Rock Hudson remains an unforgettable name in Hollywood history, synonymous with charm, charisma, and a captivating on-screen presence. While his career spanned various genres, it’s his romantic comedies, particularly those alongside the radiant Doris Day, that truly cemented his legendary status. In honor of what would have been Doris Day’s 99th birthday, let’s delve into the magic of Rock Hudson Movies, specifically focusing on the delightful trilogy he crafted with Day, a partnership that sparkled with genuine affection and comedic brilliance. These films not only showcased Hudson’s versatility but also highlighted the enduring appeal of classic Hollywood romance.
Their cinematic journey began with a shared party line and blossomed into a beloved on-screen duo. The three films they created together, from 1959 to 1964, are cornerstones of the romantic comedy genre, each offering a unique blend of wit, charm, and undeniable chemistry. Let’s explore these iconic Rock Hudson movies that continue to enchant audiences today: Pillow Talk, Lover Come Back, and Send Me No Flowers.
Pillow Talk (1959): The Spark That Ignited a Timeless Partnership
Directed by Michael Gordon, Pillow Talk introduced audiences to Jan Morrow (Doris Day), a sophisticated interior decorator, and Brad Allen (Rock Hudson), a carefree songwriter. Their initial connection is far from romantic, stemming from the frustration of sharing a telephone party line. Brad’s constant flirtatious phone calls disrupt Jan’s business, leading to humorous clashes. However, fate intervenes when Brad encounters Jan in person. Instantly smitten, he cleverly conceals his identity, adopting the persona of a Texan rancher named Rex Stetson to win her over. This deception sets the stage for a series of comedic misunderstandings and romantic entanglements, further complicated by their mutual friend Jonathan Forbes (Tony Randall), who adds another layer of delightful chaos.
Alt text: Doris Day and Rock Hudson laughing in a scene from Lover Come Back, showcasing their comedic chemistry in Rock Hudson movies.
Pillow Talk marked a turning point for both stars. Doris Day, while already a celebrated talent known for musicals and romantic comedies, was ready to expand beyond her earlier ingénue roles. She had demonstrated her dramatic range in films like Love Me or Leave Me and The Man Who Knew Too Much, but Pillow Talk solidified her image as a sophisticated and witty leading lady. For Rock Hudson, this film was even more transformative. Previously recognized for his dramatic roles in Douglas Sirk’s melodramas and his Oscar-nominated performance in Giant, Hudson was initially hesitant about comedy. He reportedly found the Pillow Talk script “too risqué,” fearing it might tarnish his masculine image. It was Doris Day herself who persuaded him to take on the role, a decision that would alter the course of his career and create one of Hollywood’s most beloved on-screen pairings.
The chemistry between Day and Hudson was immediate and palpable. Their off-screen camaraderie translated seamlessly to the screen, making their characters’ interactions feel genuine and hilarious. Hudson playfully nicknamed Day “Eunice,” finding the name inherently funny, while Day affectionately called him “Ernie,” quipping, “he’s certainly no Rock.” This playful dynamic infused Pillow Talk with an infectious energy. Day fondly recalled the set as “a picnic,” emphasizing the constant laughter and joy they shared. This genuine affection is evident in every scene, even when their characters are feigning annoyance with each other.
Pillow Talk became a phenomenal success, redefining both stars’ screen personas. Day was embraced as a glamorous sex symbol, while Hudson showcased his previously untapped comedic talent. The film dominated the box office, holding the number one spot for seven consecutive weeks and becoming the fifth highest-grossing film of 1959. Accolades followed, including a Golden Globe for Doris Day and Academy Award wins for Best Original Screenplay. Day also received her first and only Oscar nomination for Best Actress, further solidifying Pillow Talk‘s place in cinematic history as a landmark Rock Hudson movie.
Lover Come Back (1961): Replicating Success with a Familiar Formula
Two years after the triumph of Pillow Talk, Doris Day, Rock Hudson, and Tony Randall reunited for Lover Come Back, directed by Delbert Mann. This film cleverly echoed the successful formula of its predecessor, again casting Day and Hudson as adversaries whose initial animosity evolves into romance through humorous deception. Carol Templeton (Doris Day) and Jerry Webster (Rock Hudson) are rival advertising executives. Carol disapproves of Jerry’s unethical tactics, which involve using charm and alcohol to secure clients. She attempts to report him, but Jerry cleverly thwarts her efforts by hiring a nightclub performer, Rebel Davis (Edie Adams), to play a key role in a fictitious advertising campaign for a non-existent product.
A comical mix-up involving Jerry’s boss, Peter Ramsey (Tony Randall), results in the fake commercial airing, forcing Jerry to scramble to invent the advertised product, “VIP.” When Carol seeks the VIP account, she mistakes Jerry for the product’s inventor, leading him to once again adopt a false identity to win her over. This sets up a similar comedic premise to Pillow Talk, relying on mistaken identities and the charming interplay between Day and Hudson.
Alt text: A black and white still from Send Me No Flowers, featuring Doris Day and Rock Hudson in a worried embrace, highlighting their enduring partnership in Rock Hudson movies.
