With Six You Get Eggroll

When I saw "With Six You Get Eggroll" in a plush New York theatre, I had no idea that it would be Doris Day's last film appearance. This one was an old idea with a modern look: a widow with three boys marries a widower with a teenaged daughter (Barbara Hershey)and all hell breaks loose.

Even though I am not partial to films with children in them or "family pictures", I enjoyed Miss Day's performance in this film as well as her supporting players. As was always the case, she was surrounded by the best supporting people available. Pat Carroll, as her sister was a lot of fun as was Alice Ghostley, her harried maid. There were many familiar faces darting in and out. People like Jaime Farr, Vic Taback, Jackie Joseph and George Carlin.

Brian Keith was a "comfortable", but gruff leading man for Doris. They had many nice scenes together, although he did not measure up to the usual caliber star with whom Miss Day was usually paired.

As usual, Doris Day worked well with children. She was one of the few major stars that could. Many female stars avoided kids like the plague, but not Doris. She could handle the situation.

Even though this is a comedy, there were a couple of very dramatic scenes in which Doris shows what a marvelously serious actress she can be. This came when she and Keith had a blowout about his daughter cleaning the house without any help from Doris' older son. Day was so into the scene, you could see her actually shaking with anger.

The film became a tearjerker at the end when everybody "saw the light" and came together after a big car chase, an accident and a fist fight. The picture is more enjoyable than the Henry Fonda/Lucille Ball film with approximately the same theme. Their's was called "Yours, Mine and Ours", also in 1968.

Doris Day's last feature film is a pleasant success, although it somehow isn't recalled as a such. Backtracking for a moment… Ms. Day's 1960s "sex comedies" were very big at the box office. The best of these films were critically acclaimed at the time, and are fondly remembered today. But, by 1967, Day began receiving scripts that lacked the wit (and hit potential) of earlier films. Day knew this, but found herself committed to a few unworthy movies, by manager/husband Martin Melcher. They weren't the first "bad" movies Day did, but they did come at a time when she was a "superstar". Day was able to make these bad movies better through her presence; as usual, she put a good effort into each assignment.

By 1966, Day was firmly entrenched in the "Quigley Top 10" poll of box office stars, and had become a very dependable, consistent attraction. The films she didn't care for were responsible for Day falling out of the "Ten Best" list, in 1967. She saw "With Six You Get Eggroll" as an improvement. And, it was. Day's last films heralded a return to form; and, she appeared at a very respectable #14 in her final 1968 "Quigley Poll" appearance. It was a CBS-TV series deal that prevented Day from continuing her film career. She was in demand, and would have had to continue in films (she needed the money). But, Day was committed to work on the television series, against her wishes, by the now deceased Mr. Melcher.

Seeing the success of the earlier released Lucille Ball comedy "Yours, Mine and Ours" (1968), the studio promoted "With Six You Get Eggroll" as similar fare. Actually, this film is a little better, overall (both are good movies). Herein, lumber yard owner "Abby McClure" (Day) is resigned to being single, after being left with her deceased husband's business, and three sons. But, she is "lonely" (a euphemism), as director Howard Morris clearly highlights with the overhead shots of Day on her bed. Day reluctantly accepts self-professed sex-minded sister Pat Carroll's arrangement of a date with widow Brian Keith (as Jake Iverson). Their courtship is marvelously depicted, thanks to fine scripting and performances.

Some have debated whether or not the characters played by Day and Keith have pre-marital sex. Everything about in the characters' behavior suggests that they do. If fact, the biggest reason for the marriage is that they find it increasingly frustrating to "sneak around" and be "alone" (more euphemisms). The rest of the film deals with the inevitable problems the marriage causes in their living arrangements. Now, considering Day's business (which she's good at), you've got to wonder they didn't just build another bedroom for one of the children. Unfortunately, the business sense of Day's character is left standing at the alter. The plot question becomes: Will the children learn to get along, or break up the newlyweds?

Representing the opposing fronts are her son John Findlater (as Flip) and his daughter Barbara Hershey (as Stacy). Youngsters Jimmy Bracken and Richard Steele handle their roles (and surprising bathtub scene) very well. Sounding like a cross between "Under My Thumb" and The Zombies, The Grass Roots do an original, exceptional, and very sixties-sounding song called "Feelings"; listen to them as Day visits a youth nightclub. Stand-up George Carlin turns up as fast-food patron. Two future "M*A*S*H" regulars lead a mob of tripping hippies. And, you can have a lot of fun picking out sit-com favorites. By the third act, the film has become more unfocused and ordinary, but it never really obliterates its appeal.

******* With Six You Get Eggroll (8/7/68) Howard Morris ~ Doris Day, Brian Keith, John Findlater, Barbara Hershey

Doris comes across as a beautiful 40-plus woman. Never saw her so mature and easy to look at. She is wonderful and has some great scenes with Brian Keith (who is wonderful in this). Good supporting cast and enjoyable for the whole family.

I absolutely love this movie. People have commented that Doris Day's later movies were not as good as the ones from the early '60s, but I disagree. The storyline here is very engaging, and the characters are superb. I totally lose myself in this movie when I watch it, and I laugh out loud every time. It is fun to follow the timeline of the movie... if you analyze it the entire thing takes place over about 5 months. It begins in June (with Flip and Stacey's graduation), and ends around Halloween (hence the brief appearnces of the Halloween masks). The supporting cast is terrific too, some great old faces that everyone will recognize. If you love the classic comedies of Doris Day, I heartily recommend this one.

Doris Day moved into middle-age with grace and self-effacing charm; "With Six You Get Eggroll", her final film, was worked over by four screenwriters and may not be a comedy classic, but Doris plays it with conviction anyhow. As a widow with three boys who begins dating a widower--a single father and acquaintance of her late husband's--Day is quick to laugh, fast with the quips, canny and clever and bright. Spying Brian Keith's sexy neighbor "out for a walk" in the early evening, Doris's dry remark, "It's a nice night for streetwalking", is delivered nonchalantly but with icy accuracy. She works hard to befriend Keith's mercurial teenage daughter (Barbara Hershey, in her film debut) but, when that blows up in her face, she and Keith have an argument that is too loud and mean for a cute suburban comedy (the point here--that Day was finally able to make a connection with the girl--is lost and never recovered). The kids are all realistically abrasive and selfish--in need of Life Lessons--and there are fine supporting turns by Pat Carroll, Herb Voland and Alice Ghostley (and George Carlin in a bit); however, the paste-up/give-up happy ending must have looked like a groaner even in (or, especially in) 1968. "Eggroll" has some funny things to say about step familial relationships and rules, teenage possessiveness, and dating after 40. Unlike the not-dissimilar "Yours, Mine and Ours", this one gets its message across utilizing only four children, which is a bargain indeed. *** from ****