User reviews

Very cute movie. It was very enjoyable and put a smile on my face. It's obviously a bit dated, I doubt there are many young, independant working women that swoon over losing their virginity these days. I even doubt it was quite like that back in 1962. It's still very sweet and it would make a good date movie.

I should also mention the movie looks beautiful. Movies from this era tend to look great. The quality of production in movies seriously declined the closer Hollywood got to the 70's.

This was probably the fourth or fifth early sixties sexual innuendo comedy that I've caught up on during the 2020, now 2021 pandemic. By caught up, I mean I've been trying to screen one film a night, that I've been meaning to watch for years, from my eight thousand plus video collection. The script was funny, the actors were good and the direction was fine. I just had a couple of problems.

Cary Grant was an entity onto himself in not less than ten brilliant, classic comedies of the late thirties and early forties. He was a suave middle aged leading man in Hitchcock suspense films of the forties and fifties. By the early sixties, while he was still sophisticated and sharp, he didn't quite have it as the romantic comedy Lothario. And Doris Day, at age forty, while still quite beautiful, charming and witty, didn't convince me that she was the nervous, starry eyed young virgin who was living the lifestyle of a twenty two year old, trying to find herself.

The original idea for the Mary Tyler Moore show had Mary Richards newly divorced and starting over in a new city. They decided to change it and have her fresh out of a long term relationship. She was thirty years old and they knew the idea that she was still a naive virgin wouldn't quite fly. If Doris' character in this one was divorced from the only man she'd ever been with, and nervous and anxious with someone new, it would have worked for me. A forty year old woman, living in a tiny apartment with a roommate, working at temp jobs and staying in a room with a man for the first time was less than credible. Yes, women like this exist and I've met them. They're usually not the type that a suave billionaire playboy who looks like Cary Grant would do an immediate backflip over.

Okay, now I sound like a sexist and an ageist. The fact is, a forty year old virgin, male or female, isn't usually the most sought after partner in New York. To leave on a positive note, Audrey Meadows was perfectly cast as the wise and cynical best friend. I wish she had done more films but I guess I should be happy that Alice Kramden is forever a part of my DNA.

A surprisingly funny film with some very good comedic performances. In particular, a wonderfully, gleefully neurotic Gig Young as Cary Grant's secretary. Love the scene when he asks his secretary to let down her hair and then take off her glasses. She remains unattractive. "Funny, he says, it always works in the movies." And what a great and bizarre first name Gig is.

Audrey Meadows is very good as well, as Doris Day's cynical roommate, and John Astin (of "The Addams Family" fame) nearly steals the show as a smarmy Government clerk. "Muscatel, for my lady's pleasure." Sure the plot is dated and predictable, but everything is handled with a light touch and the movie is very watchable. Love the scenes in the automat simply for nostaglia's sake.

Funniest moment. Gig young getting slapped by a hand that emerges from the tiny automat window.

While going to receive her unemployment paycheck and to a job interview later, the coat of the naive Cathy Timberlake (Doris Day) is splashed with mud by the Rolls Royce of the millionaire businessman Philip Shayne (Cary Grant). Later he sees her going to have lunch from his office and sends his financial adviser Roger (Gig Young) to give some money to Cathy to compensate her loss. Cathy feels offended with the offer and she goes to Philip's office with the intention of throwing the money on his face. However, when she sees the handsome Philip, she immediately falls in love with him. They date and Cathy expects that Philip proposes to marry her, but he does not have this intention.

"That Touch of Mink" is a silly and naive but funny romantic comedy. The premise is dumb and is irritating to see Cathy buying expensive clothing and traveling to Bermudas with a playboy expecting to give nothing in return. But the comedy has many funny situations, like the just married couple in the motel or Roger being mistakenly taken as Philip in Cathy's apartment building. My vote is seven.

Title (Brazil): "Carícias de Luxo" ("Caresses of Luxury")

This is a movie that I can enjoy watching over and over again, and every time there's something new to notice. It would be a difficult movie to re-make today, morality having changed the way it has, but as a slice of history, it works well. The script is really well-written, with some great one-liners and sharp dialogue, and who can resist Cary Grant? A hot drink, a plate of cookies, and "That Touch of Mink" add up to a very pleasant way to pass an evening.

Doris Day and Cary Grant were my parents favorites as well as mine. To see That Touch Of Mink in 2018 is a bit of a cringing exercise. Two mega stars in their, let's say, mature years, specially Grant, behaving like adolescents it's a bit hard to take. Doris's character shares an apartment with Audrey Meadows - who I believe also needs some professional attention - they sleep in little twin beds. So bizarre to see. But and here is were the Doris Day mystery resides. I believed her unbelievable character, one hundred per cent. Doris Day was 39, Cary Grant 58 but everything I saw in Doris Days was true. That's why, I presume, this is a favorite comedy of the Coen brothers. My niece, who is 15, saw the film with me and her comment was that Cary Grant's and Gig Young's characters should be arrested. Yes, 2018 is not 1962 and films are socio-historical documents.

