The last of the Doris Day and Rock Hudson teaming is a marital farce that has Rock playing a hypochondriac cool, believing that he's dying, arranges to help wife Day find her next husband, believing she is incapable of taking care of herself. if that surely isn't enough grounds for divorce, it's Day's belief that he's cheating on her, if not with recently divorced Patricia Barry than somebody else. Next door neighbor pal Tony Randall is little to no help, not at all trying to get Hudson to see that his paranoia over his health is absurd and aiding Hudson recklessly in his attempts to win his wife back. Day's hunky former college boyfriend (Clint Walker) shows up, seemingly more than ready to become husband number two, and when the truth comes out, Hudson will have more than just a hefty medical bill to deal with.
Amusing performances by Edward Andrews as Hudson's long time doctor and Paul Lynde as a local cemetery plot salesman add a great deal of humor to this comedy that is quite sitcomish in its structure. Day gets an interesting recording of the title song over the opening credits that sounds like three different recordings overlapped together. The focus is more on Hudson here with Doris as the reactor, getting two farcial moments, first dealing with an armful of groceries from the gossipy milkman while locked out of the house and then later on a runaway golf cart getting soaked as it goes through sprinklers.
This is perhaps the most likeable Hudson was in any of the three films he was in with Doris, although his character is a bit of a fool. The script is weak in the sense that it follows the trends of lots of other marital comedies at the time and doesn't have any original ideas to present, with the audience completely aware that everything will be resolved in the nick of time and that both the well intended Randall and the macho Walker will get their comeuppance in the end.
Amusing performances by Edward Andrews as Hudson's long time doctor and Paul Lynde as a local cemetery plot salesman add a great deal of humor to this comedy that is quite sitcomish in its structure. Day gets an interesting recording of the title song over the opening credits that sounds like three different recordings overlapped together. The focus is more on Hudson here with Doris as the reactor, getting two farcial moments, first dealing with an armful of groceries from the gossipy milkman while locked out of the house and then later on a runaway golf cart getting soaked as it goes through sprinklers.
This is perhaps the most likeable Hudson was in any of the three films he was in with Doris, although his character is a bit of a fool. The script is weak in the sense that it follows the trends of lots of other marital comedies at the time and doesn't have any original ideas to present, with the audience completely aware that everything will be resolved in the nick of time and that both the well intended Randall and the macho Walker will get their comeuppance in the end.