One of the first (and certainly the most popular) of the early-'60s bedroom comedies--movies about sex that never use the word, relying instead on double entendres, implications and innuendo. A New York City party-line connects a single working girl--a somewhat rigid and humorless interior decorator with a shapely figure--and a bachelor songwriter and ladies' man who has one tune for every new gal. They're enemies on the phone-line only; once he gets a good look at her (or rather, her shimmying behind on the dancefloor of a nightclub), he decides to woo her using the alias of a shy Texas cowboy. In their first of three pictures together, Rock Hudson and Doris Day share fresh, happy chemistry; their love scenes are convincing--Hudson is a great kisser--and soon Day is singing "Possess Me" to herself on the car-ride with Hudson to his pal's country hideaway. Tony Randall (who also appeared with Hudson and Day in both 1961's "Lover Come Back" and 1964's "Send Me No Flowers") and Thelma Ritter are equally terrific, and the picture has a lovely, cocktail lounge-styled plastic-perkiness which is very winning. With the advent of '60s permissiveness on the screen, "Pillow Talk" (with it's winking, nudge-nudge 'naughtiness') soon looked coy and antiquated; however, it holds up nicely today. Five Oscar nominations--including Day as Best Actress (her only such nomination!)--with one win: for Stanley Shapiro and Maurice Richlin's original screenplay from an initial treatment by Russell Rouse and Clarence Greene. *** from ****
Review of Pillow Talk
