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I was a fan of Doris Day always! They don't make comedic actresses such as her EVER! They don't make actors like Jack Lemmon anymore either! I feel sorry for the audiences of the future because the comedic actors today cannot hold a candle to the actors of the past! The only time I had to watch TV during the year was in the summer when I could stay up late and what the late late show when all the old movies from the 30-50's were shown. Movies have only become worse and worse as the decades have passed and I hardly go to a movie today because they can't write scripts or stories anymore or have actors who are as good as they were then. I'm 62 now and CGI movies don't write scripts anymore!

Having expected a run-of-the-mill comedy effort I was surprised to be drawn into this unusually well-written, -acted, and -produced effort. The story avoided dropping to the "cutesy" level; there was enough grit in the conflict between Jane and the railroad magnate to keep one involved. I can only echo the plaudits given by others in this space to the efforts of Day, Lemmon and, especially, the underrated Ernie Kovacs. I echo the criticism of the brief flash of gratuitous partisanship in Lemmon's little speech about the stingy, nasty Republican running for selectman, but it's a minor flaw. A nice plus is the rich look of the movie, with its portrayal of the New England countryside and its nice footage of the venerable steam locomotive, a form of transport sadly passing from the scene when the flick was made. (The color technology of films from this period is superior to what we have nowadays). All in all, a delightful surprise, and well worth catching.

Doris is full of pluck and moxie fighting a big corporate jerk who actually seems unhinged in his singular quest to squash the hard working widow Jane. Jack is the earnest lawyer who has loved her since childhood. Together they make a wonderful pair as they go through no end of complications that drive them apart and united them again. Charming comedy was an inexplicable failure on its initial release probably in large part because of that atrocious title. It's re-release title of Twinkle and Shine was hardly an improvement, why they didn't stick with the initial title of That Jane from Maine which would have fit it perfectly is a mystery. Be that as it may this is a cute family comedy with wonderful location shooting and high production values as well as a super supporting cast.

for discover the entire force of film , it is not a bad idea to see it twice. first time for its adorable cast and extraordinary humor. than, for the message. it is more than an old film and it is more than a comedy. it has a splendid charm but the fight between a young widow, the role of media for case, the great corporation against the simple people are more great challenges for 2015 than for 1959. another aspect - Doris Day's acting who could be, after too many easy roles, a surprise. Jack Lemmon is himself and the dose of romanticism is perfect for admire a film who use all its potential. a remarkable comedy. and one of the splendid roles by Doris Day.

Entertaining A-budget production, but too plot-heavy to really succeed as a comedy, despite the heavyweight talents of Lemmon, Kovacs, Day, and director Quine. In short, the comedic moments have to compete with too many plot developments in a screenplay more seriously complex than most comedy set-ups. Strong-willed Day is determined not to be bested by railroad tyrant Kovacs in getting her lobster business going. Throw in a romantic triangle and Lemmon's political ambition and you've got a crowded storyline. Nonetheless, all the principals are in fine form—Day's all sunny spunk, Lemmon's a slightly pixilated attorney, while Kovacs does his usual moustache-twirling villain.

As entertaining as these characters are, the movie really succeeds as a slice of idealized Americana. Whoever decided to film in an actual New England small town and use the residents for the many crowd scenes deserves a medal. The resulting visuals are a permanent record of small town America at mid-century and wonderfully colorful to look at. There's a bit of Norman Rockwell nostalgia in some of the set-ups that could have come off a Saturday Evening Post cover, especially those around the train station. And what could be more popularly American than the little guy (gal) besting the big guy at his own game. I just wish the script had eliminated the unnecessary and non-comedic Day/Forrest subplot, and instead mixed in more interaction between Kovacs and Lemmon whose chemistry is superb as shown in the under-rated Operation Mad Ball (1957). Nonetheless, there are enough compensations to make this a very watchable 90 minute diversion.