Similar in nature to the same year's "Irma La Douce" with the exception of the era in which it was set, this delightful romantic farce is a charming spoof of the fashion industry with a bit of the lady of the evening thrown in. The team of Paul Newman and Joanne Woodward may not be Burton and Taylor, but their pairings on film tend to have better scripts and are less overshadowed by their personal lives. Woodward here allows herself to be de-glamorized as a rather masculine woman who specializes in knock-offs of high end fashion and goes to Paris to find new stock. After perusing such outrageous frocks as a giant feather duster and curtains for the Versaille, she takes on a lesson from guest Maurice Chevalier to seek out womanhood. A trip to Elizabeth Arden changes her image, but sitting alone in a café only brings on the wrong kind of pass.
Paul Newman, who encountered the obnoxious Woodward on the plane over from New York, at first doesn't recognize her, using the name Mimi instead of the more masculine Sam. He is allowed to think of her as paid companionship, a fact she doesn't dispute. But as he becomes wise to her, he has all sorts of bizarre fantasies of how to tame her, setting her up for the inevitable confrontation.
The always sunny Thelma Ritter is a delight as Woodward's love-starved assistant with Eva Gabor, George Tobias and Marvin Kaplan in fine support. The fashion industry is playfully made fun of and there is the obvious feeling that the writer had some truth to his light-hearted attack. Sinatra sings the title tune over the credits which Chevalier repeats as part of a medley.
Paul Newman, who encountered the obnoxious Woodward on the plane over from New York, at first doesn't recognize her, using the name Mimi instead of the more masculine Sam. He is allowed to think of her as paid companionship, a fact she doesn't dispute. But as he becomes wise to her, he has all sorts of bizarre fantasies of how to tame her, setting her up for the inevitable confrontation.
The always sunny Thelma Ritter is a delight as Woodward's love-starved assistant with Eva Gabor, George Tobias and Marvin Kaplan in fine support. The fashion industry is playfully made fun of and there is the obvious feeling that the writer had some truth to his light-hearted attack. Sinatra sings the title tune over the credits which Chevalier repeats as part of a medley.