Lover Come Back was absurd enough but Pillow Talk is way too much. The writers must have toned down the outraged spinster schtick by the time they wrote Lover Come Back. The only bright spots (aside from Doris’s nice clothes) are Thelma Ritter and Tony Randall. Thelma’s brilliant as a little old lady who drinks Rock under the table.
I couldnt’ find a YouTube of Thelma in this film but this video will give you the full flavor of the film (along with my cell phone ring tone!):
Now, correct me if I’m wrong, but is this the only Doris Day movie where it’s implied that she and Rock had sex before marriage?
For the devotee, the nostalgic impact of “Drawing Babar: Early Drafts and Watercolors,” is not to be exaggerated.
Here in one gallery are the actual first scratchings, pages torn out of spiral notebooks with ink splotches on them, where Jean de Brunhoff tested his pen. Here in another room are the dashes of bright watercolor showing where Laurent de Brunhoff thought the characters in 1946’s “Babar et ce coquin d’Arthur” (Babar’s Cousin: That Rascal Arthur) probably ought to go.
Apart from engendering warm feelings, the exhibition also reinforces the fragility, and sometimes whimsy, of artistic invention. Comparing rough drafts with final copy shows that Babar didn’t begin the way he ended. For instance, he was at first dubbed simply “baby elephant.” (The origins of the name Babar are unknown. Was it was an elision of “bebe” and “roi”? Or did it derive from the Mughal emperor Babur?) Babar’s suit was gray before it was green. And his lovely bride, Celeste, didn’t even exist in early versions; the character destined to become Babar’s queen evolved from sketches of a young male cousin.
Babar has endured for several reasons, not the least of which is that,
For one thing, in Babar’s world there’s always something exciting going on. The first nine pages of the Laurent de Brunhoff book featured at the Morgan, for instance, depict no fewer than seven nifty ways of getting around: By camel, by parachute, by trolley, by cable car, by train, by boat, and by airplane (which last is quickly followed by more scenes of parachuting).
Later in the same story, that rascal Arthur travels on camelback across a crocodile-infested river by means of . . . semisubmerged hippopotamuses! It is a classic de Brunhoff scene: of adventure for the story’s characters and of visual amusement for young readers. Who can be blasé about a hippo bridge?
You can’t go wrong with Babar.
While still on a Babar theme, Michael Kors has named this classic pump “Babar