Reviews

This picture was made when Doris Day was "Doris Day", that fresh-faced, delightful blond singer who lit up the screen with her beautiful smile and glorious singing.

"April in Paris", directed by David Butler was a colorful, joyous romp for Doris Day and Ray Bolger. Mr. Bolger has been criticized for not being a suitable co-star for Miss Day, but I felt he did a credible job in the picture. No, he was not handsome, like Rock Hudson, but Rock couldn't DANCE like Bolger!

And dance up a storm, he does! I enjoyed his acrobatic dance routines in "I'm Gonna Ring the Bell Tonight" and the political-themed dance with former Presidents' portraits, coming to life to dance with Bolger.

Doris Day, as Ethel "Dynamite" Jackson, a chorus girl, who is mistakenly chosen, instead of Ethel Barrymore, to represent America at a Paris Festival, is energetic and bouncy and mostly delightful. Her rendition of "April in Paris" was hauntingly beautiful and the highlight of the film.

The nicely staged, "It Must Be Him" also showcased Miss Day's glorious voice and dancing skills as did "That's What Makes Paris Paree".

Claude Dauphin lugubriously reprises the title tune in a side-walk cafe with the wind blowing bitterly while he sings the song to Doris Day.

To my knowledge, this is the only occasion in which Doris Day has a fist fight on the screen! If you can believe it, she was battling over Ray Bolger with Eve Miller, who also had the illusion that Bolger was "Clark Gable".

In the aforementioned, "I'm Gonna Ring the Bell Tonight", Doris Day opens the number with some rousing singing and later joins Bolger for some fancy footwork.

If you love Doris Day, you'll like this picture. As usual, there was able support by veteran actors like Paul Harvey, who later played "Henry Miller", proprietor of the Golden Garter in "Calamity Jane".

When I saw "With Six You Get Eggroll" in a plush New York theatre, I had no idea that it would be Doris Day's last film appearance. This one was an old idea with a modern look: a widow with three boys marries a widower with a teenaged daughter (Barbara Hershey)and all hell breaks loose.

Even though I am not partial to films with children in them or "family pictures", I enjoyed Miss Day's performance in this film as well as her supporting players. As was always the case, she was surrounded by the best supporting people available. Pat Carroll, as her sister was a lot of fun as was Alice Ghostley, her harried maid. There were many familiar faces darting in and out. People like Jaime Farr, Vic Taback, Jackie Joseph and George Carlin.

Brian Keith was a "comfortable", but gruff leading man for Doris. They had many nice scenes together, although he did not measure up to the usual caliber star with whom Miss Day was usually paired.

As usual, Doris Day worked well with children. She was one of the few major stars that could. Many female stars avoided kids like the plague, but not Doris. She could handle the situation.

Even though this is a comedy, there were a couple of very dramatic scenes in which Doris shows what a marvelously serious actress she can be. This came when she and Keith had a blowout about his daughter cleaning the house without any help from Doris' older son. Day was so into the scene, you could see her actually shaking with anger.

The film became a tearjerker at the end when everybody "saw the light" and came together after a big car chase, an accident and a fist fight. The picture is more enjoyable than the Henry Fonda/Lucille Ball film with approximately the same theme. Their's was called "Yours, Mine and Ours", also in 1968.

"See China, And Die" starring Miss Esther Rolle. I loved her. She recently died and I was very sad - mixed emotions surrounded me as I thought back to seeing Miss Rolle on the screen, both tv and in the movies. She was a wonderful actress.

Her starring role in the long running series, "Good Times," gave me many years of entertainment. She was a strong, concerned mother, who loved her children and an excellent wife who stood by her husband, who faced racism, joblessness and frustration in white America. Rolle gave pathos and exhilaration to her role as "Florida" in this series.

When I saw, "See China, And Die" on tv, Rolle made me love her more. She was playing a maid again, but this time, an amateur detective who was trying to solve the case of her murdered boss.

Her arrogance reminded me of an earlier movie maid, Hattie McDaniel, who, tho subservient, was a bold and earthy woman. Miss Rolle was the "maid" for several tenants in the building where her boss was killed. She solved the case despite the police and her policeman/detective son who tried unsuccessfully to quash her "work".

During the proceedings, Rolle almost got herself killed, but turned the tables on all suspects during a dinner revelation of the "real killer".

The picture was fun, because Esther Rolle brought her special quality, as an actress to the the role of "Mama". The New York locations added a touch of authenticity to the film.

I enjoyed many of the performances, especially Fritz Weaver, Paul Dooley and the rest of the cast.

