|
By
NICK ZEGARAC
"Please Don't Eat The
Daisies" (1960) is a comedy study that is one year
too late in celebrating the 50s sexual stereotype
of "the little woman." It stars David Niven and
Doris Day as Lawrence and Kay McKay. He's a Drama
critic. She just wants to be a housewife. They're
happy, if cramped, in a Manhattan apartment with
four sons, David (Charles Herbert), Gabriel
(Stanley Livingston), George (Flip Mark) and Adam
(Baby Gellert). However, at the behest of Kay, the
family departs the elegance of New York for
suburbia and clean living. Well, almost.
Seems Lawrence can't or won't entirely leave the
Big Apple behind. That his work precludes a
complete departure from the social depravity of
Broadway stage door Johnnies and scheming starlets
is an angle played up best when it appears as
though Lawrence has decided to sack Kay and family
for the lovely and flirtatious Deborah Vaughn
(Janis Paige). Complications ensue as long time
friends Suzie Robinson (Spring Byington) and
Alfred North (Richard Haydn) get involved though
only manage to make a simple case of mistaken
judgment develop into a full blown comedy of
errors. And then, of course, there's the whole mix
up with Reverend McQuarry (John Harding) that begs
to be reconsidered.
Based on Jean Kerr's humorous novel, ably adapted
by Isobel Lennart, director Charles Walters
directs with his usual panache, but is decidedly
saddled with, and forced to do damage control
over, Niven's central performance as the
blundering Lawrence. Honestly, the poor man's made
to look ridiculous around every corner -- an ill
fit for one of the most accomplished and adroit
British actors of his time. Day manages to come up
with some winning moments, but she too has seen
better days and far better material. This film
perhaps foreshadows the sort of "reluctant
domestic" role that the rest of her tenure with
Rock Hudson would carry over. Apparently, and
despite its overall entertainment value
shortcomings, there is something to be said for
timing. "Please Don't Eat the Daisies"' played to
solid box office and even found renewed life as a
television sitcom starring Brian Keith. Go figure.
The anamorphic transfer from Warner Bros. is very
good. Colors are rich and vibrant. Blacks are deep
and solid. Whites are clean. Shadow and contrast
levels are marvelous. Save Day's rendition of the
title song, the audio sounds rather unnatural and
strident. Dialogue is decidedly forward sounding
with no spread across the channels. The only extra
is a theatrical trailer. |