The on-set atmosphere of Lover Come Back mirrored the joyous experience of Pillow Talk. Day and Hudson’s infectious laughter continued, with Hudson recalling that their constant breaking into laughter even extended the shooting schedule. Despite these minor delays, Lover Come Back was well-received by critics and audiences alike, achieving box office success and further cementing the popularity of Rock Hudson movies. The film garnered another Golden Globe nomination for Tony Randall and an Oscar nomination for Best Original Screenplay, with Stanley Shapiro, a co-writer of Pillow Talk, returning to contribute to the script.
Lover Come Back arrived during the zenith of Doris Day’s career. In the early 1960s, following Pillow Talk, she starred in a string of successful comedies, including Please Don’t Eat the Daisies, That Touch of Mink with Cary Grant, and The Thrill of It All and Move Over, Darling, both with James Garner. Despite her immense popularity, the early 1960s also marked the beginning of a gradual shift in Hollywood, though not before Day and Hudson graced the screen together one last time.
Send Me No Flowers (1964): A Final, Slightly Darker, Romantic Comedy
Three years after Lover Come Back, Doris Day, Rock Hudson, and Tony Randall completed their trilogy with Send Me No Flowers, directed by Norman Jewison. This film offered a slightly different flavor compared to their previous collaborations. Unlike Pillow Talk and Lover Come Back, which were based on original screenplays, Send Me No Flowers was adapted from a play. Furthermore, Day and Hudson portrayed a married couple, George and Judy Kimball, navigating marital anxieties rather than the initial stages of romance.
George (Rock Hudson), a hypochondriac, mistakenly believes he is terminally ill after overhearing a doctor’s diagnosis meant for another patient. Believing he has only weeks to live, he enlists his friend Arnold Nash (Tony Randall) to find a new husband for Judy (Doris Day). However, George keeps his supposed terminal illness a secret from Judy, leading to misunderstandings and her suspicion that he is hiding an affair. This comedic premise, tinged with a darker undertone of mortality, marked a departure from the lighter, more farcical plots of their previous films.
Send Me No Flowers did not achieve the same level of success as Pillow Talk or Lover Come Back, receiving mixed reviews. Hudson himself expressed his dislike for the film, finding its humor about death distasteful. While opinions on the film are divided, Send Me No Flowers offers a different perspective on the Day-Hudson dynamic, placing them in a more established marital setting and exploring comedic situations arising from anxieties about life and death. Despite its mixed reception, it remains a significant entry in the canon of Rock Hudson movies, showcasing his and Day’s enduring chemistry even in a slightly different comedic context. The film also subtly hinted at the changing tastes of moviegoers in 1964, as the New Hollywood era began to dawn.
Beyond the Trilogy: An Enduring Friendship and Legacy
Although plans for a Pillow Talk sequel circulated shortly after its release, a cinematic reunion didn’t materialize for two decades. Tragically, their eventual reunion occurred under poignant circumstances. In 1985, a visibly ill Rock Hudson made his last public appearance on Doris Day’s new talk show, Doris Day’s Best Friends. This emotional reunion, broadcast on July 16th, 1985, became a bittersweet moment for fans worldwide. Hudson passed away less than three months later, on October 2nd, 1985. Despite his failing health during the filming of the show at Day’s home, Day cherished the opportunity to spend time with her dear friend. Her heartfelt words, “If there is a Heaven, I’m sure Rock Hudson is there because he was such a kind person,” speak volumes about their deep bond.
Even years after Hudson’s passing and shortly before her own death on May 13th, 2019, Doris Day fondly remembered her collaborations with Hudson. At a 60th-anniversary celebration of Pillow Talk in 2019, she shared, “I had such fun working with my pal, Rock. We laughed our way through three films we made together and remained great friends. I miss him.” These words underscore the genuine affection and lasting friendship that defined their partnership, both on and off-screen.
Alt text: Banner promoting the Doris Day Blogathon featuring Doris Day and Rock Hudson, celebrating their iconic status in classic Hollywood and Rock Hudson movies.
Doris Day’s illustrious career included collaborations with numerous leading men, some of whom she worked with even more frequently than Rock Hudson. Yet, the mere mention of either Doris Day or Rock Hudson often conjures images of them together. Their effortless compatibility and genuine fondness for each other created an undeniable on-screen chemistry that continues to captivate audiences. As Hudson himself eloquently stated, “I don’t really know what makes a movie team… I’d say, first of all, the two people have to truly like each other, as Doris and I did, for that shines through – the sparkle, the twinkle in the eye as the two people look at each other.” This “sparkle” is the essence of the magic found in Rock Hudson movies with Doris Day, a magic that ensures their films remain timeless treasures of Hollywood’s golden age.
In conclusion, Rock Hudson movies, particularly his collaborations with Doris Day, represent the pinnacle of romantic comedy. Their films are not just entertaining; they are a testament to the power of genuine chemistry and the enduring appeal of classic Hollywood charm. Exploring Pillow Talk, Lover Come Back, and Send Me No Flowers is not just watching movies; it’s experiencing the joy of a truly special on-screen partnership. Discover or rediscover the delightful world of Rock Hudson movies and let the laughter and romance brighten your day.