I would not place 'Touch Of Mink' with the likes of Tarkovsky's films, but I will say that it is a beautifully-filmed fantasy that is really titillatingly funny in a genuinely charming way. Even the most serious film viewers cannot deny the smiles that are inevitable when Doris is on the screen. The film's story evolves when two lives are randomly thrown together - that of a hard-working waitress and a rich bachelor playboy. What ensues is delicious full-on Technicolor romantic comedy.

There are also some classic moments: The hand emerging from the 'atuomatic' restaurant where Doris and Audrey work to smack the face of a particularly offending male patron (those where the days when a woman could smack a man in a film and get great laughs...) - Doris's fantasy sequence as she's driven through the streets in a bed - with a man - and they're NOT MARRIED! It's a harmless, light film that still has such a centered beauty and sophistication that shows off the bright side of Hollywood-produced films of that era. As previous posters have commented, HD Digital video just cannot produce the same wonderful hues of celluloid - and there is something irresistible about Ms. Day in this film - her character's innocence is rather genuine, as is her male lead (Cary Grant) who obviously loves her for his ability to win her over with gifts and his own brand of charm.

I think it's important to have a second look at many of Doris Day's films in the lights of the 21st century. Touch of Mink, in particular, holds a dream-bubble of blissful idealism and moral irony that has incredible resonance today, when so many have found that we must reexamine our attitudes toward casual sex. This is the central core of the film, and many would now see's Ms. Day's character's reaction to such a thought as far more intelligent than when it was viewed in the 1970's- 80's.

Give the film a view; especially on a Friday night when you really, truly want to be entertained by a dazzling screen star.

In N. Y. C and unemployed secretary named Cathy Timberlake (Doris Day) is splashed with water and mud by a Rolls Royce on her way . Car owner is Philip , a rich businessman tycoon (Gary Grant) who asks her for apologies . Cathy then is involved on a journey to Bermudas Islands where several antics and mayhem happen in a game of cat and mouse.

This is a sex-comedy in which a sympathetic woman falls in love with a man not interested in marriage. Classic and light romantic comedy of the 60s with two comedy masters : Doris Day and Gary Grant , both of whom exhibiting considerable rapport even when they are arguing. Doris Day was probably the only Hollywood actress by the time who could have handled this brand of bright and simple comedy with kinks in such expert fashion. The film is one of the various starred by Doris Day during the 50s and 60s , such as : ¨Lover come back" , "Send me flowers" , "More over darling" , "Do not disturb", "Glass bottom boat" , "Do not distur¨ among others , with usual partners as Rock Hudson and other big stars as James Garner, Rod Taylor and Gary Grant himself . And appearing likeable secondaries : Gig Young , he's ever better than habitual as the inevitable sidekick of the starring , John Astin also scores as a man with a lugubrious leer and besides Dick Sargent (Bewitched) as a nervous husband justly married. The screenplay gets fun lines and amusing situations , being written by expert Stanley Shapiro (producer too) that enables the actors to make the most of themselves. Furthermore , it displays a colorful cinematography by Russell Metty and and lively musical score by George Duning. The motion picture was well directed by Delbert Mann (Separate tables, Desire under the Elms , Marty) . The flick will appeal to Gary Grant and Doris Day fans.

That Touch of Mink (TTOM) is important as a document to illustrate the point that a great film star like Cary Grant did not necessarily exhibit great judgment in choosing the roles he opted to play. Over the course of a long and hughly successful career as one of the screen's most accomplished actors, Grant decided to pass on playing the leading male roles in such significant movies as Sabrina (for Billy Wilder) and A Star is Born and My Fair Lady (both for George Cukor). On the other hand, he willingly accepted questionable parts in None but the Lonely Heart (for Clifford Odets), The Pride and the Passion (for Stanley Kramer) and TTOM (for Delbert Mann). Why? There seems to be no doubt that Grant tried to occasionally go beyond the acting range that his celebrity tended to dictate. See, e.g. People Will Talk (for Joseph L. Mankiewicz). But these efforts were usually less than successful, and often disappointed both his fans and critics. See, e.g. Father Goose (for Ralph Nelson).