Many people have caught this film on late night tv and enjoyed it, and then, putting ads in publications trying to find ANYone who had a copy of the film. They wanted to add it to their personal collections. I was lucky...I have a copy.

In 1962, Doris Day was the top box office star (male or female) in the world. "Billy Rose's Jumbo" opened in New York at Radio City Music Hall during a newspaper strike and a snow storm which made the film suffer at the box office.

It is a wonderful film with great music, good acting and some exciting circus acts. Steven Boyd was the latest actor/wanna-be star to utilize Miss Day as a stepping stone to fame. He was handsome and a good choice to play opposite Doris Day.

The story is secondary to the rest of the film. Simply, Doris' father, Jimmy Durante, owner of the Wonder Circus, was in deep financial trouble and about to lose his business. Boyd played the son of the owner of a rival circus who wants to take over the Durante organization including the main attraction, Jumbo, the wonder elephant.

Day, of course, falls in love with Boyd and the rest is music. Doris Day had some wonderful moments. She showed her mettle as a comedienne in a scene where she takes over a crap game from her father to win back the money he has lost.

Her singing of "My Romance" was very beautiful and I loved the part when she turns, with Boyd, and starts to walk as she sings. Her rendition of "Little Girl Blue" was dramatic and poinant.

Martha Raye, was, well, Martha Raye and Jimmy Durante was, err, Jimmy Durante!

The picture looks like they spent a lot of money on it, the color was sharp and the camera work superb. I also enjoyed the final, "Sawdust, Spangles and Dreams". Day and Raye were very funny as clowns.

This picture is often dismissed as being a flop, the only film which failed during Miss Day's run of box office bonanza. That's unfair because the New York Critics' reviews were not available to inform the public. Their words set the tone for the success or failure of a film. That was especially true in 1962.

After many tries, Geraldine Page finally won the Oscar that had eluded her for years. As Carrie Watts, she delivered a near perfect performance and on Academy Award night walked off with the coveted prize.

Earlier, she had stunned the world with her brilliant acting in Tennessee Williams' "Sweet Bird of Youth" with Paul Newman. But 1962 was ripe with excellent female nominees including Bette Davis, Katharine Hepburn and the winner that year, Anne Bancroft.

"The Trip to Bountiful" was a small, intimate film about an unhappy, elderly woman who yearns to visit her girlhood home before she dies. She has tried, unsuccessfully several times before, but was stopped by her loving son and disapproving daughter-in-law, skilfully played by Carlin Glynn as "Jessie Mae".

Once on the bus to Bountiful, Mrs. Watts meets a lovely young girl played by Rebecca De Mornay in whom she confides. Miss Page was wonderful here with every nuance, side glance and gesture. Her years of experience as a stage and film actress showed loud and clear. She was brilliant. This prompted actress, Shelley Winters to comment, "this is one of the greatest performances I've ever seen".

Scene after scene, Geraldine Page, does what few actresses can do, breathe REAL LIFE into a character. Her physical aliments and limitations are not exagerrated, but felt. Her emotional highs and lows speak volumes and you find yourself sharing her inner feelings.

Carlin Glynn deserved a nomination as Best Supporting Actress. But, I suppose the Academy members were so enthralled with Miss Page, they couldn't SEE anyone else on the screen!

The supporting cast was strong. I especially liked Richard Bradford as the Sheriff who personally takes Mrs. Watts on her "trip to Bountiful". The scene where Page peers at her old home and says "I can almost see my father walk out of this house..." was heartbreaking. Writer, Horton Foote, was obviously writing from experience and director, Peter Masterson showed compassion and respect for the script and for his actors.

Do NOT miss this one.

In 1956, Doris Day joined the list of blonds that director, Alfred Hitchcock seemed to prefer as leading ladies. The vehicle was, of course, "The Man Who Knew Too Much" co-starring that Hitchcock favorite, James Stewart.

The story was rather simple, a vacationing family becomes entangled in an international assassination plot, and to keep their mouths shut, their son is kidnapped by the "bad guys."

James Stewart had played this part in many movies before and was very effective. Doris Day, playing a former singing star, was quite wonderful as his wife.

The plot took them from Morocco to England's Albert Hall where Miss Day sings "Whatever Will Be, Will Be", a child's song, to alert her kidnapped son whom she suspects is being held captive upstairs. She sings "We'll Love Again" but it's hard to concentrate on the song because of the son's rescue by Stewart.

The film utilized Hitchcock's typical camera work and had a good score which punctuated the excitement. This was no fashion show for Doris Day wore only three different outfits, designed for her by Edith Head.

