Pillow Talk is a 1959 American romantic comedy film in CinemaScope directed by Michael Gordon and starring Rock Hudson and Doris Day. The supporting cast features Tony Randall, Thelma Ritter, Nick Adams, Allen Jenkins, Marcel Dalio and Lee Patrick. The film was written by Russell Rouse, Maurice Richlin, Stanley Shapiro, and Clarence Greene.
It tells the story of Jan Morrow (Day), an interior decorator, and Brad Allen (Hudson), a womanizing composer and bachelor, who share a telephone party line. When she unsuccessfully files a complaint against him for constantly using the line to woo his conquests, Brad finds out she is pretty and decides to trick her by masquerading as a Texas rancher. The scheme seems to work until their mutual friend Jonathan Forbes (Randall) finds out about it and exposes Brad.
According to a "Rambling Reporter" (August 28, 1959) item in The Hollywood Reporter, RKO originally bought the script, by Russell Rouse and Clarence Greene, in 1942 but, because it was not produced, the writers bought it back in 1945. In 1947, they sold it as a play, but bought it back once again four years later, finally selling it in 1958 to Arwin Productions, the company owned by Doris Day's husband, Martin Melcher. Although the film was originally titled Pillow Talk, according to a February 2, 1959 "Rambling Reporter" item in The Hollywood Reporter, the title "displeased" the PCA, and was changed to Any Way the Wind Blows. In August 1959, however, the original title was reinstated.
The film won the Academy Award for Best Original Screenplay, and was nominated for Best Actress in a Leading Role (Doris Day), Best Actress in a Supporting Role (Thelma Ritter), Best Art Direction-Set Decoration, Color (Richard H. Riedel, Russell A. Gausman, Ruby R. Levitt) and Best Music, Scoring of a Dramatic or Comedy Picture.
It the first of three romantic comedies in which Day, Hudson and Randall starred together, the other two being Lover Come Back (1961) and Send Me No Flowers (1964).
Upon its release, Pillow Talk brought in a then staggering domestic box-office gross of $18,750,000 and marked a comeback in Rock Hudson's career, after the failure of A Farewell to Arms two years earlier.
On July 14, 1980, Jack Martin reported that Pillow Talk was the "biggest hit of 1959".
In 2009, it was selected for preservation in the National Film Registry by the Library of Congress for being "culturally, historically or aesthetically significant".
Plot Jan Morrow is an interior decorator in New York City. She lives alone and claims to be happy when questioned on that subject by her drunken housekeeper, Alma. The only irritant in her life is the party line that she shares with Brad Allen, a Broadway composer and playboy who lives in a nearby apartment building. She cannot obtain a private phone line for her business, which she runs from home, because the telephone company has been overwhelmed by recent demand for new phone lines.
Jan and Brad, who have only ever "met" on the telephone, develop a feud over the use of the party line. Brad constantly uses the phone to chat with one young woman after another, singing to each of them an "original" love song supposedly written just for her, though he only changes the name or language he sings in. Jan needs the line for work and tries to make him more considerate. Brad suggests that the single Jan is jealous of his popularity and has a problem in 'the bedroom department'. He charms the telephone inspector who is sent to investigate Jan's complaint. Later, Brad and Jan agree to share the phone line on alternate half hours.
One of Jan's clients is millionaire Jonathan Forbes, who repeatedly asks her to marry him. She refuses. Unknown to Jan, Jonathan is also Brad's old college buddy and his current Broadway benefactor. Jonathan makes Brad aware of his latest love interest and Brad realises this must be his feuding partner. He is intrigued.
One evening in a nightclub, Brad sees Jan dancing and learns who she is. Attracted to her, he fakes an accent and invents a new persona: Rex Stetson, a wealthy Texan rancher. He succeeds in wooing Jan, in part because he has Brad make insinuations that he can then work to Rex's favour. For example, Brad suggests Rex will stop by his hotel room on their date and try to seduce her; when Rex does this but only shows Jan the view, she thinks he is a perfect gentleman. When Jan brags to Brad about this, he suggests Rex may be gay. This leads Jan to question Rex about his attraction to her, thereby allowing him to kiss her.
Jonathan uses a private eye to find out who Jan is dating. After discovering the truth about Brad's masquerade, he forces Brad to put Jan in a taxi and send her home. Brad is to leave New York and go to Jonathan's cabin in Connecticut to complete his new songs. However, Brad double crosses him by inviting Jan to join him. Once there, kissing ensues until Rex leaves to fetch logs for the fire and Jan stumbles upon a copy of Rex's sheet music. She plunks the melody on the nearby piano and recognizes Brad's 'inspiration' song. She confronts Brad and asks to be taken home by Jonathan, who has just arrived at the cabin.
In New York, Jonathan is less in love with Jan because she cries so much over Brad. He is pleased to learn that the playboy has fallen in love, while conversely Jan will have nothing to do with Brad. Brad turns to Alma for advice. Alma, pleased to meet Brad after listening in on the party line for so long, suggests he hire Jan to decorate his apartment so they will be forced to collaborate. Jan only concedes so that her employer will not lose the commission. Brad leaves all the design decisions up to Jan, telling her only to design a place that she would want to live in herself.
