Toddling in at the tail end of the cycle of "chaste" sex comedies popularized by Doris Day, this installment has several things working in its favor and a few things not. Martin plays a confirmed bachelor whose friend Wallach is carrying on an affair with a woman (Jackson) who is the caring and nurturing antithesis of his needling and superficial wife Bard. In an effort to save the marriage, Martin decides he will seduce the lover and break up the affair, but, due to some contrived circumstances (nearly always the case in films of this ilk), he winds up cavorting with the wrong girl! Stevens is the curvaceous doll that Martin mistakenly targets and it leads to any number of complications and misunderstandings. Martin is decent here, easily bringing more energy and commitment to the role than he had been in other films of this era (such as the Matt Helm frolics, one of which counted Stevens as a co-star.) Stevens gives her all to her role. To say that she is luscious is akin to saying that golf courses contain a small amount of green. She not only looks amazing in her various, snug, Moss Mabry creations, but she turns in an astute and captivating performance. Wallach, who typically worked in pictures far more serious than this, gives an interesting performance. Jackson gets rather short shrift, with the bulk of the attention and close-ups going to Stevens, though she manages to play her role effectively. Ironically, these two actors playing illicit lovers were, in fact, married in real life at the time! (They still are as of this writing, making them one of Hollywood's more successful unions.) A number of stalwart character actors turn up in support. Field plays a knowing landlady who's lines vary in quality, but all of which are given as much spin as she can muster. Albertson (who would reunite with Stevens for "The Poseidon Adventure" a couple of years later) plays a kindly neighbor. Oppenheimer is a lascivious office manager who helps to get the ball of misunderstandings rolling and Furth is a drippy date of Stevens. Fans of "Will & Grace" will enjoy spotting Morrison in the beginning as Stevens' sassy co-worker. The film has that unmistakable crisp, clean quality of mid-to-late 60's Hollywood with the almost sterile sets and the well-tailored clothes. (Stevens wears a jacket in her first scene that seems awfully difficult and elaborate for a single woman to be dealing with!) The music, apart from the credits number crooned by The Ray Conniff Singers, is not among Michel Legrand's more memorable efforts. Unfortunately, the script and story are not only more than a little dated and almost offensive in the presentation of gender roles, but also the endless contrivances and coincidences threaten to make the entire film become tedious. It's only the goodwill mustered up by Stevens and a few of her co-stars that saves the film from being a trite exercise in idiocy. Fans of hers owe it to themselves to see one of her most significant screen roles and to revel in her extreme loveliness. Others may find themselves losing interest as the rather silly plot meanders toward its conclusion.
