That Touch Of Mink (1962)
The history of cinema features quite a few films that at some point include a catwalk show of some sort. That Touch of Mink (1962), directed by Delbert Mann, featured a short private runway for example that takes place for Cathy Timberlake (Doris Day) at Bergdorf Goodman.
That Touch of Mink (1962)
On her way to cash her unemployment check Cathy Timberlake is splattered with mud by a passing limousine belonging to tycoon Philip Shayne, a bachelor. Later, Philip spots Cathy entering an automat and sends his rebellious financial adviser, Roger, to apologize and offer her money for her ruined dress. Goaded on by both Roger and her worldly-wise roommate, Connie, Cathy decides to visit Philip personally to express her indignation. When she does meet the suave charmer, however, her wrath melts, and she agrees to accompany him on a business trip to Baltimore. Philip then takes Cathy to Philadelphia for cocktails, to Manhattan for his speech at the U. N., and then on to dinner and a baseball game. His platonic attitude ends, however, when he suggests a trip to Bermuda. At first Cathy refuses, but later she reconsiders and ends up flying to the island with a lavish wardrobe, mink coat included, supplied by her generous host. But with the coming of night Cathy is so nervous that she develops a skin rash; and Philip spends the night playing gin rummy with another frustrated male. Back in New York, Cathy feels ashamed of herself and decides to return for a second attempt at romance. This time she takes a drink to fortify herself, gets drunk, and falls off a balcony. Disgusted, Philip returns to New York and no longer attempts to call her. To arouse his jealousy, Roger arranges for Cathy to go to a motel with a lecherous unemployment clerk, Beasley. Following a wild chase, Philip "rescues" Cathy and impulsively proposes marriage. As they arrive in Bermuda for their honeymoon, Philip suddenly realizes he is a married man; ...MoreLess
On her way to cash her unemployment check Cathy Timberlake is splattered with mud by a passing limousine belonging to tycoon Philip Shayne, a bachelor. Later, Philip spots Cathy entering an automat and sends his rebellious financial adviser, Roger, to apologize and offer her money for her ruined dress. Goaded on by both Roger and her worldly-wise roommate, Connie, Cathy decides to visit Philip personally to express her indignation. When she does meet the suave charmer, however, her wrath melts, and she agrees to accompany him on a business trip to Baltimore. Philip then takes Cathy to Philadelphia for cocktails, to Manhattan for his speech at the U. N., and then on to dinner and a baseball game. His platonic attitude ends, however, when he suggests a trip to Bermuda. At first Cathy refuses, but later she reconsiders and ends up flying to the island with a lavish wardrobe, mink coat included, supplied by her generous host. But with the coming of night Cathy is so nervous that she develops a skin rash; and Philip spends the night playing gin rummy with another frustrated male. Back in New York, Cathy feels ashamed of herself and decides to return for a second attempt at romance. This time she takes a drink to fortify herself, gets drunk, and falls off a balcony. Disgusted, Philip returns to New York and no longer attempts to call her. To arouse his jealousy, Roger arranges for Cathy to go to a motel with a lecherous unemployment clerk, Beasley. Following a wild chase, Philip "rescues" Cathy and impulsively proposes marriage. As they arrive in Bermuda for their honeymoon, Philip suddenly realizes he is a married man; overcome by nervousness, he breaks out in a skin rash.
Well, I'm back from my Thanksgiving jaunt to VA and so happy to see this charming post! Frankly, my FAVORITE part of this movie is the truly repulsively creepy part John Astin plays as Cathy's "suitor"...it IS him, right? His leering kisser is PERFECTION for the part. Yes, I love the mink and the Norell, but Astin makes me howl as the repugnant Beasley. Yurk! I really love the fashion show, too, Kimberly,...that's prime. And thanks for thinking of me with the brooches. I was in Fredericksburg, VA, home to a shopping street of antiques and vintage items such as is rarely seen. Oh, it was heavenly window shopping, but with Carole Tannenbaum coming to town in one week, I didn't dare drop as much as a dime on vintage. Talk about temptation! Thanks, as always for these wonderful screen caps. Sure, Cary sleepwalked thru this one, but Doris's expression during the fashion show are adorable. Hugs, Kay
Original U.S. Three-Sheet Poster for the Delbert Mann directed comedy THAT TOUCH OF MINK (1962) starring Doris Day and Cary Grant. The film also starred Gig Young, Audrey Meadows and John Fiedler. This romantic comedy is the kind of picture for which Doris Day became famous. The film was originally scheduled to be made with Rock Hudson, but director Mann wanted Cary Grant for the part and got him. Grant didn't think much of the film, although he was nominated for a Golden Globe for it. The movie was awarded the Golden Globe for Best Comedy Picture. This movie made great money for Universal taking in over 18 million bucks at the box office. If you see the movie, you will see a scene where Grant and Day go to see the New York Yankees Play. In that scene look for cameos by Mickey Mantle and Yogi Berra. Three-sheet posters are large format posters. Big posters for this movie have proven elusive. MovieArt Austin guarantees that this poster is an authentic U.S. poster for this film. MovieArt Austin does not sell reproductions.Doris Day - ActorCary Grant - ActorDELBERT MANN - DirectorGig Young - ActorAudrey Meadows - ActorJohn Fiedler - Actor
In the screwball comedies of the 1930s and early 1940s, romantic attachments between members of different social classes functioned as allegorical representations of the more general class dynamics of Depression-era America. Through the screwball film, the problems and tensions inherent in an unequal and divided society could be safely explored. In many cases, the fantasy of social reconciliation could be embodied in a romantic union that overcame class barriers and thus demonstrated their fundamental artificiality. Hollywood films of the 1950s and early 1960s, on the other hand, treated the cross-class fantasy quite differently, reflecting fundamental changes in the prevailing social ideology of postwar America. Postwar comedies from Howard Hawks's Gentlemen Prefer Blondes (1953) and Jean Negulesco's How to Marry a Millionaire (1953) to Delbert Mann's That Touch of Mink (1962), for example, differ significantly from their Depression-era counterparts in their treatment of both class dynamics and gender relations. Unlike the 1930s screwball films, in which the man was as likely as the woman to occupy the socially subordinate role, postwar comedies tended to present only a one-dimensional vision: attractive women in search of rich husbands. 041b061a72