Julie

Most comedy movies could only hope to be this amusing. An airy, drippy title song plays, setting up the audience for some sort of romantic drama. No such luck. Immediately (and hilariously at odds with the opening music), Day comes running on, desperately trying to avoid her husband (Jourdon), who has apparently made a scene over her attention to another man. She hops in her car and he joins her. Even though the road is almost perfectly straight, Day spins the hell out of her steering wheel, furiously wielding it back and forth on a straight road! This overwrought and overheated beginning is merely a prelude for the wildly illogical and melodramatic story that follows. Jourdon turns out to be a crazed, obsessive danger to Day and the film involves her repeated attempts to get away from him before he kills her. Ms. Day is a delightful screen presence and is certainly capable, in the right hands, of delivering a terrific dramatic performance (i.e.--Hitchcock's "The Man Who Knew Too Much".) Here, however, she is up against a heinous script (astonishingly nominated for an Oscar!) and contrived, silly situations which make her look foolish. Worst of all is her (hysterically funny) series of dramatic voice-overs. The production feels the need to have her breathlessly describe all her feelings and state what is clearly happening on screen! The wording is often fall down funny and her despairing delivery paired with the stark visuals pair up to create several moments of screaming laughter. One scene has her "desperately" trying to get away from Jourdon, but she still manages to pack her favorite outfits and even seemingly make sure she selects the right purse to go with her shoes. Another has her running from him in a snug skirt until she falls on a big rock and lays there. The whole movie is filmed with a crisp, clinical detachment since this was a bold new subject and all the happenings were so bleak and gripping. This makes for some really dry viewing today, especially when the (inept) police do their thing and during the climax when realistic (but uninteresting) air traffic controllers communicate with Day. Day, a stewardess, gets a breather midway through to scramble some eggs and sashay around in a kicky one piece lounge suit (and act as if nothing is wrong with her life!) In this section, the demure, twice-married character even refuses to come out and meet a gentleman her makeshift roomie is dating because she's not dressed (even though her full-length nightgown comes down to her knuckles and almost reaches her ears! Yes... women just didn't DO that, but it's still amusing!) Stay tuned for the really kooky climax in which she and one other stewardess work a flight in which Day doesn't even realize that Jourdon in ON board! (Like a person wouldn't immediately pick out someone who they know is out to kill them!) Situations eventually warrant that Day has to fly and land the plane herself (Karen Black fans will be disappointed to learn that she wasn't the first woman in this predicament. Cross-eyed Black did it in "Airport 1975", but Day beat her by 19 years....and she flies a significant portion of the trip with her eyes CLOSED!! Notably, with regards to sexism, little had changed in those two decades, for the men call Day "honey" the whole time while in Black's case, they continuously called her "honey" and "baby"...) So many other ripe moments have been left out, but in any case, the film is a scream. Jourdon is indeed surprisingly menacing and Day tries very hard (and found the filming very difficult in real life.) Also fun is a glimpse at how dressy and glamorous airports used to be and how much air travel has changed. Don't miss the amateur actress playing an apartment resident who, when asked about Day's character, pronounces "Julie" as "Julah".

Having just finished "The Man Who Knew Too Much" for Alfred Hitchcock,

Doris Day repeats the genre and does a wonderful job in a suspence drama. The story flowed well, and Miss Day's performance was outstanding. ( She even smokes !! ) Too bad She never got to do a second film with The Master of Suspence. That is the only thing that could have improved this movie. It has a lot of the feel of Suspision, and the edgeness of Midnight Lace. Both fine films of Hitchcock and Day respectivly. Highly recommended for a good rainy afternoon.

I was disappointed that Doris Day only sang one song for this movie and it was played and over by the end of the opening credits. The road rage scene was exciting, but if you've ever driven on a winding road like that one in Monterey/Carmel, you know there would be no way to avoid going off the road in that situation.

The story was pretty good though. The wife who fears her husband will kill her and the police cannot help her without any evidence. She tries to get away, but he figures out every move she makes and it all comes down to a climatic ending.

I think the plane landing was done well. Doris Day was very convincing in her role. I really enjoyed her as an actress for this movie, when I normally think of her as a wonderful singer.

Doris Day had a few "damsel in distress" roles in her movies, but none requiring her to be quite as stressed out as "Julie". Trouble is the film is a bit too overwrought for comfort with Miss Day being pursued throughout by a maniacal husband (Louis Jourdan) whose only problem is he loves her to death--literally!! And not a single supporting character to give us a few laughs.

The last half-hour aboard an airliner where her husband has managed to become one of the passengers, is the best part of this neat little suspenser. Although all the usual cliches are present in the script, the terrified Doris manages to look convincingly cool and confident as she handles the controls of the airliner for the story's somewhat pat climax.

Louis Jourdan makes the husband look like a really jealous and possessive heel, aside from being a maniac--and since Doris Day reveals in her autobiography that she married a couple of these early on in her career--perhaps that helped her give a very credible performance. Not that she was any slouch in the acting department on a few of her other "damsel in distress" roles--STORM WARNING, THE MAN WHO KNEW TOO MUCH and LOVE ME OR LEAVE ME. Let's forget the phony, overly fabricated MIDNIGHT LACE. Here she gives a strong and sincere performance as a terrified woman.

Barry Sullivan gives excellent support as a friend who tries to help her when the police admit they can't do anything. Frank Lovejoy is also fine as a detective.

I can't say much for the title tune, "Julie", heard only during the credits and then quickly forgotten by me. To my surprise, it was nominated for a Best Song Oscar--so what do I know??

If you're a Doris Day fan, you'll find this suspenseful even though it takes itself much too seriously. There's not a hint of humor throughout the entire proceedings, not a single moment of relief. It's all very, very intense, whereas some humor would have helped.

Of course, there are always those who will laugh at the plot itself. It is, after all, a bit unbelievable by the time stewardess Day takes over the controls. It's to her credit that she makes it look real.

"Julie" starts out as a mass of tension, (other than the ridiculous rear-projection car scenes where everyone turns the steering wheel in wrong directions!) packing an intense amount of story in the first 40 minutes. By the second act, when the pace slows down, all the previous scenes seem too condensed for comfort. One scene in the beginning of the film is especially intriguing: Lyle practices his piano piece while Julie lays on the couch. Watching his hands dance over the keys, and the beautifully framed shot of him against the open window is truly surreal, almost too profound for a film of this type.

The third act, all about Doris Day landing the airplane, feels like an entirely separate movie. With the loss of the human threat after her, it stops being a thriller and becomes the tag ending of an action blockbuster. "Julie" has uneven bursts of calm and nail-biting tension, all in all a strange combination with its own memorable moments.