The sparkling romantic comedy Lover Come Back (1961) plays on the witty and playful battle of the sexes, starring Rock Hudson and Doris Day in one of their classic on-screen pairings. Delbert Mann's direction captures the charm and humor of the early 1960s while satirizing the fast-paced world of advertising. Filled with mistaken identities, miscommunication, and clever social commentary, Lover Come Back showcases the comedic chemistry between Hudson and Day, which had already proven successful in earlier films like Pillow Talk (1959). Tony Randall rounds out the cast as the bumbling sidekick, and the film delivers an entertaining mix of romance, humor, and satire that continues to resonate with modern audiences.

In this analysis, we will examine the film's themes, character dynamics, social commentary on advertising culture, and its place in the broader context of 1960s romantic comedies.

Doris Day plays Carol Templeton, a principled and hardworking advertising executive who believes in winning clients through ethical business practices. Her professional rival is Jerry Webster (Rock Hudson), a charming and unscrupulous ad man who resorts to underhanded tactics—like wining and dining clients with lavish gifts and questionable favors—to steal away accounts from Carol's firm.

Jerry escalates the rivalry by fabricating a new product, called "VIP," to win over a client. Jerry is forced to turn the fabricated campaign into reality when the fake product sparks interest. Carol is determined to land the VIP account and meets Jerry, whom she believes to be the product's creator, Dr. Linus Tyler. She is unaware of the hoax. This case of mistaken identity sets off a hilarious chain of encounters and misunderstandings as Carol falls for Jerry without knowing who he really is.

As the truth comes out, Jerry's lies are exposed, and both he and Carol must face up to their feelings for one another while dealing with the ridiculous world of advertising. The film ends on a high note, with a satisfying resolution where love conquers all and Carol and Jerry find common ground.

The battle of the sexes is at the heart of Lover Come Back. Carol and Jerry are two opposing forces. Carol represents professionalism and morality, while Jerry embodies manipulation and charm. The film capitalizes on their rivalry, using the tension between them to drive the humor and the romance.

From the start, Carol and Jerry clash over ethical practices in business. Beneath their professional antagonism, however, is a simmering attraction. This dynamic reflects the broader cultural tension of the time, as women were beginning to assert themselves more in the workplace. Doris Day's character is a strong, independent woman who refuses to be taken advantage of by the likes of Jerry. Despite this, she is still drawn to his charm, creating a compelling push-pull dynamic.

The film's comedic tension hinges on the fact that Carol and Jerry each try to outsmart the other, only for their schemes to backfire and ultimately bring them closer together. Their eventual romance proves the film's message: love can bridge even the widest divides between people.

Lover Come Back is unquestionably one of the most enjoyable films because of its sharp satire of the advertising world. The film boldly critiques the absurdity of marketing, particularly the notion of persuading consumers to purchase products that may not even exist. Jerry's creation of the nonexistent VIP product is a direct attack on the manipulative nature of advertising. Style is often prioritized over substance, and the sizzle is more important than the steak.

The advertising world depicted in the film is one of smoke and mirrors. Image is everything. Truth is secondary to selling an idea. Jerry's willingness to lie and fabricate an entire campaign to win a client is a clear indication of the moral ambiguity that exists within the profession. Meanwhile, Carol's insistence on doing things "by the book" makes her the idealistic foil to Jerry's cynicism.

Lover Come Back offers a scathing critique of the 1960s consumer culture through its exaggerated portrayal of the advertising industry. The film's satirical edge is as relevant today as it has always been, as modern advertising continues to blur the lines between reality and perception.

Lover Come Back also powerfully explores the role of identity and deception in business and relationships. The film revolves around Jerry's deception as he assumes the identity of Dr. Linus Tyler, resulting in a series of misunderstandings that propel the plot forward. This mistaken identity not only creates comedic situations but also allows the film to boldly explore how appearances and perceptions can be manipulated for personal gain.

In the advertising world, deception is part of the game. Jerry's ability to craft an entire persona to win over Carol is emblematic of the industry's emphasis on image over authenticity. However, as the film progresses, it becomes clear that Jerry's false identity causes more trouble than it's worth. He ultimately has to come clean in order to win Carol's heart. The film's resolution makes it clear that honesty is essential in both business and love.

