is treated to their share of exterior shots of London which provides the film with enough British flavor to almost forget that Day is American. With the additions of Scotland Yard and an Inspector, the British culture is firmly placed, adding a wonderful British element. Tony and Kit are rich, so their lavish home and exclusive neighborhood are placed on display in a fine way.
The title of the film, represented during a cute scene when Kit seductively holds up a sexy outfit she has purchased for Tony, seems straight out of the 1980’s slick television movie thriller genre, and primed for the lifetime television network. This is not a criticism because the title works well and holds a tantalizing darkness.
Midnight Lace (1960) is a nearly forgotten piece of film that is a fine watch and a nice tribute to the talents of Doris Day, who makes the film her own and is the main reason to watch. Though she does not sing or play the girl next door, she does turn in an above average performance, showing her range as an actress. The rest of the film’s trimmings, especially the locale and the supporting actors are additions beneficial to the viewing pleasure the film possesses.