This site is devoted to the love of classic movies. What qualifies as a classic film or movie is somewhat subjective. There are certain films which endure because they strike an emotional chord long after their initial release. For example, a movie like "Casablanca" (1942) would qualify as a classic under that definition.
The Man Who Knew Too
Much (1956) is an American mystery thriller directed by Alfred Hitchcock
and starring James Stewart and Doris Day. Other members of the cast include Brenda
de Banzie, Bernard Miles, Daniel Gelin, and Hillary Brooke. This was a remake
of Hitchcock’s 1934 film of The Man Who
Knew Too Much.
Americans Dr. Benjamin “Ben” McKenna (Stewart) and popular
singer Josephine “Jo” Conway (Day), and their young son Henry “Hank” McKenna
are vacation in French Morocco when they meet a Frenchman Louis Bernard (Gelin).
Jo is suspicious of him because of his prying questions and evasive answers.
When Bernard cancels a dinner date with Jo and Ben, only to
see him arrive at the restaurant where they are sharing a meal with a friendly
British couple Lucy (de Banzie) and
Edward Drayton (Miles).
Who is Louis Bernard and what does he have to do with Jo,
Ben, and their son Hank?
The Man Who Knew Too
Much trivia
Doris Day thought Hitchcock wasn’t pleased with her
performance because she didn’t think he was directing her. She confronted the
director and he said if she wasn’t giving him what he wanted, he would direct
her. Hitchcock was very pleased with Day’s performance.
Day didn’t wasn’t to record “Que Sera Sera” saying it was a forgettable
children’s song. Day’s recording of the song was a huge hit, won an Academy
Award, and became Day’s signature song.
The movie was 37 days behind schedule and over budget.
This was Stewart’s third collaboration with director Alfred
Hitchcock.
June Allyson, Lana Turner, Grace Kelly, Kim Novak, Jane
Russell, Gene Tierney, and Ava Gardner were all considered for the role of Jo.
Hitchcock saw Day in the film Storm
Warning (1951) and he was convinced she had the acting chops for Jo.
Click HERE to join the online discussion on July 22, 2024,
at 6:30 p.m. Central Time. Once you RSVP, you will receive an email invitation
with a link to join the meeting on Zoom.
Doris Day and James Stewart
Discussion questions
If you saw the original 1934 version, which did you enjoy
more?
Were Stewart and Day believable as a married couple?
Was Hitchcock right to trust his instincts in choosing Day
for the role of Jo?
Did you have any sympathy for Lucy Drayton? Do you think she
had any idea how far her husband would go regarding Henry?
That Touch of Mink
(1962) is an American romantic comedy film directed by Delbert Mann and starring
Cary Grant, Doris Day, Gig Young, and Audrey Meadows. Also in the cast are John
Astin, Richard Deacon, and Richard (Dick) Sargent. And as themselves, Yogi
Berra, Mickey Mantle, and Roger Maris.
Cathy Timberlake (Day) is an unemployed New York City career
woman. One day when she goes to the unemployment office she is harassed by
Beasley (Astin), the clerk who tries to get her into bed. After she leaves the
unemployment office, Philip Shayne (Grant) drives by in his chauffeur-driven
Rolls-Royce splashing her dress with mud while she’s on her way to a job
interview.
Philip wants to make it up to Cathy so he proposes that he become
her lover, an offer she wasn’t expecting since she was holding out for
marriage. What will Cathy do? And how will Philip react?
Delbert Mann
(1920 – 2007) was an American television and film director. He won the Best
Director Academy Award for his first film, Marty
(1955). Other Mann films include The
Bachelor Party (1957), Separate
Tables (1958), Middle of the Night (1959),
Lover Come Back (1961), and Dear Heart (1964). Mann still worked in
television, directing several movies including Heidi (1968), David
Copperfield (1969), and Jane Eyre (1970).
Cary Grant (1904 – 1986) was an English-born American actor who
became one of the most popular leading men in film history. Grant started his
career in vaudeville before heading to Hollywood. He became a superstar in the
late 1930s in a series of screwball comedies including The Awful Truth (1937) with Irene Dunne. He was a memorable C. K.
Dexter Haven in The Philadelphia Story (1940) opposite Katharine Hepburn and James Stewart. He
received two Best Actor nominations for Penny Serenade (1941) and None but the Lonely Hearts (1944). Other classic Grant films include Gunga Din (1939), Only Angels Have Wings (1939), and Arsenic and Old Lace (1944). He made four popular films with Alfred Hitchcock: Suspicion (1941), Notorious (1946), To Catch a Thief (1955), and North by Northwest (1959). He was presented with an Honorary Oscar at the
42nd Academy Awards in 1970.