The theme of mistaken identity also allows the film to play with gender roles and expectations. Carol is initially drawn to the sophisticated "Dr. Tyler," a man she believes to embody intelligence and refinement. However, she soon discovers that she has fallen for the more down-to-earth and flawed Jerry. This twist forces the characters to question their assumptions about what they truly want in a partner.

Lover Come Back is a product of its time, with many traditional gender roles intact. However, it also reflects the evolving gender dynamics of the 1960s. Carol Templeton is a career-focused woman who stands her ground in a male-dominated industry, and she's not afraid to show it. She will not compromise her principles or her professional integrity, even when faced with Jerry's unethical tactics.

Doris Day's portrayal of Carol is significant because she plays a character who is not defined by her romantic relationships. Instead, she is defined by her professional ambitions and her moral code. The film ends on a romantic note, but Carol is not just a love interest. She is an independent woman who commands respect in her field and holds her own against the charming yet deceptive Jerry.

The film's resolution—where love conquers all—clearly suggests a reconciliation between personal and professional fulfillment. Carol's ability to find love while maintaining her principles reflects the evolving role of women in society at the time—and it is an inspiration to us all.

Rock Hudson is magnificent as Jerry Webster, a role that showcases his talents as both a romantic lead and a comedic actor. Hudson's charm and charisma make Jerry's underhanded tactics more forgivable, and his comedic timing adds to the film's lighthearted tone. Hudson is superb at playing a character who is, on the surface, morally dubious but ultimately redeemable thanks to his growing feelings for Carol.

Doris Day delivers a standout performance as Carol Templeton, showcasing her undeniable talent for both comedy and drama. Day infuses Carol with intelligence, independence, and a strong sense of justice, making her a refreshing character for the era. There's no doubt about it: the chemistry between Hudson and Day is undeniable. Their on-screen banter provides much of the film's comedic energy.

Day masterfully balances Carol's professional determination with her romantic vulnerability, giving the character depth and making her more than just Jerry's romantic foil. Carol is a fully realized character who stands on her own as both a career woman and a romantic lead.

Tony Randall is hilarious as Peter Ramsay, Jerry's insecure and neurotic boss. His exaggerated reactions and nervous energy undeniably add a layer of absurdity to the film, particularly in the scenes where he becomes entangled in Jerry's deceptions. Randall's performance provides a counterbalance to the suave and confident Jerry, offering a more slapstick element to the film's humor.

Delbert Mann's direction in Lover Come Back is nothing short of masterful, capturing the vibrant energy of 1960s New York and the glitzy world of advertising with unparalleled skill. The film's visual style is defined by bright colors, stylish costumes, and glamorous settings, reflecting the consumer-driven culture it satirizes.

Split screens and montage sequences contribute to the film's fast-paced, modern feel, particularly during scenes that highlight the frenetic nature of the advertising world. The film's light, bubbly score is perfectly suited to its upbeat tone, enhancing the romantic and comedic elements of the story.

There's no doubt about it: Lover Come Back is a beloved entry in the romantic comedy genre, and it's all down to the dynamic pairing of Rock Hudson and Doris Day. The film's satirical take on advertising culture and its commentary on gender dynamics have made it a relevant and entertaining piece of cinema that has endured.

The film's success, along with Pillow Talk and Send Me No Flowers, cemented the Hudson-Day partnership as one of the most iconic romantic duos of the 1960s. Their chemistry and witty dialogue have influenced countless romantic comedies, and Lover Come Back is the epitome of the screwball tradition brought into the modern era.

Lover Come Back (1961) is the epitome of a witty, charming, and sharply satirical romantic comedy, showcasing the pinnacle of 1960s Hollywood. The film's memorable performances by Rock Hudson, Doris Day, and Tony Randall deliver humor and heart while offering a critique of advertising culture and gender dynamics. Its themes of identity, deception, and the battle of the sexes make it a timeless piece of entertainment that continues to resonate with audiences today.

GUEST

Jun.-Prof. Dr. Frank Rosenkranz
Faculty of Law