The song, "Whatever Will Be, Will Be" won the Oscar as Best Song of 1956, but received no other nominations. This film was a big winner at the box office and joined the list of Hitchock classics, including "Psycho," "Rear Window," and "The Birds."

"Lucky Me" was the first musical to be shot in the then, new process, CinemaScope. It was also a picture that Doris Day, Hollywood's Golden Girl, did NOT want to make.

Because of contractual obligations, she decided to do the film and to give it 110% of herself in the role of 'Candy Williams'. Her co-star was Robert Cummings, long-time Hollywood leading man and television star. In support, she had Phil Silvers, Nancy Walker, who later gained fame as Ida Morgenstern in "Rhoda", and Eddie Foy, Jr.

It was reported that Martha Hyer, a blond, was forced to dye her hair red so as not to conflict with the star, Miss Day.

This film is famous for another reason. Judy Garland was on the Warner Brothers lot filming "A Star is Born". She and Miss Day visited each other's sets and became friends.

"Lucky Me" is a fun musical which opens with Doris Day's dynamite opening number, "The Superstition Song," which she sings while bouncing down the streets of Miami! A TRUE STAR PERFORMANCE! Only Doris could have gotten away with this, and she was brilliant.

She played Candy Williams, a singer/actress who was appearing in a travelling show, "Parisian Pretties" which bombed in Miami. Standed, she meets a New York songwriter, Cummings, who is casting a new Broadway show. He pretends to be someone else to court Candy, but falls in love with her.

During the proceedings, Doris Day sings most of the numbers including her chart hit, "I Speak to the Stars". The highlight is "I Wanna Sing Like an Angel" and "Love You, Dearly," a lovely ballad which should have been a hit.

Phil Sivers was wonderful and had a great number with Day called "Men!" The other actors gave Miss Day able support and everyone seemed to work well with each other.

Angie Dickinson made her film debut in a walk-on scene at the big party, but you probably won't recognize her (she had black hair). Bill Goodwin played the same role he played in many a film at various studios.

Again, Doris Day fans will just love seeing their favorite star do ANYthing. Even though Miss Day didn't like the picture, her fans seem to love every minute of it. I must admit, I liked it!

After seven years and seventeen pictures at Warner Brothers, Doris Day moved to MGM to star in a dramatic musical based on the life of 30s singing star, Ruth Etting. The film was called "Love Me or Leave Me" and would co-star James Cagney. Shot in CinemaScope and Technicolor, it was a lavish film.

Doris Day gave the performance of her career and matched the great James Cagney in the acting department. The critics were raving loud and clear and rumors of Oscars for Miss Day and Cagney were often discussed.

The story concerned a young singing hopeful, Ruth Etting, in 20s Chicago who meets a tough gangster, Martin Snyder, who strong-arms her to fame. First in nightclubs, then radio, the Zigfield Follies in New York and finally, Hollywood films.

James Cagney attacked the role of Snyder with frightening realism. His experience as an actor culminated in an explosive performance and garnered him a Best Actor Oscar nomination.

Doris Day, the first actress to get billing over Cagney in over 30 years, deserved a nomination, but lost out to Eleanor Parker in "Interrupted Melody", also at MGM. She was remarkable throughout most of the film. There were times when she lost character and broke into her "girl next door" personality but those mistakes were few, however, and I'm sure when Miss Day sees the film today, she could kick herself.

She is the showcase of the film, however, and delivers, vocally, some beautiful music. In addition to the Etting standards, two new songs were added. "I'll Never Stop Loving You", which became a big record hit for Miss Day and an Oscar nominee for Best Song, and "Never Look Back", a gorgeous ballad done with a full orchestra.

Her big extravagant Follies number, "Shaking the Blues Away" was typical MGM and a far cry from anything she did at Warner Brothers.

Cameron Mitchell as Johnny Alderman, the musical director who loves Etting, Harry Bellaver, Robert Keith and Tom Tully were all first rate. Even Veda Ann Borg in a walk-on, was fun.

I loved this picture and recommend it highly. You won't see Doris Day used to better advantage than here. She and Cagney were excellent together, and memorable.

"Caprice" was made near the end of Doris Day's spectacular film career. It was met with mixed reviews by the New York critics. But, when I saw the film at Radio City Music Hall, the audience seemed to enjoy it.

The opening credits were very clever and there was a spectacular beginning to the film, a ski chase with the villain in black and the victim in white getting shot to death.

Doris Day was dressed in mod attire and gave her usual professional performance. The plot was the film's biggest problem. It was very complicated and it takes two or three viewings to grasp everything.

