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Pillow Talk

Pillow Talk

Comedy · Romance · 1959

Playboy songwriter Brad Allen's succession of romances annoys his neighbor, interior designer Jan Morrow, who shares a telephone party line with him and hears all his breezy routines. After Jan unsuccessfully lodges a complaint against him, Brad sets about to seduce her in the guise of a sincere and upstanding Texas rancher. When mutual friend Jonathan discovers that his best friend is moving in on the girl he desires, however, sparks fly.

Movie details

Pillow Talk

“...It's What Goes On When The Lights Go Off!”

1959 Comedy · Romance 1h 42m

Critical arithmetic

One number, for now.

TMDB

7.1 / 10

Community rating

Playboy songwriter Brad Allen's succession of romances annoys his neighbor, interior designer Jan Morrow, who shares a telephone party line with him and hears all his breezy routines. After Jan unsuccessfully lodges a complaint against him, Brad sets about to seduce her in the guise of a sincere and upstanding Texas rancher. When mutual friend Jonathan discovers that his best friend is moving in on the girl he desires, however, sparks fly.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Pillow Talk?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Michael Gordon

Written by

Stanley Shapiro · Maurice Richlin · Clarence Greene · Russell Rouse

Doris Day

Doris Day

Jan Morrow

Rock Hudson

Rock Hudson

Brad Allen

Tony Randall

Tony Randall

Jonathan Forbes

Thelma Ritter

Thelma Ritter

Alma

Nick Adams

Nick Adams

Tony Walters

Julia Meade

Julia Meade

Marie

Allen Jenkins

Allen Jenkins

Harry

Court is in session

Put Pillow Talk on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.