That Touch of Mink was made at the height of Doris Day's reemergence as a comedy star and at some point it seemed only natural that she be teamed with the King of Sophisticated Comedy, Cary Grant. Too bad a better property wasn't found for either of their talents.
Not that they don't have their moments, but basically both of the stars just go through the motions doing material they've both done before.
Cary's a rich sophisticated businessman and probably the quintessence of a phrase most popular at that time, a limousine liberal. As he's going to his office he drives through a puddle and a big splash hits Doris Day. He's sincerely troubled by the whole thing, but by mere coincidence he spots here from his office window going into the Automat where Day's roommate and confidante Audrey Meadows works.
He sends his assistant Gig Young after here and that starts an involved courtship ritual.
The really good performances here come from the supporting cast. Gig Young and Tony Randall at this point were playing interchangeable roles as the hero's best friend. Young has some funny moments in that selfsame Automat where he's being victimized by Meadows.
If That Touch of Mink were made today, Audrey Meadows's part would have been more explicitly lesbian. She's full of all kinds of advice for Day, but notice she's older with no husband of her own or mention of one in the past.
But the guy who steals this film and dominates every scene he's in is the pre-Gomez Adams John Astin. He's Mr. Beazley who works at the Unemployment office and he's obviously been watching too many old films because he thinks he's Cary Grant. We meet him hitting on Doris Day as she goes for her unemployment check.
And later when Day tries to get Cary jealous by going off to a motel in New Jersey with the most repulsive man she knows, Astin, ever the charmer, hits her with that never to be forgotten line, "Muscatel for my lady."
Who could possibly resist that?
Not that they don't have their moments, but basically both of the stars just go through the motions doing material they've both done before.
Cary's a rich sophisticated businessman and probably the quintessence of a phrase most popular at that time, a limousine liberal. As he's going to his office he drives through a puddle and a big splash hits Doris Day. He's sincerely troubled by the whole thing, but by mere coincidence he spots here from his office window going into the Automat where Day's roommate and confidante Audrey Meadows works.
He sends his assistant Gig Young after here and that starts an involved courtship ritual.
The really good performances here come from the supporting cast. Gig Young and Tony Randall at this point were playing interchangeable roles as the hero's best friend. Young has some funny moments in that selfsame Automat where he's being victimized by Meadows.
If That Touch of Mink were made today, Audrey Meadows's part would have been more explicitly lesbian. She's full of all kinds of advice for Day, but notice she's older with no husband of her own or mention of one in the past.
But the guy who steals this film and dominates every scene he's in is the pre-Gomez Adams John Astin. He's Mr. Beazley who works at the Unemployment office and he's obviously been watching too many old films because he thinks he's Cary Grant. We meet him hitting on Doris Day as she goes for her unemployment check.
And later when Day tries to get Cary jealous by going off to a motel in New Jersey with the most repulsive man she knows, Astin, ever the charmer, hits her with that never to be forgotten line, "Muscatel for my lady."
Who could possibly resist that?