Doris Day segued from a successful series of comedy
smashes into this, producer Ross Hunter's take on a Hitchcock-style thriller, "Midnight Lace".
The pair who had teamed so well in 1959 with "Pillow Talk", netting Day
an Oscar nomination as best Actress, once again satisfied the masses
with this slightly improbable but very engrossing and glossy suspenser.
It was one of the big hits during the waning months of 1960.
The story about an American Heiress, Kit Preston, newly wed
to Rex Harrison and taunted by mysterious threats from an unknown person(s),
has been done before. Is she crazy? Is she only imagining these taunts
as a means of garnering more attention from an unattentive husband or could
there actually be someone out to kill her? While a film buff may be able
to see some of the holes in the fabric of the story and guess the ending
before the final reel, most moviegoers will enjoy the fast-paced ride they
are taken on and will easily get caught up in the events unfolding.
Doris Day in a queue shortly before she is pushed in front
of an approaching bus.
Doris Day is outstanding as Kit. She again proves her talent
as an actress of depth and remarkable skill. She conveys her mounting fears
with virtuoso ability, never going over the top into "hamminess". The production
reportedly had to be briefly shut down after an especially harrowing scene
in which Miss Day gave too much to the proceedings. She should have received
a well-deserved Oscar nod.
Rex Harrison as her husband Tony is suave and dapper, while Myrna Loy
is a delight as Day's Aunt Bea. Mix in Herbert Marshall, Roddy McDowell,
John Gavin as well as John Williams, and you have the recipe for high suspense
set in lavish surroundings indicative of Hunter's unique film style. Irene's
stunning wardrobe, designed for Miss Day, was deservedly nominated for
an Academy Award.
If you've only seen Doris Day in her well-loved comedies or earlier musical
treats, try "Midnight Lace" which capably displays another side to the
multi-talented superstar. Paul Brogan, October
2000
This film was chosen by Ross Hunter,
the producer of her hit comedy, “Pillow Talk.” Playing
the role in the film had a great effect on her physically. As the expert she is, she tried to develop
a mental image of the woman she was playing and the part became very real
to her. She said, “I became that woman to the best of my ability.”
“To create the fear which the character I played had to project,
I re-created the fear in myself which I had once felt in my own life. I
relived it. It was painful and upsetting.” In one particular point
in the emotional climax of the film, Doris has a very dramatic scene on
a descending staircase. She says, “I wasn’t acting hysterical,
I was hysterical, so at the end of the scene I collapsed in a real faint.” Production
of the film had to be suspended for a few days.
Working with Rex Harrison was a great experience. She said
Rex was a “darling,
witty man…with a light sense of humor (that) helped keep my
sanity balance throughout the rough part of the picture.”
She did love the marvelous wardrobe provided by Irene whom
Doris describes as “one of my dearest friends” and “one
of the most talented designers in Hollywood.” The film was nominated
for an Academy Award for Best Costume Design. - Derald Hendry
Doris with husband Martin Melcher, left, and producer
Ross Hunter during filming of "Midnight
Lace".
Box Office Magazine Review:
In view of the kudos that have been
cascading upon Doris Day and considering the fiscal achievements of
her past two pictures, here hotter-than-a-four-dollar-shotgun name
at the head of the cast it in itself iron-bound insurance that Universal-International’s “Midnight
Lace” will establish records as one of the season’s top
grossers.
Her performance is expectedly excellent and reaffirms the ranking actress’ extraordinary
versatility inasmuch as herein she essays an exacting dramatic role-a distinct
change of pace from the lithesome, comedy romps of that pair of predecessors.
Such delineation, contributions from an impressive, name-heavy supporting
cast and slick-as-a-greased-pig production values considerably gloss the
photoplay’s one weakness, a screenplay that falls considerably
short of the high standards indicated by so impressive an aggregation
of talent.
La Day portrays a beautiful, carefree American heiress
happily married to an English industrial tycoon. She is driven to near
insanity by a series of mysterious, filth-laden telephone calls threatening
her life and subsequent incidents (which) establish that the threats
are more than machinations of a moronic crank. Her husband.. is portrayed
with typical éclat and
suavity by Rex Harrison. Also rating mention for their histrionic donations
are ageless Myrna Loy, cast as Doris’ wealthy fun-seeking aunt
and last tie to sanity; and John Gavin, a construction engineer who
saves her life in a hair-raising climax and expose.
The photoplay’s productional mountings are breath-taking with accent
on femme wardrobes, particularly Miss Day’s, which will set distaff
ticket-buyers drooling. The same top quality obtains as concerns every
other physical property-sets, backgrounds, Eastman Color photography and,
most especially, the musical score composed by Frank Skinner and supervised
by Joseph Gershenson. While Miss Day, a contemporary ranking songstress,
sings nary a note, two special numbers, “Midnight Lace” and “What
Does a Woman Do?” were written for the film and woven into the
score. Further, there is a ballet sequence, superbly stage and performed,
which will be a bonus package for the vultures for culture among the
theatre-jamming audiences the feature is certain to attract.
For the superiority of these productional values, credit
goes to Ross Hunter and Martin Melcher (the latter being Miss Day’s
husband) who share producer credit. In fact, the picture was made as
a Ross Hunter-Arwin Production venture, the latter being the independent
company owned by the Melchers.
As to the feature’s one weakness, the story. It was scripted by
Ivan Goff and Ben Roberts from Janet Green’s British play, “Matilda
Shouted Fire.” Its shortcoming lies in obvious contrivance which
manifests itself throughout and reaches a crescendo in the solve-all, abrupt
climax that leaves more loose ends than are to be expected in so costly
and opulently cast a venture. Reviewers were handed a message from the
studio’s drum-beaters urging them not to reveal its “unique
plot development” lest such revelation impair the “enjoyment
of ‘Midnight Lace’ for those who may see it later.” It
is in that plot development that the infirmity is to be found. Scriveners
Goff and Roberts were apparently so eager to make their screenplay
so mysterious and their climax so surprising that they adhered to the
technique of hackneyed whodunits in which suspicion is directed at
everyone except the real culprit.
But, as above stated, “Lace” has so much to
offer that will cover its literary frailties that any theatre can book
it with complete confidence of satisfied customers and bulging cash drawers.
Reviewed by Ivan Spear. Running Time 108minutes. In Eastman
Color.
Doris Day, Rex Harrison, John Gavin,.Myrna Loy,. Roddy McDowall, Herbert
Marshall, Natasha Parry, John Williams, Hermione Baddley.
