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Lover Come Back
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Directed by Delbert Mann.
Although not as well known as Pillow Talk (1959), this romantic-comedy pairing of stars Rock Hudson and Doris Day earned an Oscar nomination for Best Screenplay. Hudson stars as Jerry Webster, a Madison Avenue advertising executive who has achieved success not through hard work or intelligence but by wining and dining his big-shot clients, even setting them up on dates with attractive girls. Jerry's equal at a rival agency is Carol Templeton (Day). Although she has never met him, Carol is disgusted by Jerry's unethical antics and reports him to the Ad Council. Jerry avoids trouble with his usual aplomb, sending a comely chorus girl, Rebel Davis (Edie Adams), to seduce the council members. When Jerry subsequently makes Rebel the star of television commercials for a nonexistent product called VIP, the spots are accidentally aired by perplexed company president Pete Ramsey (Tony Randall). Carol becomes determined to win the VIP account away from Jerry, but after she discovers the truth, she again reports him to the Ad Council. Jerry skirts out of trouble a second time by producing VIP, an intoxicating candy quickly whipped up by company research scientist Linus Tyler (Jack Kruschen). VIP's extreme effects lead to a one-night stand between bitter rivals Jerry and Carol, with unexpected consequences. ~ Karl Williams, All Movie Guide
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Review by All Movie Guide
All Movie Guide
liked it.
The second of their signature trio of romantic comedies, Lover Come Back (1961) mixes the sexual sparring between Doris Day's ethical career woman Carol and Rock Hudson's scheming Lothario Jerry with a lightly humorous satire of the advertising business. Taking on the ultimate 1950s profession, and 1950s sexual mores, Jerry's efforts to outwit "undersexed" (but divinely dressed) business competitor Carol with an accidentally successful ad campaign for non-existent product VIP and an identity subterfuge send up both consumer desire and male-female sex roles. As with Pillow Talk (1959), the 1980s revelation of Hudson's sexuality adds an extra edge to Jerry's feigned sexual innocence and fears of impotence (not to mention his walk through a lobby wearing only a woman's fur coat), but the joke's already on the notion that men always pursue It and women shouldn't, as Day muses in song, Surrender. Tony Randall's worthless advertising scion is the ultimate example of both corporate vacuity and privileged weakness, as he unknowingly sets Jerry's VIP campaign in motion to assert his negligible power. Snappily directed by Delbert Mann, Lover Come Back became another Day-Hudson hit, and earned an Oscar nomination for Stanley Shapiro and Paul Henning's screenplay. ~ Lucia Bozzola, All Movie Guide
 



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