Doris Day (1922 – 2019) was an American actress and singer. She began
her career as a big band singer. With Les Brown and His Band of Renown, she had
two number one hits with “Sentimental Journey” and “My Dreams Are Getting
Better All the Time.” She made her film debut in 1948 with her role in Romance on the High Seas (1948). Day
became one of the biggest box office stars of all time starring in films like Calamity Jane (1953), The Man Who Knew Too Much (1956), and Pillow Talk (1959) for which she
received her only Academy Award nomination for Best Actress. Pillow Talk with Rock Hudson was such a
hit that they co-starred in two other successful comedies: Lover Come Back (1961) and Send
Me No Flowers (1964). Other Day movies include Love Me or Leave Me (1955), The
Pajama Game (1957), The Thrill of it
All (1962) and Move Over Darling (1962).
That Touch of Mink trivia
Cary Grant was a big fan of The Honeymooners and Audrey Meadows in
particular. He was responsible for her getting the role of Connie.
Cary Grant was involved with
many details of the film’s production including set design and some of Doris
Day’s wardrobe.
Rock Hudson thought he was
going to be cast as Philip, but director Mann wanted Grant.
Doris Day was 39 at the time
of filming. Her character was supposed to be in her twenties. Grant was older
than his character was supposed to be as well. Grant was 57.
Day said that Grant was
professional and courteous but remote.
This was the fourth highest
grossing film of 1962.
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Discussion questions
This was the only pairing
between Grant and Day; do you think they had good chemistry together?
This film was made in the
early 1960s. Do you think a film like this could be made today? Who would you
cast in the leads?
Was Day believable as an
out-of-work career woman?
What advice would you have
given Day’s character regarding her relationship with Grant?
Do you think the film would have been different or better with Rock Hudson?
Did you have a favorite
scene or piece of dialogue?
For several weekends now, The Music Box Theatre, 3733 N. Southport Ave., Chicago, has been screening classic Doris Day movies. The series is titled “The Inimitable Doris Day” and the films have been screened, for the most part on Saturday mornings at 11:30 a.m.
Saturday, November 2, they’ll be screening one of Day’s most famous roles as Jan Morrow in Pillow Talk (1959). The film costarring Rock Hudson, was a tremendous box office hit, earning Day her only Academy Award Best Actress nomination. The picture did wonders for both Day and Hudson’s careers and they made two more successful comedies together: Lover Come Back (1961) and Send Me No Flowers (1964). The film also stars Tony Randall and Thelma Ritter. Randall also costars in Lover Come Back and Send Me No Flowers.
Pillow Talk demonstrates Day’s ability to tackle any movie genre with ease. She’s a natural comic actress and she’s a knockout in the clothes designed for her by Jean Louis.
Lover Come Back will be screened on November 23 and 24 at 11:30 a.m. For more details, please visit the Music Box Web site.
When I was a kid, I remember my dad playing Doris Day records on our stereo system (remember those?). Not only was Day one of my dad’s favorite vocalists, but she was his favorite movie star. I can still remember the album covers of Day’s albums and the songs.
This was a popular recording in our house.
When I was still in single digits, I could sing along with “Pillow Talk,” having no clue what that song was about, and “Everybody Loves a Lover,” ditto. But Day’s voice was clear, true, and memorable. When I got a little bit older, I realized that Day made movies too! Some of our family favorites were Midnight Lace (1960), The Thrill of it All, Move Over Darling (both 1963), The Glass Bottom Boat (1966) and With Six You Get Eggroll (1968).
When I really started getting into classic movies, I realized the depth of Day’s talent. Early in her career, she was more than able to hold her own against the more experienced Kirk Douglas and Lauren Bacall in Young Man with a Horn (1950), which was her first dramatic role. Then there was Calamity Jane (1953), a rip-roaring musical and Love Me or Leave Me (1955), a biographical musical based on the life of Ruth Etting. One of her best dramatic performances was as Josephine “Jo” Conway McKenna in Alfred Hitchcock’s The Man Who Knew Too Much (1956) opposite James Stewart.
Her motion picture debut
What set Day apart was the honesty in all her performances be it comedy or drama. She always came across as natural in her singing, acting, and dancing (yes, she was a triple threat). Somehow that honesty connected with fans in a way few other stars were able to do. Even though she basically retired when The Doris Day Show ended in 1973, the public never forgot her. Her legend grew with the passing decades and her fan base was a big as ever.
Day was a true entertainment legend. She was the top box office star for four years, a feat equaled by only eight others. Her recordings sold in the millions, including her two signature songs: “Secret Love” and “Que Sera, Sera.” Her passing at age 97 is sad, but she left us with so much to enjoy. Her talent will endure for generations to come.
