Le démon de midi

It is definitely a vehicle for Curt Jurgens to display his talents in light comedy. Debbie Reynolds is quite at home in her element here, which is also light and breezy with touches of seriousness now and then. On the whole I feel the film is lacking in spontaneity and robust humor, one senses it has been pre-planned too well and the actors may be going through the motions. It's enjoyable entertainment without delving into deeper matters.

Veteran actor Preston "Mitch" Mitchell (Curd Jürgens) refuses to come out of retirement for a Broadway play as the father of the new teen idol. At a party, Janet Blake (Debbie Reynolds) needs to escape from her drunk lecherous boss. Bill Tremaine (John Saxon) gives her a ride. When he starts making suggestions, she makes a run for it in the pouring rain. She makes it to his neighbor Mitch and is forced to spend the night. People mistakenly assumes some hanky panky and Mitch hires her as his secretary.

The starting premise has some interesting aspects and some icky aspects. It would be written a little differently today. I can see Janet as the butt of the joke back in the day. This is one of those May to December romances. I rarely like them reaching fruition and this one is no exception. Also, Mitch is rather stiff and the chemistry is mostly coming from Reynolds. Saxon is too angry and isn't much better either. She has all the abilities to sell this, but I'm not eager to buy.

Fleeing from a party in Connecticut where too many men have made too many passes at her, Debbie Reynolds takes refuge at the horse ranch of Curd Jurgens, a grumpy leading man of the stage who has retired. He offers her a job as his secretary, she accepts, and feelings rise about her between Jurgens, John Saxon, and Troy Donahue.

Blake Edwards' movie is based on a Broadway hit by F. Hugh Herbert, but it;s too mannered and polite to raise much laughter, despite housekeeper Estelle Winwood nursing a sick seagull and Jurgens' back going out every time he tries to be masculine. Edwards' screenplay opens up the show expertly, but despite a cast that includes Alexis Smith and Mary Astor, it's a dull non-affair.

This is not the most sophisticated comedy in the world but it has a sweet breezy charm and is loaded with enjoyable performances.

Set in the Connecticut countryside the film stars Curd (here billed as Curt) Jurgens usually found in heavy duty drama in a nice change of pace as a distinguished, respected and retired actor who is trying to be lured back to the stage. He crosses paths with Debbie, sprightly as always but fed up with men on the make, who he takes on as his secretary and complications ensue with misunderstandings aplenty.

Hardly new or novel what puts this over is the cast. Curt Jurgens is relaxed and charming and Debbie her usual perky self but where this really excels is the supporting players. Mary Astor, Gloria Holden, Hayden Rorke and even the usual stiff Troy Donahue all have little moments to shine and John Saxon certainly cuts an attractive and personable figure but there are two performers that stand out from the rest.

The criminally undervalued Alexis Smith is grace and style personified as the sly and sexy Nita Holloway, a famous actress and former flame of Curt's who is anxious to both relight the flame and get him back on stage. The other is Estelle Winwood as the daffy, eccentric housekeeper Mrs. Early. Her scenes with Curt have the snap that comes from years of experience and great skill. Both ladies are great!

Curiously obscure considering the director and cast catch up with this if you have the chance.

A late Eisenhower era rom com with all the sparkle and verve of a John Foster Dulles presser, this has to be Blake Edwards' most dispiriting film until the curdled and worn out "SOB" came along. I can think, off the top of my head, of at least fifty actors who would have been better than Curt Jurgens, from Leon Ames to Robert Young. John Saxon, as per usual, soon descends into a pool of ennui while Debbie Reynolds, also per usual, is engaging but is given absolutely none of the script's (also by Edwards) few good lines. Those are instead mostly outsourced to Estelle Winwood, as a dipso house keeper with an unfunny pet seagull and, in the film's only interestingly surprising turn, Alexis Smith who shows that, had she not chosen the love interest career path, she could have been a better looking Eve Arden. Solid C.

PS...A crappy print and terminally perky music didn't help matters, either.