Médica, Bonita e Solteira

Like it's literary namesake, this film is a campy relic from the dawn of the sexual revolution. However unlike the aforementioned book, this film is a whole lot of fun! Natalie Wood manages to hit her stride, squeezing the maximum humor from a deadpan delivery. Tony Curtis is smarmy, smug and loving it. Henry Fonda is having a ball, and Lauren Becall is the undisputed queen of droll comedy.

These performances are the highlights of a sophisticated romp, early 60's LA style. Mel Fererr's martini dance should be an inspiration to lounge swingers everywhere. From the cartoon credits, to the Sexy Sox showroom, to the hilarious freeway chase scene, it's all winking nodding blur of couches, crewcuts and cocktails. Great fun viewing for single girls and guys.

I was reading in the Citadel Film Book Series The Films Of Lauren Bacall that the real Helen Gurley Brown was less than thrilled with the film made of her work which was a landmark in feminist literature. Turning it into a poor man's version of a Rock Hudson-Doris Day sex comedy she probably never envisioned.

The Rock and Doris roles are taken by Tony Curtis and Natalie Wood. Tony plays a writer for a Confidential style magazine, today it would be the National Enquirer. He's already done articles debunking her credibility as far as being an expert on sex. Now Curtis proposes to publisher Edward Everett Horton to really get to know this person and embarks on a campaign to seduce the sex expert with all the cunning of Ashton Kutcher on the punk. But as what happens in all these films he actually falls for her.

Of course it doesn't help that he gets in to see her pretending he's hosiery manufacturer and neighbor Henry Fonda and using his marital problems with Lauren Bacall as his entry to the pop psychologist's office. In this film Helen Gurley Brown is not the editor of Cosmopolitan Magazine, but a Joyce Brothers type psychologist.

I wish I could remember who said it, but I read a review of this film once where the reviewer said that the parts Fonda and Bacall played in cheaper productions years ago would have been played by Edgar Kennedy and Dot Farley. I should only have said something that brilliant. Watching Fonda I did see traces of the slow burn and Bacall is certainly more chic than Dot Farley. Nevertheless the way they bicker at each other could be the best thing about Sex And The Single Girl. Neither Fonda or Bacall is terribly proud of Sex And The Single Girl. I wonder what could have induced them to appear in this film?

It's not the worst film that any of the leads or an exceptionally talented name cast of character players ever appeared in. Still these kind of films were being turned out regularly in the late Eisenhower- Kennedy years and this one dates real badly.

Helen Gurley Brown's name and real contributions to feminism have stood the test of time better than this film has.

I actually find this scatterbrained 1964 comedy a surprisingly amusing screwball farce all these years later despite its titillating title. So apparently does director Peyton Reed since he based most of his 2004 comic pastiche, "Down with Love", on the storyline of this movie and less so on any of the Doris Day/Rock Hudson romps of the same era. Regardless, they all have the same brew of conjugal misunderstandings, mistaken identities and leering though never explicit sexuality because those were the days when a woman's virtue would never be compromised for anyone but the right man. Directed by the heavy-handed Richard Quine ("Paris When It Sizzles") and written by Joseph Heller (later the author of "Catch-22") and David R. Schwartz, this ridiculous comedy benefits from a game cast headed by Tony Curtis still riding high from "Some Like It Hot" (which is referred to for easy laughs in the story) and Natalie Wood who shows her comedy chops with dexterity here.

Curtis plays Bob Weston, a sleazy magazine writer for a men's magazine whose editors are intent on exposing Dr. Helen Gurley Brown as a fraud as a sex expert. Author of the best-selling "Sex and the Single Girl", Brown is not at all the clench-jawed celebrity author who wrote the real book and appeared on "The Tonight Show" constantly. Instead, she is a gorgeous, intellectually prodigious 23-year-old who extols female empowerment in the bedroom. Showing off his moral depravity, Weston steals the marital woes of her next-door neighbors, pantyhose magnate Frank Broderick and his acerbic wife Sylvia, and comes to see Dr. Brown as a patient. The rest is predictable but still a good amount of fun. Curtis was still at the top of his game here showing how he can easily elicit laughs from such a vile manipulator, but it's Wood who surprises as Brown. Displaying a nervous but infectious energy that feeds nicely into the two sides of the doctor, she is funny and sexy in a way that she could never quite balance as well again in her career. Witness the hilariously conflicted drunken scene in her apartment for evidence of her talent.