The Essential Doris Day in films Romance on the High Seas (1948) –her feature film debut Tea for Two (1950) Calamity Jane (1953) Love Me or Leave Me (1955) The Man Who Knew Too Much (1956) The Pajama Game (1957) Teacher’s Pet (1958) Pillow Talk (1959) Lover Come Back (1961) That Touch of Mink (1962) The Thrill of It All (1963) Move Over Darling (1963) The Glass Bottom Boat (1966) With Six You Get Eggroll (1968)
Hitchcock in the 50s: The Man Who Knew Too Much Where: The Venue 1550 at the Daystar Center, 1550 S. State Street, Chicago, IL When: November 10, 2015 Time: 6:30 p.m. Hosted by Stephen Reginald
The Man Who Knew Too Much (1956) James Stewart and Doris Day star as Ben and Jo McKenna, an American couple on vacation in Morocco with their young son, Hank. When their son is kidnapped, the McKenna’s are caught up in a web of international intrigue that tests their courage and resolve. Will they be able to save their son? This remake of Alfred Hitchcock’s 1934 film, is a lush production featuring a thrilling climax at London’s famed Royal Albert Hall.
Have some Joe and Enjoy the Show!
Before the movie, grab a cup of coffee from Overflow Coffee Bar, located within the Daystar Center. You can bring food and beverages into the auditorium; we even have small tables set up next to some of the seats. General Admission: $5 Students and Senior Citizens: $3.
Join the Chicago Film club; join the discussion
Once a month we screen a classic film and have a brief discussion afterward. For more information, including how to join (it’s free), click here. The Venue 1550 is easily accessible by the CTA. Please visit Transit Chicago for more information on transportation options.
Alfred Hitchcock directing Doris Day on location in London
Stephen Reginald is a freelance writer and editor. He has worked at various positions within the publishing industry for over 25 years. Most recently he was executive editor for McGraw-Hill’s The Learning Group Division. A long-time amateur student of film, Reginald hosts “Chicago Film Club,” a monthly movie event held in the South Loop, for the past two years. Reginald has also taught several adult education film classes at Facets Film School, Chicago.
Daystar Center located at 1550 S. State St. works through a grassroots network of collaborations and partnerships with individuals and other nonprofit organizations. Through this web, they’re able to provide educational, cultural, and civic activities that enrich and empower their clients, guests, and community members. To learn more about classes and events offered at the Daystar Center, please visit their Web site.
Day four of the TCM Film Festival was bittersweet. Sweet because there were some great movies on the schedule and bitter because I knew the festival was soon coming to an end. As usual, several movies were running on or around the same time, so tough decisions had to be made. Once again I tried to see movies I hadn’t seen before or in a long time. I pretty much fulfilled that goal. My first movie was screening at 10 a.m. so I got to take my time, enjoy my breakfast, and leisurely make my way to the Chinese Multiplex. The first movie I saw turned out to be my most enjoyable experience of the festival.
Calamity Jane (1953) was a movie I saw once on my Kindle Fire over a year ago. Seeing it on the big screen with an enthusiastic audience was a treat I hadn’t expected. Cari Beauchamp, the award-winning writer and documentary filmmaker, introduced the film. Of course the history is all wrong; there isn’t that much we know for certain about Calamity Jane (Doris Day) and her relationship with Wild Bill Hickok (Howard Keel). We’re not even sure if they knew each other at all, but so what; it’s a movie. Beauchamp encouraged those in the audience to go to the Academy Award Web site and petition for a special Oscar for Day. She certainly deserves it, as the morning crowd at the Chinese Multi-Plex would attest. The fun started as soon as the credits began to roll. When Day’s name came on the screen, the audience broke out in applause. Keel’s name was also welcomed with a good round of clapping as was the rest of the cast and director David Butler. Each musical number was a joy to watch, with each followed by more clapping and hooting. The world premiere restoration was beautiful. The film was an amazing showcase for Day’s singing (what a voice!), dancing, and comedic acting and timing. The songs by Sammy Fain and Paul Francis Webster were catchy and the Oscar-winning “Secret Love” became one of Day’s signature tunes. After the movie concluded, I was humming the “Deadwood Stage” for the next two days all the way back to Chi-caw-gee!
