Ne pas déranger S.V.P.

Doris Day's later films were routinely criticized by critics. However, as a fan, I found many of them to be sublime. Just watching Doris was a wonder for me as a teenager. I rather enjoyed Doris in this film, trying to turn an old house into a palace for her husband, Rod Taylor. I enjoyed Hermione Baddeley as her caring landlady. For me, the whole point of this film was Doris' entrance into the no-wives party for wool distributors. When she arrives, takes off her white coat to reveal a figure-clinging, gold sequined gown, I was absolutely captivated! Of course, I'm a big Doris Day fan, and the sight of her walking down steps into the party was a special highlight for all my years of adoring Doris! It's not a bad film, I just think people expect too much of a romantic romp. Doris is superb at playing someone who has had too much to drink. Actually, she is superb at just about everything she does. That's my take on it.

OK, so it's not unreasonable to enter into a Doris Day romantic comedy expecting undemanding froth and a little sexiness. With that, Do Not Disturb delivers on that expectation. Day's line in this type of film caters for like minded people knowing exactly what they want from a Sunday morning time filler. The trouble is, is that where's the cut off point to say no more please? This film is arguably the one where Day fans {and I count myself among them} finally realised the formula had run its course. Yes the enjoyable fluff that was The Glass Bottom Boat would follow a year later, but that too has a familiarity, that whilst not breeding contempt, certainly felt like being stuck on a carousel.

The plot here is naturally simple, but sadly so is Richard L. Breen's screenplay {adapting from William Fairchild's play}. Thankfully Day at least manages to make the thread bare script work to a degree, and although no Rock Hudson, Rod Taylor does make for an appealing foil to Day's sexy effervescent efforts. Hermione Baddeley shines brightest out of the supporting cast and the funky opening credits are accompanied by Day's delightful rendition of the title tune. Enter with caution then, for even the hardiest of Doris Day fans must know this is but a time filler in all but name. 5/10

You can't ever complain about a Doris Day film, she brings a smile to the screen whenever she appears. This particular film, however, isn't quite in the league of most of her others. I'm not certain why that is, maybe it's because I find Rod Taylor very 2D or maybe it was because the plot became annoying as it got more contrived. This was obviously a film made from a play and you struggle to buy-in to the fact that this couple don't have a really serious problem if they are so swiftly prepared to believe in each other's infidelities.

The drunken Doris in Paris is almost upsetting because you just want to protect her and the modern view of the rest of the goings-on that the business convention seems to require don't sit comfortably. Doris is tremendous throughout, of course, and it's good to see the feisty side as well as the cute. I wasn't going to bother re-watching it if it came onto the telly again, but now I know you can spot Raquel Welch in the hotel lobby I might. A Doris and Raquel film.....there's a thing!

I am a big doris fan, but the disappointment for me started with the clutzy and mindlessly simple intro song, followed by a poor opening scene concerning learning how to calculate a taxi fee in British sterling...the movie really never does get off the ground, and just becomes an endless stringing together of one boring scene after another...the scene with the fox was amusing, and Doris's figure in the shimmering gown during the party scene was nice, but pretty much everything else left me cold and wishing I was watching pillow talk instead....worth watching, but only once, that is if you can stay awake.

Doris Day was among Hollywood's few truly bankable stars during the late 1950s and early 1960s, particularly noted for her comic talents in such frothy farces as PILLOW TALK, PLEASE DON'T EAT THE DAISIES, and THAT TOUCH OF MINK. Unfortunately, as the 1960s progressed her films did not, and although her films remained popular they were seen as increasingly out of touch with the tone of the times. The situation was not helped by Day's husband-manager Martin Melcher, who developed the habit of signing Day to film projects Day herself found uninspired. Such was the case with the 1965 flyweight comedy DO NOT DISTURB.

The play seems to be a grab-bag of ideas from previous Day films, the story of a pretty but slightly klutzy wife (Day) and a neglectful husband (Rod Taylor) who find themselves at romantic cross purposes courtesy of their landlady Vanessa (Hermione Baddeley), a sexy secretary (Maura McGiveney), and a handsome antiques dealer(Sergio Fantoni.) The roles are one-dimensional, the plot turns are predictable, and the dialogue trivial. Both Day and Taylor respond by overplaying, sometimes to the point of shrillness. Even so, they do manage to inject enough life into the film to make it mildly amusing--and the supporting cast is quite charming. When all is said and done, the film is most memorable for the sight of Doris Day in a brilliantly orange evening gown as she struggles on the dance floor to shake away an olive dropped down her back.

The DVD includes several bonus features, including an account of Day's early life and career, a brief biography of Michael Romanoff (who plays a cameo in the film), and a brief biography of composer Mort Garson (who is perhaps best remembered for the song "Our Day Will Come.) It offers a nice transfer and is present in its original widescreen format. Most Doris Day fans will find it amusing, but even so most will admit that DO NOT DISTURB is hardly among the first tier of her films: not bad, but in no way memorable.

GFT, Amazon Reviewer