MIDNIGHT LACE (1960)

    

While making MIDNIGHT LACE (1960) Doris Day would become emotionally drained. Scenes that involved Day to become hysterical , would take her over the edge. Mainly due to Day tapping into her turbulent past with her first husband trombonist Al Jorden. According to Day's autobiography, one incident  involved Jorden hurling her against a wall, when she was ill and pregnant. These disturbing memories helped Day to reach the breaking point of hysteria. After the scene , Day would collapse and had to be carried to her dressing room. Producer Ross Hunter  would shut down production, until his leading lady recovered. After MIDNIGHT LACE (1960), Day vowed never to make another thriller.  

 Doris Day Plays American heiress Kit Preston newly married to British Financier Tony Preston ( Rex Harrison) for Three Months. 
Unfortunately, the neglected newlywed finds herself with too much time on her hands, due to her husband working long hours into the night. One day when Kit Preston (Doris Day) was leaving the American Embassy, she found herself in the thick of it, a real PEA SOUPER (London Fog). Instead of hailing for a cab, Kit decides to walk across the park which would bring her in front of her penthouse. On her way, Kit started to get rattled by the "tapping sounds" closing in on her. Luckily it was only a blind man with a walking stick.

 Kit pressed on through the thick dense fog, Suddenly she was startled by a creepy voice calling out to her. Kit became frightened when the voice threatened her " MRS. PRESTON, Over here! So close I put my hands on your throat." Kit asked her stalker who he was and What he wanted. The creepy voice answer that she would know when the time came just before he kills her. Swiftly Kit  made a dash for her life , running blindly through the park. She stumbled over a park bench. The Creepy Voice can be heard through the dense fog once again "Careful Mrs. Preston, I wouldn't want you to get hurt, not yet."  Panic stricken Kit raced out of the park to her penthouse.

Safe at home , Kit still petrified, is greeted by her husband Tony (Rex Harrison) who asks her if she swallowed too much FOG. When Kit tried to explain about her ordeal in the park, the more absurd it sounded. She rattled on that the voice was in the front of her , then in the back of her, and was in high in singsong like a puppet. Tony dismissed his wife's trauma as mere prank from a local practical joker. Kit became convince that her husband's assumption on the incident was right.

Tony asked his wife if she had straighten out  every thing out with the American Embassy. Apparently, Kit has lost or misplaced her passport. Kit responded  that she would receiving her new one , next week.  Which is great news since the couple is going to Venice for their honeymoon. Finally, after three months of being married, Tony was able to have time off from his job to be alone with his wife. Kit is so excited that she tells her husband that she has to buy a few things for their trip. Okay, get your mind out of the gutter, this is Doris Day we are talking about after all. No, sex toys but our wholesome darling does buy a see through black lace negligee . It so happens that the name of negligee is the title of the film MIDNIGHT LACE.

 Getting her husband's  opinion on the Midnight lace number, wasn't the only reason Kit went to her husband's work. Tony promised lunch. Sadly, Tony had to cancel  last minute, due to work so he says. Tony has made a habit of canceling engagements with his pretty wife. Poor Kit disappointed once again by her workalholic husband heads back to her luxury apartment alone.

  One thing is for certain , every maturing leading lady needs is handsome man by her side. John Gavin, certainly fit the bill after appearing with Lana Turner in IMITATION OF LIFE (1959). Gavin was often criticize for being a mannequin or a mere window dressing in lush Ross Hunter productions. His looks is just what the Producer ordered, but his acting was considered wooden. Gavin plays hunky contractor  Brian Younger in MIDNIGHT LACE (1959) who saves Kit's life from a crashing aluminum beam.

After knocking Kit to the ground, Brian offers to carry in her packages in to her apartment. Kit declines his offer, being a married woman in all. Brian gives his apology for the incident and calling her MRS. PRESTON.  When Kit inquires how he knew her name. Brain answers that he asked the postman. Could Brian be Kit's mysterious stalker ?
Once inside, Kit is greeted by her curious neighbor Peggy (Natasha Parry) who was wondering why Kit back so early from her luncheon date with Tony. Apparently Tony told Peggy that he was having lunch with his wife. Kit informed her neighbor that she was stood up, once again by a board meeting. Peggy doesn't have such problems, her husband in supposedly in the Navy. 
                     