After Calamity Jane, it was on line for Reign of Terror (1949), a movie I don’t think I ever heard of before. It was an unusual combination of historical drama with a film noir feel. The movie was introduced by Eddie Muller, founder and president of the Film Noir Foundation. Reign of Terror is an interesting tale set during the political struggle after the French Revolution. The machinations of Maximilien Robespierre (Richard Basehart) and his attempt to recover his “black book,” an enemies list that is the “McGuffin” and sets this film in motion. Charles D’Aubigny (Robert Cummings) who is impersonating Duval, a man he killed, who Robespierre and his right-hand man Fouche have never met before, has stolen the black book. Along the way, D’Aubigny meets Madelon (a ravishing Arlene Dahl) a friend of the Revolution who assists D’Aubigny expose Robespierre for the scoundrel he truly is. The low-budget production looks first-class thanks to the talent involved, including director Anthony Mann, writers Aeneas MacKenzie and Philip Yordan, and producer William Cameron Menzies. Others in the cast include the great Norman Lloyd, Richard Hart and Beulah Bondi. I found the film to be fast-paced and exciting. It was almost like an expanded version of the M-G-M serial series, The Passing Parade. And that’s a compliment!
Steward, Hussey, John Howard, Hepburn, and Grant
Next on the agenda was The Philadelphia Story (1940). While not a big fan of this classic (blasphemy, I know), seeing it on the big screen at the Chinese Theater (my first time in that movie palace) was a treat. Ileana Douglas and Madeline Stowe introduced the film. Stowe a big fan of classic romantic comedies, rattled off a string of favorites, including George Stevens’s The More The Merrier, and I thought, this woman has great taste (who knew?). Cary Grant (Dexter), Katherine Hepburn (Tracy), and James Stewart (Macauly “Mike”) all looked great on the big screen. It was also nice to see Ruth Hussey in her Academy Award-nominated performance as Elizabeth Imbrie, Mike’s coworker and sometime girlfriend. The plot is well known so I won’t go into that. The production was wonderful, even though not a single frame was shot anywhere near Philadelphia. Virginia Wiedler as Hepburn’s younger sister Dinah practically steals the movie; she’s even better than I remembered (it must be that big screen). During the end of the film, Kristina had to leave to catch her flight back to Canada. On the way out she ran into Ben Mankiewicz and actually talked with him for a few minutes. A nice consolation and a great memory for my friend.
Sophia Loren, Marriage Italian Style
Next I was back on line at the Chinese Theater to see Sophia Loren in Marriage Italian Style (1964). I had never seen this film before, but the real attraction for me was to see Loren in the flesh. She was interviewed about the film by Ben Mankiewicz before the screening. She looked amazing (she’s 80!?) and seemed very happy to be at the festival and was very appreciative of the audience. She talked about making the movie with frequent costar Marcello Mastroianni and director Vittorio De Sica. For me the movie was somewhat anticlimactic. There were parts that were enjoyable and Loren and Mastroianni were wonderful, but overall it’s not a film I need to see again. It was enough to see Loren in person, a once-in-a-lifetime opportunity.
After the film it was back to the Roosevelt Hotel to say goodbye
Well it was time for bed and getting up early for the flight back to Chicago or is that Chi-caw-gee!
This was my first time at the TCM film festival. I had never been to a film festival before so the experience was completely new to me. It was both exciting and overwhelming, but great fun. If I have the good fortune to attend again next year, I’ll be better prepared. Look for my next blog post: Tips for First-Timers coming soon.
Taylor trained as a commercial artist, but got the acting bug after seeing Laurence Olivier on the stage in Australia while he was on tour.
The actor came to America to pursue his career and was signed to a long-term contract with M-G-M. During this period he had supporting roles in A Catered Affair, Raintree County, and Giant (sometimes billed as Rodney Taylor).
His big break came when he was cast in the George Pal production of H.G. Wells’s classic The Time Machine (1960). Another great part came his way in 1963 when director Alfred Hitchcock cast Taylor as Mitch Brenner in the thriller The Birds (1963), costarring Hitchcock discovery ‘Tipi’ Hedren, Suzanne Pleshette, and Jessica Tandy. Other starring roles would come Taylor’s way including Sunday in New York (1963), costarring Jane Fonda and Cliff Robertson, the all-star The V.I.P.s, and the John Ford production of Young Cassidy (1965), costarring Julie Christie and Maggie Smith. In the late 1960s, Taylor costarred with Doris Day in two popular film comedies: Do Not Disturb (1965) and The Glass Bottom Boat (1966). He was top-billed in the all-star production of the Arthur Hailey bestseller Hotel (1967).
In the 1970s, Taylor had roles in television, including the lead in Bearcats! From 1988 to 1990 Taylor had a recurring role on Falcon Crest starring Jane Wyman. Taylor’s last major film role was a cameo as Winston Churchill in Quentin Tarantino’s Inglorious Basterds (2009).
Taylor would have celebrated his 85th birthday on Sunday January 11.