Still resentful, Jan decorates Brad's apartment in the most gaudy decor she can muster. Horrified by what he finds, Brad storms into Jan's apartment and carries her in her pajamas through the street back to his apartment to explain herself. Brad mentions all the changes he has made to end his bachelor lifestyle because he thought they were getting married. Her face lights up and, as he leaves in anger, she uses one of his "playboy" remote control switches to lock the door. She flips another switch and the player piano pounds out a honky-tonk version of Brad's standard love song. He turns around, their eyes meet, and they embrace.
Some time later, Brad goes to tell Jonathan that he is going to be a father, only to be pulled by Dr. Maxwell (an obstetrician) and Nurse Resnick into their office for an examination, when he says that he is going to have a baby.
Cast
Production Development
The film's script was turned down and bought back by RKO a few times in the late 1940s and early 1950s until Martin Melcher (the husband of Doris Day at the time) and his Arwin Productions label bought the script and took it to Universal. According to Day in A.E. Hotchner's biography Doris Day: Her Own Story, the film was titled Pillow Talk, but the title displeased the Production Code Administration (PCA). Melcher tried to get co-producer Ross Hunter to change the name to Any Way the Wind Blows, the name of a song he was about to publish, but Hunter stuck with the original name. The original ending planned for the film was to have Jan, after using the trick switch to lock the door and then smiling at Brad, shut off the light and say "All apartments look alike in the dark." This open-ending was changed in the final film to show that Jan and Brad got married and are now expecting a baby.Pillow Talk Production Notes
Director Michael Gordon had been blacklisted and was working on Broadway. He said producer Ross Hunter saw The Tender Trap on Broadway which Gordon had directed and "he felt that the play exhibited the general temper and spirit that he wanted" for Pillow Talk. Gordon recalled he was known "as that intellectual, intense Jew out of the Group Theater, and I wasn't associated with comedies. But I've always like comedy and relished working in comedy."Davis p 119 Gordon said "I was very happy to be gainfully employed in Hollywood again, although I must honestly say that deep in my heart I had some misgivings about the rampant chauvinism of Pillow Talk. But it was fun to do, and I enjoyed working with Doris Day very much."Gordon p 119
Casting
The film is noted for reinventing the screen images of Rock Hudson and, particularly, Doris Day. Hunter identified Day's potential to be sexy, and recruited legendary costume designer Jean Louis, who designed 18 or 24 costumes for Day to wear. Hunter said to Day, "You are sexy, Doris, and it's about time you dealt with it...if you allow me to get Jean Louis to do your clothes, I mean a really sensational wardrobe that will show off that wild fanny of yours, and get some wonderful makeup on you, and chic you up and get a great hairdo that lifts you, why, every secretary and every housewife will say, 'Look at that—look what Doris has done to herself. Maybe I can do the same thing'"..
Day acknowledged that the film transformed her image from "the girl next door" to classy sex symbol, describing that the plot, for the time, was very sexy, involving a climactic scene in which the leading man carries her out of bed in her pajamas and out into the streets.. In addition, Laykin et Cie lent $500,000 worth of jewels for Day to wear.
This is Hudson's first comedy film, after a slew of dramas that he made throughout the 1950s including All That Heaven Allows (1956) and A Farewell to Arms (1957). It was Hunter who saw Hudson's potential to do comedy. The advice he received from director Michael Gordon was "Comedy is the most serious tragedy in the world. Play it that way and you can't go wrong. If you ever think of yourself as funny, you haven't got a chance." On February 2, 1959, Thelma Ritter was cast as Alma, Jan's housekeeper, while Lee Patrick was cast as Mrs. Walters the following month. Hope Emerson was recruited by Hunter to play an Indian princess called "Dessert Flower" in the film. She does not appear in the final cut. A cameo appearance by Day's friend and actress Miriam Nelson occurs in the scene where Brad ducks into Dr. Maxwell's (the obstetrician) office to avoid running into Jan. Nelson was given the walk-on part as a patient in the waiting room so she could have lunch with Day in the commissary.
Gordon said he had "problems" with producer Marty Melcher, who was Day's husband and manager, "because he could not understand why I said that Doris was not going to have a number to sing. She sang in the picture, but informally. I said, 'She's an interior decorator in this film, not a singer. Doris herself was willing to go along with that."David p 119
Filming
According to Hudson, the final scene, in which Brad storms into Jan's apartment and yanks her out of bed, and carries her through the streets of Manhattan, back to his re-decorated apartment, was actually shot first. Due to back problems, Hudson carried Day on a shelf with her sheets and blankets over her to get through the many takes. According to Hudson, "I could have managed if only one take had been involved, but we went on endlessly, primarily because there was a bit actor who played a cop on the street, and as we passed him Doris' line was 'Officer, arrest this man,' and the cop was supposed to say to me, 'How you doing, Brad?' but that stupid actor kept calling me Rock (01:39:36). So back to our marks we went for another take and another and another. I'll bet we did that scene twenty times. That's why the shelf for Doris to sit on." Also, Hudson related that when he pulled Doris Day out of bed, he forgot to let go of her ankles "…with the result that my leading lady crashed to the floor.".