,  Roddy McDowall returns back to BIG SCREEN  in his second film MIDNIGHT LACE (1960) in nearly a decade. McDowall had left Hollywood to relocate in New York appearing on the SMALL SCREEN on notable television programs like THE TWLIGHT ZONE. McDowall had great success on a three year run with the Broadway Production of CAMELOT with Julie Andrews and Richard Burton. McDowall plays Kit's housekeeper's adult son Malcom who stills borrow money from his mommy. Kit seems to put off by the deadbeat Malcom sponging off his elderly mother. Could Malcom be a Kit's mysterious stalker ?

 After the freeloading Malcom left the apartment, Kit reads a telegram that her Aunt Bea ( Myrna Loy) will be arriving on Thursday. Then the phone rings, Kit answers the phone only to be subjected to a horrible crank caller muttering filthy things to her. Kit began to blush over the vulgarity, like her virgin ears were about to burst and then responded 'WHAT? what a HORRIBLE...you must be INSANE."  Kit then  demanded the identity of  obscene caller , but (of course) the line went dead.

Instantaneously the door bell rings , the flustered Kit frantically heads towards the door. Kit could hear her neighbor Peggy's voice from the other side of the door. Kit  immediately lets  Peggy in and  tells her about the obscene phone call.  Peggy responded by saying "You got one of those TELEPHONE TALKERS with a KINK." Then Kit tells Peggy that her telephone talker plans to murder to her before the month is out. Peggy then injects " You got one of the less romantic ones." After hearing about Kit's mysterious stalker in the park the other day, Peggy insists on calling Tony, even knowing  he was in an  important board meeting.

 The  very next scene has The Prestons going to Scotland Yard  about Kit's TELEPHONE TALKER  with a KINK. Of Course, Inspector Bymes ( John Williams ) has many questions for Mrs. Preston like " Can you think of anyone that would want to KILL you  or  UPSET you for some reason?" Williams is  certainly experienced in playing Inspectors , in fact six years prior, he played Inspector General Hubbard in Alfred Hitchock's DIAL M FOR MURDER (1954).

Back to the synopsis , Kit tells the Inspector that her TELEPHONE TALKER  with a KINK had a very high pitch voice that seemed  unreal. Then Inspector Bymes tells The Prestons that once in a blue moon, they are able to pull in these kinky telephone talkers and record their voices on a Q.T.  in a cell or police court. While Mrs. Preston is listening to these perverted recordings that would make Fraud sit up and blink, Inspector Thymes has a little chat with Mr. Preston. Inspector Thymes indicates that he has been his experience in these kind of cases, more often its the wife trying to get attention from her neglectful husband.

The arrival of Aunt Bea (Myrna Loy) was a welcoming distraction that Kit needed to keep her mind of her TELEPHONE TALKER  with a KINK. Kit opens up to her Aunt that a telephone talker said he was going to kill her. Aunt Bea reassures Kit not to worry about that crackpot, now that she is here, everything going to be alright.

That night, Kit receives another phone call, but this time Tony is home. Tony tells Kit to keep the TELEPHONE TALKER  with a KINK on the line, while he goes to the bedroom to get on the extension.  Kit became overwrought listening to the dirty things her TELEPHONE TALKER  with a KINK said and slams the receiver down. When Tony got on the other line, the call was disconnected. Tony calls Inspector Bymes about the latest phone call. Inspector Bymes suggest that they get a unlisted phone number  (yeah, you think!) and keep a record of the people they give it to. Then Inspector Bymes further inquires if Tony was close enough to hear the TELEPHONE TALKER  with a KINK.  Tony said then he had tried to pick the extension, but his wife had disconnected the call by the time , he was on the other line. 

The next day, Kit finds herself trapped in her building's elevator in the dark. Alone and frightened for her life, Kit could see someone climbing the stairs through the elevator's iron gate. Then Kit could hear someone desperately trying to open the service door , calling out "MRS. PRESTON." The ordeal became too much for Kit  to bear, who was hyperventilating in PANIC overdrive. All of a sudden, that certain someone was now climbing down into the elevator with her. Kit became wildy irrational,  until she became aware it was the building's  hunky contractor Brian Younger.  According to Mr. Younger the transformer shorted the power and he was on his way to warn her , when he noticed the elevator stuck between floors.

