The second- and best- of three Doris Day/Rock Hudson comedies which now seem to define an image of conservative America between the Eisenhower boom and the permissive society. An industrious, straight-arrow female designer attempts to take down a rival advertising executive/playboy who gets his contracts by offering bachelor friendly add ons.
Like Pillow Talk (1959), it's a comedy of mistaken identity as Rock pretends to be a sexually naive nerd in order to sabotage Doris' plans to ruin him. And it's the usual candyfloss about sexual propriety as the virginal career woman truly imagines sex outside marriage is a fate worth than death. Though naturally, it's ok for the man to play around...
All the Day-Hudson pictures benefit from Tony Randall in support, here as Rock's skittish Madison Avenue boss. The main interest is the period feel of Manhattan in the golden age of advertising. Plus the upmarket locations, the chic fashions, the bachelor pad set decor and the dayglo colour scheme. As was the vogue, DD sings the title song over animated credits.
This was once a date night picture for middle class married couples; predictable, but not without wit. Now it's mainly nostalgia. What's most unexpected is all this froth is directed by Delbert Mann, who came from tv and is known for edgy social realism. Maybe in 1961, the studio thought portraying a woman as a competent self-reliant professional was avant-garde!