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Doris Day Update

One of the most popular and successful American multimedia stars to emerge since the end of WWII and the most forward-looking heroine in popular culture of the 1950s and 60s.
Day entered films in 1948 after a brief but highly successful singing career as a band vocalist, and for the next two decades virtually defined the wholesome blonde girl-next-door type in musicals, dramas and innocent but sly sex farces.
Day became an immediate star with her debut film, "Romance on the High Seas" (1948), and was one of the last stars developed under the old studio system by Warner Brothers, starring in such nostalgic light musicals as "On Moonlight Bay" (1951) and "I'll See You in My Dreams" (1952).
She also showed promise in drama ("Storm Warning" 1950) and raucous comedy (at her most tomboyish in the cult classic "Calamity Jane" 1953) when given a chance. Day's rich alto voice and supple dramatic phrasing also enjoyed considerable success on the pop singles ("It's Magic", "Secret Love") and album charts through the 40s and 50s.

After her screen career petered out in 1968, Day immediately embarked on the mild TV sitcom, "The Doris Day Show", which opened with "Que Sera Sera", typecast her as a bright career woman and stayed high in the popularity ratings for the length of its five-year run.
It was only after the death of Day's husband-manager Marty Melcher that it came out that he had entrusted the majority of Day's substantial earnings to a lawyer who flagrantly squandered them.
Day's income from her show supported her lengthy court battle,
and since the close of her series she has been largely retired, devoting most of her energies to pet adoption and animal rights advocacies.

Lover Come Back

The movie-going public was waiting with anticipation for this movie. The re-teaming of Doris Day and Rock Hudson.
How could they equal or top "Pillow Talk", which had been a runaway hit- garnering Miss Day with an Oscar nomination and hurling her to the No. 1 spot on the Herald's Top Box Office list?
Critics were sharpening their poison pens and their wit, to bring down those who have climbed to the top of the heap.

They were shocked to discover that screenwriter, Stanley Shapiro, now teamed with Paul Henning had produced a clever,
bright script that actually equaled or bettered "Pillow Talk".
Doris Day's performance was much improved here, for she had found the right key in which to present the totally sophisticated character of Carol Templeton and Rock Hudson
(Jerry Webster) looked more comfortable playing comedy than he did in the former film.
This movie became an instant success and was hailed as a triumph by the majority of film critics worldwide.

This time 'around, there was a better director, Delbert Mann, who handled this material with an expert's touch.
In reality, the film is very much like "Pillow Talk" because of the deceptive nature of the story, but the lines are funnier here and the situations are more risqué.
Jerry Webster and Carol Templeton work for rival advertising agencies on Madison Avenue. Webster's firm has a reputation of stealing accounts from other agencies by using unscrupulous tactics to nab new accounts (wine, women and sex).

Carol has plans to snag the Miller's Wax account, which is metamorphosing it's image with a new can and Templeton has, she thinks, just the right ideas to convince Mr. J. Paxton Miller (Jack Oakie) to give the account to her firm.
Webster, on the other hand, decides to shower the gentleman with liquor, women and carnal activities. Guess who wins out?
Furious at Webster's tactics, Carol accidentally learns from Webster's some times girlfriend, nightclub performer, Rebel Davis (Edie Adams) that he is going after a new account for a product called VIP.
Determined to "get even" with Webster for stealing the Paxton account, Carol sets out to outsmart her competition.She begins to mount a campaign for a product that doesn't exist.
Jerry Webster invented "VIP" to accommodate Rebel's disappointment in him at not getting her lucrative commercials and to bribe her into not testifying before the Advertising Council against him for unprofessional tactics in advertising.
You see, Carol Templeton has filed a complaint.

Listen to the opening music to "Lover Come Back"
"Lover Come Back" became an instant success"
The movie-going public was waiting with anticipation for this movie.
The re-teaming of Doris Day and Rock Hudson.
How could they equal or top "Pillow Talk", which had been a runaway hit- garnering Miss Day with an Oscar nomination and hurling her to tNo. 1 spot on the Herald's Top Box Office list?

Critics were sharpening their poison pens and their wit, to bring down those who have climbed to the top of the heap.

They were shocked to discover that screenwriter, Stanley Shapiro, now teamed with Paul Henning had produced a clever,

bright script that actually equaled or bettered "Pillow Talk". Doris Day's performance was much improved here, for she had found the right key in which to present the totally sophisticated he character of Carol Templeton and Rock Hudson
(Jerry Webster) looked more comfortable playing comedy than he did in the former film.
This movie became an instant success and was hailed as a triumph by the majority of film critics worldwide.
This time 'around, there was a better director, Delbert Mann, who handled this material with an expert's touch. In reality,

the film is very much like "Pillow Talk" because of the deceptive nature of the story, but the lines are funnier here and the situations are more risqué.
Jerry Webster and Carol Templeton work for rival advertising agencies on Madison Avenue. Webster's firm has a reputation of stealing accounts from other agencies by using unscrupulous tactics to nab new accounts (wine, women and sex).
Carol has plans to snag the Miller's Wax account, which is metamorphosing it's image with a new can and Templeton has, she thinks,

just the right ideas to convince Mr. J. Paxton Miller (Jack Oakie) to give the account to her firm. Webster, on the other hand, decides to shower the gentleman with liquor, women and carnal activities.

By the Light of the Silvery Moon

Doris Day and Gordon Macrae

"By the Light of the Silvery Moon" is the tuneful follow-up to the very popular 1951 hit for Warner Brothers, "On Moonlight Bay".
Like its predecessor, it recalls another time and place in America, directly after World War I, bathing it in a nostalgic warmth and glow in stunning technicolor and reassembling most of the cast from the earlier film.
The characters and story are very loosely based on the "Penrod" series of stories written by Booth Tarkington.
Marjorie and Bill, the sweethearts of the piece, are played by Doris Day and Gordon MacRae, in their 5th and final on-screen pairing.
They harmonize beautifully and play their scenes with genuine and totally unaffected warmth and believability. Watching Day, it's easy to see why see held the lofty position within the industry that she held for so long.
Her natural likeability and never cloying manner are soothing and when she sings, as she does frequently, one is transported to a safe and comfortable haven. The songs include the title tune, "If You Were the Only Girl in the World" and "Ain't We Got Fun" to name but a few.
Video clip from the film


The remaining members of Marjorie's family are back from the earlier effort and seem to be more a family than ever before.
Leon Ames is part bluster/part patriarch, while Rosemary DeCamp, as usual, is better than much of the material Hollywood generally gave her to work with.
Billy Gray is appropriately rowdy but skillfully avoiding the obnoxious elements as Wesley and Mary Wickes, as she is prone to do, shines in every scene she plays, a natural treasure as one of the most unique character actresses in film history.
If you look quickly in the beautifully staged skating sequence near the film's conclusion, you'll spot Merv Griffin talking through a megaphone and urging everyone to skate with their sweetheart.
Doris Day was responsible for getting Griffin a contract at Warners, which launched his career. In 1970, she made her first ever talk show appearance on his program.