After Mr. Younger rescued her from the elevator, Kit uses the excuse of not having her LAND LEGS yet, to have a drink with her handsome knight in shining armor at the nearby pub. But was Mr. Younger really her knight in shiny armor or was he the TELEPHONE TALKER  with a KINK? We learn during the conversation at the pub, that Mr. Younger suffers from SHELLSHOCK from being trapped in a burning tank when he was a soldier. Instantly Kit's handsome knight in shiny armor turns into a war veteran with some psychological issues. This scene in particular , you can really see why John Gavin 's acting skills was described as WOODEN. 

Kit makes a hasty exit from the pub, after hearing Mr. Younger war time plight . Could Mr. Younger be mentally unbalanced ? Well, here's another red herring to keep you guessing, Mr. Younger is approached by the pub proprietor about putting the phone calls he made from the back last night on the bill.

During  the intermission of SWAN LAKE, Kit is visited by Malcom in the balcony , requesting money on his sick mommy 's behalf. Kit insists that Malcom sent her the doctor's bills to her , but Malcom wants the cash in hand. When Kit refuses, Malcom becomes insulted thinking that Kit thinks that he would pocket the money for himself. He then accuses Kit of becoming between him and his mommy, and if she didn't stop, she would regret it. Tony returns in just in time to hear Malcom threaten his wife .  Quickly Tony pushes Malcom against the wall, threatening to call the police. Tony then accuses Malcom of being the TELEPHONE TALKER  with a KINK. Of course, Malcom denies the allegations and scurries back to seat.

The next scene shines some insight on Kit's Husband. There seems to be dilemma at Tony's employment, thousands of shares are unaccounted for, in neighborhood of one million pound (Don't ask me what that translated in U.S. Dollars). According to books, that someone been dipping into the till, bleeding them dry for years. Could that someone be Tony ? Is that why he married a rich heiress recently to get him out of hot water.

The next day poor Kit receives one of those dreadful phone calls from her TELEPHONE TALKER with a KINK. But this time there is no sex talk , only that he wants her dead. Kit becomes frantic when he asks if she's alone. Of course, Kit lies to him that she is not , that her maid is here. Then the line went DEAD. As quickly as she could, Kit puts on her high heels and dashes towards the door. When Kit opens the door there a strange man in the door way  calling her 'MRS. PRESTON". Then almost simultaneously the phone rings. Kit scrambles back for the phone  and picks up the receiver. Kit begins to cry over the phone for her Aunt Bea  to help her.

The stranger heads inside Kit's penthouse, while Kit  dashes to the balcony crying for someone to help her. Thankfully,  hunky Mr. Yeager was working with his men on the scaffolding  below. Without hesitation, Mr. Yeager climbs up the scaffolding to Kit's Balcony. But the mysterious stranger vanished without a trace.

 Inspector Bymes seems a bit baffled with Mrs. Preston's retelling of her accounts of the incident. WHY didn't Mrs. Preston try to close the  door on man she though was going to kill her? WHY did Mrs. Preston run back inside to ANSWER the telephone ??? After all  of the Inspector's probing inquiries, Kit becomes an emotional wreck. Kit suspects that Inspector Bymes believes that she made everything up. But that's not the case with Kit's hunky champion Mr. Yeager would seems to genuinely believe her.

After this terrible ordeal. Tony announces that the Venice trip is back on. Kit is so ecstatic that she finally gets to go on her postponed honeymoon. The next day, Kit goes shopping downtown. We notice that strange man is downtown as well. Kit becomes uneasy while walking down the street , she senses her stalker 's presence but never sees him. Then another incident happens, while Kit was in a crowded line waiting for the double decker bus to stop. Kit felt someone's hands on her back pushing her out onto  the street to be run down by the bus. Luckily for Kit , the bus was able to come to a  screeching halt, before running her over.

Then to our surprise, Peggy emerges from the crowd stating  that she saw the whole thing. Kit tells the police that it wasn't anybody 's fault that she slipped and fell ..it was an accident. Kit immediately shares a taxi with Peggy, telling her a different story. Kit claims that she felt hands of her TELEPHONE TALKER  with a KINK  pushed her out onto the street. But Kit didn't see him ,but know it was him , because she felt his eyes on her the moment she left the luggage shop. Peggy inquires why didn't she tell the police. Kit informs Peggy that Scotland Yard doesn't believe her. 