Quine was smart to cast three sharp stars in the key supporting roles - Henry Fonda as the put-upon Frank browbeaten into a sad man by Lauren Bacall pulling all the stops as the shrewish basket case Sylvia is, and Mel Ferrer as Brown's somewhat ambiguous colleague. Add a sultry Fran Jeffries who performs two numbers (including the title tune) for no apparent reason except to sell records, an even sexier Leslie Parrish ("The Manchurian Candidate") as Weston's secretary, and a genuinely funny extended car chase scene, and you have the makings of an under-appreciated sex comedy. The 2009 DVD, part of the six-disc "The Natalie Wood Collection", includes a Warner Brothers cartoon ("Nelly's Folly") and the original theatrical trailer.

"Mention sex, and the single girl is cool and shy She objects to discussing sex with any guy You can bet she's as interested as he If sex weren't 50-50, where would everybody be?"

I love me a sex comedy from 1964 that openly acknowledges female desire, sex outside of marriage, erogenous zones, and male impotence. "I'm gaining confidence," says Tony Curtis in one scene, clearly alluding to an erection. Meanwhile Natalie Wood is, well, Natalie Wood, just as gorgeous and magnetic as ever, even if it's in a silly film like this. This cast, my god ... Wood, Curtis, Henry Fonda, Lauren Bacall, Mel Ferrer (loved his little dancing), Edward Everett Horton (age 78!), Otto Kruger (his last film) ... with music from Count Basie and the sultry Fran Jeffries - it's fun to see them all here, and they all get at least a moment or two to shine.

The film tries to do a little too much, adding on the zaniness of an extended chase scene at the end which got a little exhausting. I liked the quieter things early on, like the running gag of coin-operated machines (the water cooler, the bathroom sink, the mirror, etc) which are all cleverly slipped in, and maybe suggest a changing world, one which goes along with women acknowledging their physical desires. There are also several humorous references to Jack Lemmon in "Some Like it Hot" when Tony Curtis finds himself in a women's robe, even though of course Curtis himself was in the same film. And then we have the scenes with Wood staring into Curtis's eyes and becoming aroused by his ear kissing, or her prancing out to answer the phone in a low-cut dress saying "And I shall insist on the right to have as many love affairs as I please. I'm certainly not going to sacrifice one iota of my freedom or dignity for any man." My goodness, she's a joy to watch.

Where the film falters, however, is in its treatment of women in the workplace - there's a secretary who is clearly a sexual plaything of her boss, and the main character melts as soon as she meets her new patient, abandoning any kind of professionalism. The story is kicked off when tabloid magazine writers all wonder if this young psychologist is a virgin, and her colleagues wonder the same thing. That's kind of ironic, because Helen Gurley Brown's book is about acknowledging and even using sexuality for one's benefit in a savvy way - a controversial concept for a feminist to be sure - but Wood's character doesn't show signs of this, and if anything, she's pretty naïve. It kind of erodes the equality aspect of the film. Women are as sexual as men, it says, but they either want to be dominated (as Jeffries' character prefers at the end) or they don't mind sacrificing their careers to get married (as Wood and Bacall's characters do).

Hey, the film is just a playful little comedy and in 1964 I guess you could look at it as a stepping stone of feminism, just as Brown's book was, despite its mix of progressive and regressive content - but these overtones and the lengthy car chase prevented me from rating it higher. Worth watching though.

I've seen this one a few times over the years and wish it would come out in DVD. Natalie Wood was never more beautiful, and the battle of the sexes was never more fun. It's great to see a love story that doesn't resort to foul language or adult humor, but simply witty dialog and the vagaries of human nature.

Tony Curtis plays a tabloid reporter trying to get the goods on Helen Gurley Brown (played by Natalie Wood) and her personal life to find out if she actually knows anything about sex and relationships. To this end, he impersonates an acquaintance (played by Henry Fonda) whose having problems with his jealous wife (played by Lauren Bacall) so that he can pose as a patient and seek her advice.

The confusion caused by this impersonation just leads to more problems. However, this is just a sideshow to the reporter's seduction of Dr. Brown and the glorious mayhem that ensues.

Her constant comparisons of Tony Curtis to Jack Lemmon (Curtis' co-star in Some Like It Hot) will appeal anyone who's seen that classic.