TTOM is a comedy very much of its time. The idea of an aging single playboy (58) chasing an almost aging (38) single "professional virgin"----a Doris Day specialty---------without appearing ridiculous may have been perfectly acceptable in 1962, but it definitely emerges as an antique in 2022. And the notion that these two attractive mature unattached adults would experience such angst while exploring the idea of engaging in a casual sexual relationship probably seems quite preposterous to most of today's moviegoers. But there it is. Day's super-perky persona clashes somewhat with Grant's seemingly bored and lethargic man about town. But the 1962 audiences enjoyed their antics and the film was a commercial success, even though many critics felt that much of it was just too familiar.

Grant and Day were reaching the twilight of their respective careers. Day in particular-----then pushing age 40-----was at the point in her "professional virgin" period where this image just was slowly ceasing to have much to do with objective reality. So in a way, TTOM is a kind of farewell homage to an era and two of its must beloved stars.

As for TTOM, it is a film with enjoyable moments that captures one of the "last hurrahs" for Day's most famous character and also is the penultimate send up for Grant's aging lover. He would reprise it one year later in Charade for Stanley Donen, and then retire him for posterity. We surely will never see their likes again.

Great writing, cool gowns, and Cary Grant panache only begin to describe the pleasures of this surprisingly refreshing film. Cary Grant is an overly-controlling business executive; Gig Young plays his side-kick, junior, and alter-ego. Doris Day is strong-willed and fun to watch, but Audrey Meadows is sensational in her over-the-top performance as Doris Day's older and wiser roommate. Two scenes stand out: one in the fabled NY quick-meal restaurant, the Automat, the other a computer room scene that has to be seen by anyone who knows what IBM stands for. See this movie. It will surprise you.

Unemployed Doris Day meets handsome millionaire Cary Grant and is instantly in love. He reciprocates the interest, if not the feelings. What he has in mind is one of those good old-fashioned "arrangements." You know -- why buy the cow when you can get the milk for a mink coat and a trip to Bermuda? Well, marriage-minded Doris is resistant at first but then finds herself agreeing to be his mistress or hoochie or whatever sophisticated types call such things. What follows is the expected comedy of Cary trying to get laid while Doris has cold feet.

A sometimes amusing, sometimes sexy little romantic comedy. Aging Cary Grant is still as charming as ever. In lesser hands, this role would be pretty gross and hard to like. 'No spring chicken herself' Doris Day is a little older than I think the part called for. Actually, they both probably are. Doris does most of the heavy-lifting on the comedy end, with Cary more the straight man. Still, they have nice chemistry and work well off each other. Too bad the script isn't better. The writers seem to have only thought the story out up until the point Doris says yes to the arrangement. After that, things begin to fall apart. Helping things in the first half are the romantic comedy's old standby secret weapons: the best friends. Audrey Meadows for Doris, Gig Young for Cary. Both provide lots of laughs. John Astin is also funny as a creepy lech.

Not a movie you'll regret missing but very watchable. Grant and Day fans will appreciate it most. The only movie where you'll see Cary Grant awkwardly sitting next to Mickey Mantle, Yogi Berra, and Roger Maris in the dugout of the New York Yankees while Doris Day argues with an umpire.

"That Touch of Mink" has its high points as well as its lows. The film's main theme revolves around undulating social morays of a cultural transition which, if one examines history, aren't all that transitional as they would appear to be. Day, Grant, Meadows and Young give some solid performances in an early 60's "sex" comedy. The humor is suggestive rather than explicit, which should create some fun for the more conservative minded. I can't say I laughed a whole lot (if at all), but I did enjoy the film on its own terms.

Regrettably the currant DVD offered by Artisan Entertainment is sub par. "That Touch of Mink" isn't the greatest film ever made, but, like so many other offerings of the period, it is a solid piece of cinema, and deserves a better visual release.

Currently Artisan Home Entertainment bolsters a "Digitally Mastered" disk, but the only mastering that was done was to put the film onto DVD format in the first place, and nothing more. I say nothing more because the film image is absolutely horrible. There's lots of video noise overlaying the film image, and where the film is shown in widescreen format, it's hardly an anamorphic transfer. Instead the consumer is given a low resolution transfer which, were it not for Day, would not be worth watching.

The audio is clear, even though its monaural. A remastered soundtrack really isn't required for a film like this, as there's really nothing more to listen to other than dialog and incidental music. That is there're no explosions, gun shots, rockets, bands or other things demanding a digital 5.1 mastered soundtrack. Still, having said all this, good clean audio should accompany a good clean image.

Too bad this disc is missing both.

The formula for the Doris Day rom com (at its height with Pillow Talk) had run out of steam by this 1962 effort. Yes it was boffo at the box office, but despite their great charm and star power, there isn't much real spark between Day and Grant - who were a bit long in the tooth to be playing the virgin and the playboy cad, respectively.

