Double bubble trouble singer crossword
She could don buckskin and jeans to whoop her way through the tomboy title role in the 1953 musical Western "Calamity Jane," her own personal favorite, with beguiling gumption. As composer Oscar Levant once famously quipped, “I knew Doris Day before she was a virgin.”īut she projected her daisy-fresh wholesomeness without affectation. Yet many have dismissed Day as a girl next door, a studio-concocted confection no less fabricated than her bustier, lustier blonde peers. Day also impressed as Roaring ’20s torch singer Ruth Etting in 1955’s "Love Me or Leave Me" with James Cagney as her louse of a manager/husband.
#Double bubble trouble singer crossword movie
The movie bestowed on her that wistful trademark tune "Que Sera, Sera," which is sung twice – once with breezy assurance, the second as a desperate ploy to save her son. He would give her one of her best dramatic roles opposite James Stewart in 1956’s "The Man Who Knew Too Much," as the distraught mother of a kidnapped boy. Hotchner that her image “was more make-believe than any film part I ever played.”Īlfred Hitchcock peered into her soul and saw something deep and dark when they met at a party in 1951. Her last marriage was a brief one to restaurateur Barry Comden that ended in 1982. She worked her way out of debt and later sued a financial adviser to get the cash back. When he died in 1968, it was discovered he had squandered about $20 million of her money. Marty Melcher, who adopted Terry, became her third husband and manager in 1951. In 1946, she married a saxophonist, George Weidler, who resented her growing fame as a singer. That included her father, who left her mother when she was 11.Ī teenage Day first wed in 1941, to trombone player Al Jorden, whom she alleged abused her Jorden fathered her son and only child, music producer Terry Melcher, who died in 2004 from cancer. musicals from the ’50s such as "Lullaby of Broadway" and "By the Light of the Silvery Moon" – belied a wretched track record with men. Her carefree demeanor and vibrant personality – which shone even in second-tier Warner Bros. There was more to Day than displayed in her no-sex sex comedies, however. Hudson (cooing sarcastically): “Ohhh, that’s too bad.”
There’s nothing in my bedroom that bothers me.” Hudson: “Look, I don’t know what’s bothering you, but don’t take your bedroom problems out on me.”ĭay: “I have no bedroom problems.
Sample dialogue from 1959’s "Pillow Talk," which co-starred Hudson and earned Day her only Oscar nomination: The settings changed, but rarely the basic situation: He wanted to bed, she wanted to wed and the audiences were duly seduced as Day and her leading man batted double entendres back and forth like a badminton birdie. At her best playing ambitious career gals in perfectly accessorized designer suits, the perpetually pert actress came to epitomize pre-liberated womanhood, never a prude but not quite ready to toss out her girdle either.