In the pantheon of great romantic comedies, very few films have defined the genre more than Michael Gordon’s Pillow Talk. Whether through filmmakers that were heavily inspired by it, or those that outright copied the film, it has held a cultural cache that has made it one of the most iconic entries into a genre that has grown to be amongst the most popular of any era. The reasons why Pillow Talk is such a beloved film aren’t too difficult to figure out – it’s an upbeat, colourful piece that seamlessly blends comedy, romance and some slight smatterings of drama, and ties it all together with an effervescent optimism that is truly second-to-none. Perhaps not the most original film, nor one that is entirely unpredictable, it makes up for some slight deficiencies through its gleeful approach to the daunting concept of romance, which it explores with an equal combination of elegance and bawdiness, resulting in something that will entertain and enthral even the most cynical of viewers, who will find it difficult to not be charmed by Gordon’s masterful control of a panoply of themes, and the film’s charismatic stars, who are themselves doing some of their most iconic work here, handling the material with tact and nuance that sometimes retreats from films such as this, where the emphasis is meeting a goal, rather than doing something interesting. In all areas, Pillow Talk is a resounding success, and its status as one of the most intelligent and meaningful romantic comedies of its era is not at all unearned, and could even be considered somewhat under-selling exactly what it is that makes this such a riveting work.

Throughout its history on film, romance has taken many different forms – from the tender expressivity of the silent era, to the rise of the screwball comedy, to the sex romps of the post-Vietnam era and the eventual merging of the romantic comedy with other genres, there have been many different ways that directors have represented love in comical ways. Pillow Talk is part of a sub-genre of romantic comedies that is best described under the term “bubblegum romance”, referring to films that came about in the post-war era, particularly in the 1950s, where the glamour of capitalism was blended with gorgeous artificiality and bombastic plotlines to create buoyant and entertaining romps that may not hold much weight in terms of narrative, but are insatiably entertaining affairs that give major stars the chance to trot across the screen in designer outfits and flattering lighting, making wisecracks and romancing those of equal calibre, with everything being tied up neatly by the end of it. In many ways, despite not being the pioneering work, Pillow Talk was the defining entry into this sub-genre, and the one that launched a plethora of imitations and attempts to replicate the same success – and while it may not constitute particularly daring filmmaking, it still has a heartfulness that is difficult to match, especially when the film really hits its stride. Predictable to a fault (especially considering how many times we’ve seen similar premises in later works – Down with Love, the lovable pastiche to these films, being the most obvious, but the proverbial cream of the imitative crop), but charming nonetheless, Pillow Talk is supremely confident, never taking any real risks, but still managing to stay afloat on the sheer propulsion of its endearing premise.

Pillow Talk is sold almost entirely on its two stars, and quite rightly so, since outside of their charismatic performances, there really wouldn’t be much of a film to speak about. Despite having a sparkling, witty script, the film depends fully on what Doris Day and Rock Hudson do with the material, and even just a slight deviance in their inherent magnetism would’ve profoundly set this film on an entirely different course. Ultimately, what we tend to remember the most about Pillow Talk is that this was the film that truly consolidated Day and Hudson as stars – neither was making their debut, nor were they hoping to breakthrough after years of being in the shadows. They were beloved already, and had their fair share of notable work – but it took this film to really establish them on a cultural and even historical sense. This film stands out even more on the fact that both Day and Hudson are on equal-footing – neither one of them dominates, and they’re remarkably symbiotic throughout the entire piece, with the film oscillating between perspectives in a way that gives the actors space to develop their characters beyond the confines of the hackneyed archetypes of the romantic comedy, and audiences the chance to forge a meaningful connection with them. This isn’t to suggest they were doing much heavy-lifting in the film – both were so effortlessly charming in everything they did, there wasn’t much work that needed to be done in the traditional sense (even if this was one of the first forays into the realm of comedy for Hudson, who was still playing it as if it was one of his star-making melodramas, which contrasts wonderfully with the buoyant tone of the film), and the responsibility essentially fell to Gordon in cultivating the nuances from the performances and presenting them in a way that captures the exact spirit of the story.

It’s an approach that only works when the actors occupying the lead roles are thoroughly convincing, and this has rarely been more applicable to what Hudson and Day were doing throughout this film. Yet, there is more to the film, and the star wattage associated with Pillow Talk can sometimes get in the way of a more insightful discussion into what it is that makes this such a compelling film. Ultimately, romances on screen need to strike the perfect balance between being entertaining, but also feeling authentic – there doesn’t need to be a great deal of complexity embedded in the story, but rather a sense of reality that allows even the most absurdly-themed films to move along swiftly and have something of merit, beyond the bombastic premise, which is just about as disingenuous as it could be taken on its own. Gordon had a solid head on his shoulders when it came to directing, having done over a dozen productions over a range of theatrical forms and genres, and the script was in good hands – it doesn’t necessarily mean Pillow Talk is much of a directorial achievement, since the dialogue and the actors delivering it are really the ones responsible for bringing it to life. However, Gordon’s direction is impeccable – he has to juggle numerous twists and turns, and keeping the audience engaged, while still providing us with the chance to get to know these characters, should not be underestimated. It all adds up to the idea of the “bubblegum comedy”, where the sheen of glamour is there as a complementing factor, not the central guiding force of the film – and through exposing us to a thoroughly entertaining comedy that does manage to defy the odds by having some depth, the director achieves something quite special. It’s not the kind of directing that normally equates to much praise, but it is solid and compelling, and helps add the final touches that elevate this to the realm of being a true classic.

Pillow Talk is truly a charming piece of cinema. It’s always refreshing to see a classic that earns its acclaim not through heavy-handed commentary, or a wealth of original ideas, but rather through being an upbeat, enjoyable romp that sees two magnetic stars at their very peak, providing so much material for audiences to wholeheartedly consume – not to mention the chemistry between Day and Hudson is simply off the charts and truly a sign of two artistic collaborators who were able to bring out the best in each other, to the point where their roles are entirely symbiotic, playing off each other with an ease that is rarely glimpsed – it’s no surprise that Pillow Talk sparked a few more collaborations between the duo, as well as third-wheel Tony Randall, who is just as fun here. As a whole, there isn’t much to say about this film other than acknowledging its impact on the romantic comedy genre – with its entertaining premise, fantastic characters and writing that is as sharp as some of the best screenplays of its era, Pillow Talk earns its stripes through the sheer willpower of being able to do so much with a relatively straightforward premise, and eventually becoming such an enjoyable experience, we can easily forget the fact that we can predict every outcome of this film and determine exactly where it is heading – that, more than anything else, is the sign of a successful piece of filmmaking.