Many people say that Doris Day brought a special ray of sunshine into the world, and they are not wrong. Hearing of her passing felt as if things have suddenly become grey and dreary. We will miss the movies and the music, but most of all we will miss how she could make us feel through her work. Very few personified joyfulness and sweetness like Day did, but there was so much more to her than just those things alone.
When we think of Day, we often first think of her Hollywood films. In fact, her career started in the realm of 1940’s big band shows where her stunning singing voice won over countless audiences. Living life on the road and gaining immense popularity with the songs performed with The Les Brown Band.
She received more praise and attention with the song “Sentimental Journey”. To the weary people in the midst of WWII, it was a song that seemed to encapsulate their feelings and it remains one of her most memorable songs.
The hits continued after that for Day and beyond her spot as a big band vocalist, she also loaned her remarkable voice to radio work with Bob Hope. It did not take long for the bright lights of Hollywood to take notice of this wealth of talent, bright personality and charming stage presence and soon came calling.
Spotted while on the road during a performance Day was scouted for a role in Romance on the High Seas (1948). With no acting experience, the prospect of being on film in a splashy musical was a bit daunting to someone who thought of themselves as solely a singer alone. But any hesitations of the leap from stage to the screen were soon quelled as her girl next door personality and magnetism won industry elites and audiences alike all over.
Romance on the High Seas is a frothy romantic comedy musical directed by Michael Curtiz which is probably more remembered for its music than its story (“It’s Magic” was nominated for Original Song). Starring alongside Day in her film debut was Jack Carson, Don DeFore and Janis Page.
In her earliest films, Day would see herself paired time and again with Jack Carson in such subsequent films as My Dream is Yours (1949) and It’s a Great Feeling (1949). Her first forays in film may have been sweet yet unmemorable musical comedies but Day’s star was just getting brighter and brighter.
By the time the 1950s came along the new decade brought even more dazzle to Day’s emerging celebrity as audiences continued to fall even more in love with her. For the time being the musical comedies grounded in nostalgia and chaste romantic stories were becoming her mainstay.
On Moonlight Bay (1951) and By the Light of the Silvery Moon (1953) were delightfully eaten up by postwar audiences who desired a return to comfort and normalcy in the media they consumed. These films could almost be seen as Warner Brother’s answer to the similarly toned Andy Hardy films which had been a longtime popular hit over at Metro Goldwyn Mayor.
The two films also paired Day with one of her most popular on-screen partner in Gordon MacRae (the two had previously been paired in Tea for Two (1950)). They would go on to star in five films in total together. MacRae seamlessly matched Day’s vocal prowess making for a slew of delightful duets between the two.
1953 would also bring a slight change of pace with Day being cast in Calamity Jane in the title role. The musical western which was based lightly on the alleged romantic relationship between Calamity Jane and Wild Bill Hickok who was played in the film by Howard Keel.
The 50s brought a fresh appetite for western based media and much like Annie Get Your Gun (1950) over at MGM crowds were in the mood and both were big successes. The film also brought another hit song for Day with “Secret Love”, a song that would also go on to win the Academy Award for Best Original Song.
Day would continue to dazzle in both films and in music with multiple albums from her various films of the early 50s charting in the Top 10 with multiple number one hits.
At this point, you could say that Doris Day was at risk of being typecast as she was primarily pegged as the darling of the musical-comedy but this wouldn’t last long. Slowly but surely opportunities to broaden the type of roles she was used to came most notably and critically acclaimed with Love Me or Leave Me (1955).
The change of pace proved successful as the film went on to be a huge commercial and critical success for MGM. Directed by Charles Vidor the film tells the story of Ruth Etting (Day) and co-starred James Cagney as her first husband/manager Martin Snyder who also so happened to be a gangster known as “Moe the Gimp”.
The role that added a bit more bite to Day’s filmography almost didn’t land in her lap if it hadn’t been for the persistence of James Cagney who championed Day to the producers and thankfully won out in the end.
Going on to be a big favorite come Oscar night, one can’t help but think what a shame it is that Day never received a Best Actress nominee for the part. At this point, Day had shown she could be a star but a role like this proved that she was a truly talented artist and gifted actress.
Following the dramatic tone of Love Me or Leave Me, Day would continue for a time in more serious roles and next none other than the master of suspense himself came calling. Alfred Hitchcock, fleshing out the cast for a refresh of his 1934 film The Man Who Knew Too Much had already cast James Stewart and desired Doris Day to costar alongside him.
At first, producers weren’t too keen on the director’s desired choice in lead actress having only the impression of her being a songstress. Ultimately, in the end, Hitchcock won and Day was cast. Overall the film was a success although much like today some viewers did not take so kindly to the remake quality of it. Although the 1956 version shared little similarity with the original film.
Even in a suspenseful film such as this Day was still able to exercise her vocal talent with “Que Sera, Sera”. Which was so popular that it went on to win Best Song Oscar and became synonymous with Day for the rest of her legacy.
To say that the 1950s was a glimmering decade for Doris Day’s career is an understatement and her popularity blossomed. Despite this, the final years before the 60s brought mild popular fare in the romantic comedy department yet no particularly big hits.
In 1956 she took a turn in the title role of Julie opposite Louis Jourdan. A very campy thriller with a plot that has to be seen to be believed (but one I personally would recommend when you need some nonsensical suspense in your life).