Richard Harris was a good choice to play opposite Miss Day. He later said that, even though he didn't like "Caprice", he was delighted to work with Miss Day, a true expert in the comedy field. He stated that he learned more from her about comedy than he could have learned in years at the Royal Academy. Nice words.

This picture could have been good, if they had cut several scenes. I liked the rapport that Miss Day had with Edward Mulhare in their scenes together. She also worked well with Lilia Skala, Ray Walston and Jack Kruschen. There was a funny bit, which Doris played with Michael J. Pollard in a movie theatre, that was showing Doris Day and Richard Harris in "Caprice".

Doris Day is a "natural" actress. She uses props well and approaches her material from a realistic standpoint. You believe her, even when she is thrusted in the most unbelievable situations. Miss Day was very good near the end of the picture when she confronted Ray Walson, in drag, and then Edward Mulhare who sent her on an unexpected helicopter ride.

There were some exciting scenes, especially the one when Doris is being chased down the slopes by the man who killed her father in the beginning of the film. The resulting "rescue" was directly out of the old '40s cliffhangers.

It has become fashionable to dismiss "Caprice", but if you are a Doris Day fan, you might enjoy it if you can ignore some of the "cuteness" director Frank Tashlin threw into the plot.

I recently saw the original version of "My Favorite Wife" starring Irene Dunne, Cary Grant, Randolph Scott and Gale Patrick. Through the years, I have collected practically all of the scenes that Marilyn Monroe filmed for the sequel, "Something's Gotta Give" with Dean Martin and Cyd Charisse and I own the last version, "Move Over, Darling" starring Doris Day, James Garner, Polly Bergen and Chuck Conners.

Quite frankly, I didn't like any of them. "Wife" is rather dated and was considered "cute" when it came out to favorable reviews. "Something" was never finished because of an inept Marilyn Monroe who proved once again that she was no professional and ended up getting fired. The script was dusted off a year later, after Marilyn's death, and Doris Day, the #1 Box Office Star in the World, stepped in and filmed "Move Over," without a hitch, and the picture became a big hit, but was met with mixed reviews.

The director, Michael Gordon, must have put a lot of pressure on his actors to "make this one funny". Doris Day had a couple of very funny scenes, despite the mostly unfunny proceedings. Her scene in the department store with Don Knotts was wonderful. Comparing Marilyn's try in the same scene with Wally Cox, which was awful, Doris was brilliant. Shown on tv, this scene is always cut for some strange reason. Boy, is it needed. She was also good in the car wash scene, proving once again that she will do anything for a laugh.

Edgar Buchanan was very funny as the absent-minded judge and Thelma Ritter was in her usual form: great. James Garner was just loud and Polly Bergen, a bit too "obvious" for my taste.

The stylist who did Doris Day's hair and wigs must have just gotten out of the insane asylum. They changed her hair, mid scene, and changed it back. Maybe they shot the scene twice with different hair and spliced them together. Anyway! So you won't go crazy if you see it, the scene is when she asks Garner, "did you tell her that you loved her?" during his honeymoon with Bergen.

Chuck Conners seemed to be having a ball, but there wasn't much to his part.

Perhaps Marilyn Monroe's version would have been alright if she had completed the film. As Tony Randall said of her, "if you were standing there watching her do a scene, you'd say 'awful, she'll never get by...but the next day when you saw the rushes, MAGIC on the screen'"! Randall had high praise for Miss Day calling her 'brilliant'. But, in "Move Over, Darling" she was just adequate.

This is the greatest western musical to come out of Hollywood. Doris Day is wonderful in the leading role and Howard Keel is her match as Wild Bill.

Miss Day's performance is a delight and she tackles the role with tremendous gusto. She is tough with shades of tenderness in her eyes. And, boy, does she sing up a storm! Hers, of course, is the best female voice the musical could ever have created. Her singing of "Secret Love" was very touching and was a giant record hit for her. Doris danced, as only she can, while doing the number, "Just Blew in from the Windy City" and was funny and charming all the while.

"The Deadwood Stage" which opens the film is a showstopper. Miss Day gives a star performance and you can't take your eyes off her. One of my favorite musical sequences was "I Can Do Without You" with Howard Keel. Miss Day and Keel said that they did the number "live" and it looked it. It was certainly effective because, otherwise, pantomiming would have ruined the scene.

Chubby Johnson, Allyn McLearie, Philip Carey and Dick Wesson (very funny in drag) and the rest of the cast all scored big. And, "Secret Love" deserved the Oscar it won for Best Song of 1953. Long live Doris Day!!!!!!