That was an excellent one.

How sad is this?

Fanciful, disturbing, and wildly original, it announces the arrival of a fresh, bold voice in American cinema.

It's an amazing and heartbreaking story.

Delbert Mann, director of classic masterpieces Separate Tables, Dear Heart, and Desire Under the Elms was saddled with two silly Doris Day movies in the 1960s: Lover Come Back and That Touch of Mink. He wasn't by any means lousy when directing comedy, but his talents were wasted with the silly fluff pieces.Doris Day is paired with the debonair Cary Grant in this movie, and their differences are only magnified by the film. He's extremely classy yet direct; she's common and frazzled. When paired with other costars, like James Stewart and Clark Gable, Doris comes across as classy, but up against Cary Grant, she doesn't stand a chance. Since I wasn't able to see why he was interested in her, I wasn't really able to root for the romance. Another problem with this dated flick are the so-called scandalous jokes about premarital sex and feminine honor. By that point in her career, audiences expected Doris Day to act like a prim prude, but the movie just doesn't stand the test of time very well. It's supposed to be insulting for Cary Grant to give Doris an indecent proposal, and the mere thought of spending the night in a hotel with a man fills her with anxiety. Attitudes have changed for most people today, so unless you are looking for amusement in a cultural history book, you probably won't really like this movie.

A screwball-inflected US chick-flick pits a blonde bombshell Doris Day against a dapper Cary Grant, under the helm of the Oscar-winner director Delbert Mann. Day plays an NYC career woman Cathy Timberlake, embarks on a seesaw with a wealthy middle-aged man-about-town Philip Shayne (Grant), in their romantic entanglement which the man (naturally) wants to keep it casual but the woman (also naturally and morally correctly) doesn't want to relinquish her virginity before marriage. The meet-cute premise is blank beggar belief (the chauffeur of his Rolls Royce must be a sterling matchmaker), but magnificently, the film deploys pleasurable set pieces (whether it is a rash or under the influence of liquor) to sabotage Philip's advances and countervails the frivolousness with Cathy's oscillation, she is endowed with the dream of every wide-eyed bachelorette, courted by a minted knight in shining armor, only in her case, not for marriage but dalliance, and that is her conundrum.So, it goes without saying that the cut-the-Gordian-knot solution is to tie the knot, but for an incorrigible bachelor like Philip, Cathy, the destined ultimate victor, needs an operative ploy to jolt him into the action, which is, she pretends to go with another suitor (the unassuming John Astin) to a motel, to make Philip jealous, to make him fight for her, a golden rule to all the girls in the same fix: you must prove yourself to be desirable first and foremost, other virtues can wait afterwards. The dialogue is snappy and chirpily facetious as expected, Audrey Meadows is one sterling one- liner thrower as Cathy's roommate-and-best-friend Connie and Gig Young emerges as a repartee- prone right-handed man of Philip, blithely wallows in the gay innuendo, a light-hearted running gag. The two leads, both are too long-in-the-tooth for their characters nevertheless, are a charming match, Day, oozes with pizazz in her jauntiness and comic rhythm, whereas a genial Grant takes an essentially patronizing role with his de rigueur panache, a job only a bankable matinée idol can excel at. In the main, THAT TOUCH OF MINK is a good-natured, tongue-in-the-cheek rom-com, completely at ease with its fine amalgamation of cartoony decorousness and appealing retro-flair, no frippery, no particular insight neither.

at many other movies of period. the humor, few seductive scenes, sparkles of dialog and perfect cast are the best ingredients for a romantic comedy who use old victorious recipes. Carz Grant and Doris Day. that is all. because, far to be memorable, it is nice. in a special manner, with not bad jokes and with an easy story. like a spring rain. only entertainment and absurd situations but another proof about triumph of right cause in skin of war between sexes. the best part - the flavor of a lost age. the worst - impression than it is just another piece from a series game. but the charm of Grant, the sweetness of Daz are invincible. yesterday. and tomorrow. for each viewer in different way.

An out-of-work blonde beauty encounters a very wealthy diplomat and undergoes fears of re-loosing her virginity without the benefit of a wedding ring. It all starts when Cary Grant's car splatters Doris Day with mud, and his assistant Gig Young is drafted to apologize for him. Day demands that his boss apologize to her in person, but when she sees him, it is her doing the apologizing. Before she can break into "Que Sera Sera", he has her under her spell, and is making arrangements to fly her all over the world in an effort to seduce her. Day won't have any of that without a wedding ring and develops a rash in her nervous condition. Later, she tries to get over her fears by getting drunk before a planned seduction, but all she ends up with is an empty bottle used as a toe condom.In their only film together, Grant and Day make a good pair, but it is very apparent by a reference to Rock Hudson that Grant has taken over what may have been his part. As per usual in this period of his career, Grant gets a younger leading lady (Sophia Loren, Jayne Mansfield, Audrey Hepburn, and Leslie Caron were among the others), but his charm evaporates the age difference. There is a funny recurring gag involving Audrey Meadows (as Day's acerbic roommate) and Gig Young where Meadows, thinking that Young is the rogue out to deflower Ms. Day, keeps attacking him humorously, twice in a New York auto-mat (through the service window no less), and later in her apartment building. John Astin, as a sleazy unemployment center clerk, offers more laughs in his three scenes. "I've got TV dinners", he gleefully announces to the disgusted Ms. Day on their date. "We're having mackerel", he informs her before handing her a bottle of Muscatel. Meadows adds amusement in a role typical in most Doris Day films, having earlier been played by Eve Arden, Mary Wickes and Nancy Walker, and later by Rose Marie and Kaye Ballard on her TV series.An excellent screenplay, beautiful art direction and a stunning fashion show add to the film's charm. Ironically, this is one of the few films where Day does not sing at all, even over the credits.