Some of these later 50s movies include The Pajama Game, Teacher’s Pet, The Tunnel of Love and It Happened to Jane. Though none of these were big box office hits they did offer Day with the opportunity to star alongside more notable names such as Clark Gable, Gig Young, Richard Widmark and of course the wonderful Jack Lemmon. The 1960s was on the horizon and change was definitely in the air not only for popular culture but for Day’s career as well.
By the time 1959 rolled around dynamics among people especially in regards to relationships and women’s roles was drastically changing. The docile and routine years of the 1950s had shown a return to a certain simplicity and comfort in light of coming out of WWII. But this period was coming to a close and certain restrictive norm were beginning to shatter.
I say this to introduce arguably one of Day’s most popular films – Pillow Talk (1959). The film was unlike anything Day had starred in before. Yes, it was very much a traditional romantic comedy, but its casual relationship with the more intimate nature of romantic relationships was brand new to audiences who happily ate it up.
The film paired Day alongside Rock Hudson and their on-screen coupling would become magic to viewers all over and a beautiful lifelong friendship between them as well. The film went on to be one of the biggest hits of 1959 and also refreshed Day’s image from sweet girl next door to glamorous career woman. Pillow Talk also gave Day her one and only Oscar nomination for Best Actress.
Day would partner with Hudson again two more times in Lover Come Back (1961) and Send Me No Flowers (1964). A new formula was found to amp Day’s star status with the romantic/sex comedy. It is a shame that so many peg Doris Day as this naive virginal character type from this time period.
In the films, we are often lead to believe that the characters Day plays are frigid at first. Or at the very least, they don’t appear interested in intimate relations. In fact, we should admire her characters in these productions. This was at a time when many women all over were expected to be mothers and perfect homemakers.
The characters Day played were successful in their work and made a good living in the city with comfortable and stylish apartments. It is foolish to think that these women she played abstained for prudish reasons when it was a time before multiple birth control options were available. So, she was making sure any unexpected results did not take away all she worked for. When we look back we should look at Day as promoting the independent career women in those early years when it was still a new concept that we admire today.
These types of films of Day’s would steadily continue throughout the decade. Many had a very similar formula but were still fresh and entertaining nonetheless. Such films would pair her with even more big names such as Cary Grant in That Touch of Mink (1962), David Niven in Please Don’t Eat the Daisies (1960), James Garner in The Thrill of It All (1963) and Move Over, Darling (1963), and Rod Taylor in Do Not Disturb (1965).
It should be noted though that some more experimentation in the flavor of Day’s films would come such as success with The Glass Bottom Boat (1966) which paired her again with Rod Taylor. Some of these direction changes did not fare as well such as spy flick Caprice (1967) and melodramatic thriller Midnight Lace (1960).
As successful as the 1960s had been for Day, the decade was one of continual change. While change had been so welcoming for her in the early half of the decade, it shifted in the waning years. Notably, it has been said that Day was offered the seductive role in The Graduate (1967) that ultimately went on to become synonymous with Anne Bancroft.
Yes, the 1960s were ever-evolving and this time the Doris Day image was becoming a little tired in the eyes of the movie-goer. Day ended these years with some forgettable films and then closed her time on screen with her final feature – With Six You Get Eggroll (1968).
The 1970s were not a kind period for Doris Day as the death of her third husband Martin Melcher left her in a precarious financial situation due to his handling of her earnings. It was also made known at this time that before his death Melcher had also committed her to a television series contract that she was not too pleased with. What came out of this is The Doris Day Show (1968-1973).
Day was never fond of the idea of acting for television and on frequent occasions would go on to express her displeasure. The show was an odd specimen with frequent plot/character changes and practically no continuity.
Despite this, it was relatively successful most likely due to its time slot before the popular juggernaut of The Carol Burnett Show. After the show came to an end Day would go on to be in a small handful of television specials and guest spots.
Taking more time away from the spotlight gave Day more time to focus on her passions beyond the silver screen, most notably her immense love and activism for animal rights. Having founded the Doris Day Animal Foundation in 1978 she would go on to spend the final decades of her life in supporting the needs of animals.
By the time the 80s came to a close Day had practically retired completely from public appearances. Offers would come and go and with the exception of the very rare outing Day lived a life of solitude on her own terms where her complete attention and devotion could be given to her other passions.
Most recently on her 97th birthday, she granted an interview with The Hollywood Reporter which would go on to be her last. Most touching in the interview was her nostalgic remembering of her dear friend Rock Hudson. When asked about it she mused on the fun they had on set and simply put that she missed him.
On May 13th, we said goodbye to this legend of the golden age of Hollywood. In today’s world, it may be easy to look back at her roles and films as passé but this is a mistake. To her devoted fans who remember seeing the films for the first time and the ones made along the way in the subsequent decades who discovered her on their own, she will always be beloved.
For those who are unfamiliar or may have preconceptions of her films, I recommend giving them a try. You may be surprised at what a little simplistic joy, humor, and sweet romanticism can do to your spirits. Day’s films can be the perfect anecdote to cynicism if allowed to be enjoyed simply for the joy they promised film-goers all the way back when they first premiered.
As I said at the start when we lost Day it felt as if we lost that sunshine she brought to so many, but such a feeling doesn’t last long. Yes, we will miss her. But, as with so many of her peers, we will always have the movies where that magic can be recaptured time and time again whenever we may need it.