Once back at the Penthouse, Peggy makes tea for Kit to settle her nerves. But Kit is still somewhat distraught, wishing that her TELEPHONE TALKER with a KINK would call for she could have Peggy as a witness. Then Kit would have the proof she needed that she was not fabricating her stalker. Kit somehow convinces Peggy to go along with her inaccurate proclamation that the TELEPHONE TALKER with a KINK called ,while she was present.  But the plan backfires when Tony tells them , he been trying to reach Kit all day. Tony shows them that the phone is out of order , which means Kit and Peggy are lying about the alleged phone call.

  What a good friend Peggy is or is she ? It seems to me, Peggy was about when that iron beam came crashing down on Kit. And there's that probing question that Tony told her , that he and Kit had a luncheon engagement. Maybe Peggy knew before Kit, that the lunch date would be canceled, which gave her time to set up an accident. So many red herrings in MIDNIGHT  LACE, which make almost impossible to solve.

After Kit 's stunt involving Peggy to lie for her. Tony felt it's time to have the TALK with Aunt Bea about his wife's sanity. Unfortunately, Aunt Bea has no doubts about Tony having her niece's best interest at hand . Nor does she entertain the thought Tony maybe GASLIGHTING  her niece to get to her fortune (but we do !!). The perfect opportunity may have presented itself, having poor Aunt Bea being used as witness against her own niece.  Tony instructs Aunt Bea to answer the phone posing as Kit. When the phone rang, Kit came halfway down the staircase,, hoping that Aunt Bea would hear the TELEPHONE TALKER  with a KINK first hand. Instead Aunt Bea hears someone asking MRS. PRESTON, when she would like him to start making the phone calls again? Kit collapses having a MELT DOWN on the stairs, when Aunt Bea relays that information back to her.

At this point, Kit 's sanity is being questioned, clearly Kit has hired someone to make those telephone calls, which prompt a visit to her doctor. Immediately you will recognize Kit's Doctor, but it is not  DR. BELLOWS from the sitcom I DREAM OF JEANIE . It's Dr. Garver who is played by unmistakable Hayden Rorke. It is Dr. Garver's opinion is that Mrs. Preston maybe a victim  of DISSOCIATION OF PERSONALTY, living two lives without knowing it. Dr. Garver suggest that the best course of action would be to have Mrs. Preston see  a Psychiatrist

.The trip to Venice is still on for tomorrow per order of Dr. Garver , who thinks a change of scenery maybe just the trick needed. Aunt Bea agrees also, that it may help clear the cobs away. While packing the suitcase, Kit catches a bit of chill and goes to close  the doors of the balcony. She couldn't help but see Mr. Yeager cross the street , heading inside the pub.

At the pub, Mr. Yeager couldn't help but notice a  strange man  that bares the resemblance to what Mrs. Preston described her TELEPHONE TALER with a KINK  to look like. Mr. Yeager decides to do some investigating on his own, speaking with the pub proprietor. She tells him that the odd looking chap been hanging around for some days now and that she caught him in the dark of the doorway last night, just staring across the street  like he had no good on his mind. Then pub proprietor adds that no woman isn't safe on the streets anymore.  Immediately Mr. Yeager thinks that he may have found Mrs. Preston's TELEPHONE TALKER with a KINK.

Meanwhile back at The Prestons's luxurious apartment, the phone rings. Quickly, Kit with the bedroom phone in hand, instructs Tony to pick up the downstairs phone. Kit was able to keep the TELEPHONE TALKER  with a KINK long enough for that Tony was able to hear him. Before the call ended ,the TELEPHONE TALKER with a KINK reminds Kit that she has an appointment with him and that she will not be going to Venice. Tony dashes to Kit's side, telling her that he believes her now. Kit wonders how the TELEPHONE TALKER  with a KINK knew that they were going to Venice.

