IMDb RATING
6.9/10
4.2K
YOUR RATING
To save his career, a writer for television advertising wants a famous actress to endorse a lipstick. In return, he has to pretend to be her new lover.To save his career, a writer for television advertising wants a famous actress to endorse a lipstick. In return, he has to pretend to be her new lover.To save his career, a writer for television advertising wants a famous actress to endorse a lipstick. In return, he has to pretend to be her new lover.
- Awards
- 1 win & 3 nominations
Robert Adler
- Mailman
- (uncredited)
Majel Barrett
- Shampoo Demonstrator
- (uncredited)
George Baxter
- Television Commentator
- (uncredited)
Eleanor Bender
- Woman
- (uncredited)
Tex Brodus
- Board Member
- (uncredited)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaRita Marlowe was named after actresses Rita Hayworth and Jean Harlow; the surname Marlowe is also an homage to 16th century playwright Christopher Marlowe, who wrote the 1604 drama "The Tragical History of Doctor Faustus", which loosely inspired the original play this film was based on.
- GoofsThe airplane window behind Jayne Mansfield's bed is large and square shaped, but when the plane is shown landing, all the windows on it are small and round.
- Quotes
Rock Hunter: Of course, the great thing about television is that it lets you see events live as they happen, like old movies from thirty years ago.
- Crazy creditsTony Randall plays the 20th Century Fox fanfare when the logo appears, saying it was in his contract to do so. He then introduces the film, but forgets the title and tries to remember it. Finally, his three female co-stars appear to announce the film's correct title.
- ConnectionsEdited into Down with Love (2003)
- SoundtracksYou Got It Made
by Bobby Troup
Performed by Georgia Carr (uncredited)
Also sung by an off-screen vocal group
Featured review
Advertising man makes publicity deal with voluptuous Hollywood star.
Hilarious spoof of the mammary-worshipping 1950's. The innuendos fly fast and furious so keep an ear cocked. Sure, viewers see much racier material now on TV. Still, the dialog's clever, the visuals inventive, and the cast superb. Director Tashlin's satiric eye is penetrating and years ahead, as the 1960's-like ending suggests.
That spoof of TV advertising is especially funny and still timely. Keep in mind that the TV medium was still new and so was making fun of its life-blood commercials. I love it when the jalopy crumbles under the salesman's boastful pitch. Corporations were also growing, laying out a new yardstick for success. So, Hunter's ecstatic delight with a symbolic key-to-the-washroom is not far off. And, of course, there's Rita's (Mansfield) low-hanging sex appeal, doubly emblematic of the time.
But Mansfield's also an adept comedienne. Catch how well she spoofs her own role. And were there two more droll characters than Randall and the underrated Henry Jones. Their little tete-a-tete's fairly ooze with actors' delight. Good also to see that great brassy dame Joan Blondell pick up a payday. (Catch the rather humorous shot of her coming rump-first out of the sleeping berth, which seems Tashlin's style, even with minor details.) Looks like someone also threw her the big dramatic grieving scene, maybe out of respect for her veteran status.
Anyway, the movie's a delightful glimpse of that strait-jacketed decade's more vulnerable absurdities, and in Technicolor's brightest candy box colors. Arguably, it's Tashlin's best.
Hilarious spoof of the mammary-worshipping 1950's. The innuendos fly fast and furious so keep an ear cocked. Sure, viewers see much racier material now on TV. Still, the dialog's clever, the visuals inventive, and the cast superb. Director Tashlin's satiric eye is penetrating and years ahead, as the 1960's-like ending suggests.
That spoof of TV advertising is especially funny and still timely. Keep in mind that the TV medium was still new and so was making fun of its life-blood commercials. I love it when the jalopy crumbles under the salesman's boastful pitch. Corporations were also growing, laying out a new yardstick for success. So, Hunter's ecstatic delight with a symbolic key-to-the-washroom is not far off. And, of course, there's Rita's (Mansfield) low-hanging sex appeal, doubly emblematic of the time.
But Mansfield's also an adept comedienne. Catch how well she spoofs her own role. And were there two more droll characters than Randall and the underrated Henry Jones. Their little tete-a-tete's fairly ooze with actors' delight. Good also to see that great brassy dame Joan Blondell pick up a payday. (Catch the rather humorous shot of her coming rump-first out of the sleeping berth, which seems Tashlin's style, even with minor details.) Looks like someone also threw her the big dramatic grieving scene, maybe out of respect for her veteran status.
Anyway, the movie's a delightful glimpse of that strait-jacketed decade's more vulnerable absurdities, and in Technicolor's brightest candy box colors. Arguably, it's Tashlin's best.
- dougdoepke
- Jan 30, 2011
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