Grant (whose company co-produced it) appears to be too nice and perfect, missing that touch of rat (which Rock Hudson excelled at) that would give Day something to aim her sexually frustrated indignation at.

What's left is her conflict of wanting to accept expensive clothes and a lavish trip to Bermuda without putting out before marriage. (She was 39 when this was filmed.)

Gig Young takes on the role - played three times by Tony Randall in these Day rom coms - of the comic second lead who is seeing an analyst, and that joke has worn very thin by this point.

This film includes the obligatory fashion and set design porn of Day comedies, but it ultimately feels like the third cup of tea made from the same tea bag.

I'm a little ashamed to admit it, but I quite enjoyed this "fluff". Sure it's dated but it still manages to offer several highly amusing moments and some truly clever dialogue. Hard to believe the script was actually Oscar nominated, since it has no depth whatsoever. By no means a great movie, but good amusement nevertheless.

Doris Day is still the "world's oldest virgin" and this film won't let you forget it. Grant is good but laconic as a successful businessman who hooks a marriageable fish in Day. Day is kind of annoying. Young appears in the only funny bit as a therapy addict who accuses his boss of sabotaging his therapy by giving him raises and occasionally "acting human." Some funny moments and pleasing atmosphere, but with a phony sentiment.

People complaining of the dumb/dated plot need to remember that this film is one of a genre and that films of that genre all have the same basic plot. Don't go into it expecting to find something else; allow yourself to accept the basic premise. This is one of THE best of the perpetual-virgin genre, and of course Day was the leading star of same. The script sparkles and the supporting players really add to the total package. John Astin is delightfully smarmy as the cheapskate lothario ("Muscatel, for my lady's pleasure") and John Fiedler is the ultimate mama's boy. Gig Young is unforgettable. Enjoy this fantastically silly movie!

The review that is currently displayed as the most helpful, written by someone with the nom of Garthbarnes, displays the inability to experience and appreciate film as an art form framed by the culture of its time. This is typical of self-righteous ignorance.

I don't see why the reviewer bothers to watch movies from other eras at all. He would probably be happiest discounting anything produced prior to the emergence of his own personal world-view.

To those who find these comments harsh, I can only say that the reviewer has already punished himself more thoroughly than ever I could. He has embraced myopia and insularity. To my mind, this means he has failed as a human being.

I'm no fan of Doris Day; but this is a delightful sex romp from another era. Cary Grant is always delightful; and Audrey Meadows is a treat. It is also a treat to watch a young John Astin in a deliciously slimy role, which he plays well. Gig Young always strikes me as terribly pathetic, since he plays so well on the screen while his real life was such a disaster. Richard Deacon appears, too; unbilled, I think.

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.

Cary Grant and Doris Day are at their comedic best in this howling tail that never gets dull. As usual Ms. Day looks stunning and Cary Grant gives Rock Hudson a lesson in comedic timing. Gig Young is sensational. Audrey Meadows adds just the right touch. Also, add a star if you remember Horn and Hardarts Automat.

How should a single woman respond when propositioned? That's the whole premise of this flick. All the women know you just say "No". They talk about saying "No" and replay uncomfortable situations where they stood up tall and said "No", but when the masher is rich, suave, handsome and gives away minks, should you still say "No"? Smart and Right, she says "No"... however, when accused of being a dropout from the playboy school of thought, a flunky with a backward conscience and outdated morals, her pride is hurt so she says "Yes". Beep! Wrong Answer... Shredded by her own good sense and regretting her hasty choice, providence saves the day and she breaks out in a rash just before hitting the silk. Relieved, but still trying to appear as a modern free-willed fornicator, she tries again to be a politically correct centerfold, drinking herself into a stupor to shut-up the voice of common decency. Providence saves the day again, leaving her too drunk to play around. Through madcaps and screwballs the two finally realize that this kind of behavior is only blessed in marriage.

The movie appears at first to take a swipe at conservative morals, which will grate at you for most of the film, but the plot clearly ends up with both feet planted on the traditional family and marriage side.

The best line in the film comes after the genteel millionaire propositions, offering a new wardrobe and a trip around the world. She replies, "I think you just asked me to marry you". Nice answer.

I love Cary Grant and Doris Day, but the characters are shallow and the plot is thin... The humor is all from uncomfortable social mal-assumption, mis-communication tangles and sexual innuendo. You spend the whole drama scanning for societal messages and filtering out the loose and crude. Most funny places you just hate to laugh at since the comedy is so base. Pick a different film. Try "The Philadelphia Story" for a class act.