Tony decides to inform Inspector Bymes  that the TELEPHONE TALKER  with a KINK called again. Apparently , on the other end of the line, Inspector Bymes is asking Tony if  Kit would be willing to play along as BAIT,  by being left alone to flush out the TELEPHONE TALKER  with a KINK. Kit desperately begs Tony not to ask her to do it.  Tony promised Kit that he was only pretending to leave, and that he would come back up through the rear entrance . Tony reminded Kit that the police were on their way. Kit handed Tony his briefcase, agreeing to go along with the plan. Tony reassured Kit that he would be right back as headed out the door. Kit then bolted the door and headed over to make herself a drink.

All of a sudden , a crashing sound was heard coming from the fireplace. Kit swiftly went over to stoke the fire. Meanwhile outside the Building, Mr. Yeager watched Tony leave the apartment building. Then Mr. Yeager began walk around the grounds of the apartment building like he was looking for someone, maybe  the odd looking  chap he saw at the pub.

Now the cat and mouse game begins with the TELEPHONE TALKER  with a KINK dropping a line to Kit. But Kit becomes a bit unraveled, due to the fact of being a alone and vulnerable. Thankfully , Tony kept his promise to Kit and came back the apartment. Kit was so glad to see Tony and was no longer alone. Tony instructed Kit to pick the phone , which lets her stalker know that she 's alone. When Kit answered the TELEPHONE TALKER  with a KINK tells her that he saw her husband leave and laughed.

Next, Tony and Kit go around shutting off all the lights in the apartment. Then Kit could heard that UNREAL voice coming from inside the apartment saying : "I come to keep our appointment Mrs. Preston." Kit calls out for Tony , who is no where to be found. The UNREAL voice once again speaks : " Everyone will understand. It's all been too much for you. Your mind couldn't take it any more. You threw yourself over the terrace with a little help from me." Kit  again calls out for Tony, but instead the strangeintruder from other day appears with a gun in his hand. Then out of nowhere, Tony wrestles with the intruder.

After a somewhat lengthy brawl, the gun is discharged.Then Kit could see one of  men rise  to his feet. Kit hopes it was Tony. But then the UNREAL voice could be heard once again: " It won't do you any good to SCREAM Mrs. Preston."  Instead of running for her life, Kit decides to stay put and have one of her infamous MELT DOWNS. The UNREAL voice drew closer to her , but it was from a tape recorder which Tony held in his hand. Kit was relieve it was her husband instead of the strange intruder. The case of the TELEPHONE TALKER  with a KINK  was solved or was it ?
Kit finds out that Tony never called the police. Next, Tony informs his wife that he plans to call the police right after he throws her over the terrace. He adds that it would be made to look like a struggle between her and the strange intruder. Kit wants to know WHY? he wants to kill her ? Tony tells Kit  that he needs her MONEY. He needs to find a way to  put back a million pounds that he had stolen , back into the company.

 Poor Kit's world has been turned upside finding her out that  husband of three months, only married her for her money. The question is did Tony act alone ? He couldn't have , Tony was present when Kit received the very last call from the TELEPHONE TALKER with a KINK. Then the answer burst into the apartment wearing a tight fitting dress. Kit couldn't believe her eyes that it was Peggy (no surprise there) who made those phone calls using the tape recorder. Peggy was basically the one who did all the dirty work, rigging the iron beam to collapse and pushed Kit out onto the street to get killed. Apparently Tony has been having an affair with the married Peggy , before Kit came into  the picture. Kit was just a means to end for Tony claim her money after her untimely death.

Then there was a stir from the strange intruder on the floor. Peggy gasped, when she recognized the strange intruder to be her husband. Not quite what I envisioning when Peggy spoke about her husband in the Navy. I envisioned more of a Beefy Doug McClure then this chap. While Tony and Peggy were engage in a conversation about how her husband found out about them. Kit makes a break for it out onto the terrace. Quickly Kit climbs out onto the scaffolding that framed the outside of the apartment  building due to construction.

Tony and Peggy watched from the window, as the terrified Kit performed a high wire act on the beams of scaffolding without a net. Tony was about to go after Kit, but was stopped in his tracks after a police man shined his flashlight on him. Tony decided to go back inside after seeing a police man and Mr. Yeager down below on the street. Mr . Yeager quickly got on the outside elevator to help Mrs. Preston. Kit carefully made herself across extended beam until she reached a support beam.  Once there Kit held onto the support beam for dear life. As for Tony and Peggy, they won't be  able to   finish watching  Kit's high wire act, because Inspector Tymes has put them under arrest.

