When most people think about Rom Com’s of the mid-century, it won’t take long for the names of Doris Day and Rock Hudson to be mentioned. Specifically, Pillow Talk will be the movie they mention…and most that mention it today probably haven’t seen it. And that’s a shame.
Sure, it is the formula. Boy meets girl. Boy pursues and wins girl. Boy loses girl. Boy wins her back. In fact, this movie specifically steals plot elements for 1958’s Teacher’s Pet. A professional single woman, played in both cases by Doris Day, at some point because he has to lose the girl somehow.
A lot of people would say, “Well, who wants to watch that? It’s so formula.” These formulas exist, though, because they work consistently. Don’t believe me? Watch the ratings in December on the Hallmark channel. In fact, take a look at Crazy Rich Asians. The story there still falls within these parameters at the basic level. Let’s face it…there is a hunger for romantic comedies and the formula is the nutrition that just hits the spot.
In 1959, people didn’t want to show Pillow Talk. Rom Com’s were dead. Sophisticated comedies were not in fashion…that’s what they thought. This movie was so successful (making 18x its budget back) that the conventional wisdom was altered and a Rom Com Renaissance blew up in the early 60’s. That’s how good and how fresh this movie was at the time.
It played off the idea of a young career woman sharing a “party line” with a lecherous bachelor. For those of you not aware of the mid-Century contrivance of party lines, this was a shared phone line with a neighbor (for a cheaper price or because there are not enough lines available–both big concerns as telephones BOOMED after WWII. If that sounds awful and not very private, you are right. But then again, think how private your conversation is on the mobile phone next time you are talking in a restaurant.
In any event, the bachelor, played to perfection by 50’s heartthrob Rock Hudson, causes friction by monopolizing the line juggling many young ladies on the line. It’s all pretty predictable from there, but that is what makes it fun to watch.
Tony Randall chews scenery as Rock’s rival for the affections of Doris Day. He steals every scene he is in. No one can play a conniving millionaire like Randall and he pops on all cylinders here.
But today, these characters wouldn’t play. Randall would be seen as a privileged 1%er and they would probably need to make him more of a mustache twirling villain. Hudson, at one point, plays up homosexual stereotypes (like drinking coffee with a pinky extended and collecting recipes for his mommy) which is even more ironic now knowing that he was deeply closeted gay man at the time while being a marquee heart throb. Hudson’s switch to dim the lights and lock the doors feels like Matt Lauer’s #metoo office. So….that’s problematic.
But that is not how you should visit a film over a half century old. You should enjoy the irony. When Hudson was “playing gay” what was going through his mind? Was he offended? Or was he laughing thinking “if they only knew”? Personally, I hope he took the ironic view, and perhaps we should, too.
This movie comes off corny today, but at the time, it was rather racy. You literally see Day transformed from “the girl next door” to a sophisticated sex symbol. (The opening shot of her is in a great pajama gown that shows off her figure to full effect.)
So check out this movie today and harken back to a simpler time. Enjoy this film for what it is and you’ll have a great evening.