Finally Mr. Yeager reaches our poor DAMSEL IN DISTRESS, still clinging to the support beam. Mr. Yeager extends out his hand to Kit  and tells her not to look down. Kit follows Mr. Yeager's lead , back on the extension beam. Even though Mr. Yeager tells Kit not to look down, she does which causing her stumble. Fortunately for Kit, Mr. Yeager was there to brace her or she would have plunged to her death like Tony intended.

Moments later, Kit was back safely on her terrace, thanks to Mr. Yeager. Kit shows her appreciation by clinging tightly to her knight in shiny armor.  Meanwhile inside the luxury apartment, we learn that Peggy's husband became suspicious of her, because she wrote too many letters and sent him too many packages. He knew there was something wrong and had to find out. He continued to say that he followed Tony and Peggy for days. Then he blurred out that he meant to kill Peggy. Inspector Tymes advises Peggy 's husband not to continue.

Out of curiousity, Tony asks Inspector Tymes what brought him to his apartment. Inspector Tymes informs Tony that he had been listening to his  phone calls all day, because his phone was tapped. Inspector Tymes injects that he found his last phone call most informative. Our story concludes with a happy ending with Kit walking away with her hunky Mr. Yeager and (of course) Aunt Bea as her chaperone.

IMMORTAL DIALOGUE

"Mrs. Preston, Over here ! So close I could reach out and put my hands on your throat."

Creepy Voice : " Careful Mrs. Preston . I wouldn't want you to get hurt. Not yet !!"

                 "It called MIDNIGHT LACE. Do you like it ?"

              "What ? what a horrible... YOU must be INSANE." 

" You must have got one of those TELEPHONE TALKERS  with a KINK."

Inspector Bymes :" You're wife's in good health, I suppose ?"
Tony Preston "  Like a YOUNG RACEHORSE. Why ?

                

                 Kit : "Don't you ever change."
                Aunt Bea : "I try not to, but the bills at the BEAUTY    PARLOR get bigger every year."

              " I 'm afraid I don't have my LAND LEGS yet."

     "She said Aunt Bea ...HELP ME !! HELP ME !!"

" I saw you FALL and the bus coming toward you. I thought you were done for. "

"  It was HIM wasn't it ? You HEARD him? What did he SAY ?"

                     FILM FACTS

MIDNIGHT LACE (1960) was Doris Day 's final thriller. Day would continue to make films for eight more years , but only comedies.

Rex Harrison was not fond of MIDNIGHT LACE (1960), so much that he barely mention it in his memoir ... REX, An Auto biography. According to his memoir, Harrison states the Day was under so much pressure making the film that she collapsed. Apparently that was proven to be false , Day did not collapse due pressure . She collapsed to due to her method acting style, evoking horrible memories from an abusive marriage.

Doris Day wears the White Gown from her MIDNIGHT LACE  wardrobe to the 32nd Annual Academy Awards. Day was nominated for an Oscar for her performance in PILLOW TALK (1959). 

Bing Crosby's daughter Mary Crosby starred in the 1981 TV Movie remake of MIDNIGHT LACE.

                    

                        THE CAST
          Kit Preston... DORIS DAY
          Tony Preston...REX HARRISON
           Brian Younger... John Gavin
           Aunt Bea ... Myrna Loy
           Malcom ... Roddy McDowall
           Charles Manning ..Herbert Marshall
            Peggy ... Natasha Parry
           Inspector Bymes ... John Williams
           Dora ... Hemione Baddeley
           Daniel ... Richard Ney
           Victor Elliott ..Rhys Williams
           Ash ...Anthony Dawson
          Nora Stanley ... Doris Lloyd
          Foster ... Richard Lupino
          Dr. Garver ... Hayden Rorke

                               
                                   MY BOTTOM LINE IS  ...
MIDNIGHT LACE (1960) in  my opinion is  a above standard "Woman in Peril" film, due to Doris Day's method acting. Day definitely brought her game to this thriller , tapping into dark places of her past. Day also shows her lighter side in  this Lavish Ross Hunter production, parading around in her favorite designer's IRENE creations in spectacular technicolor. Day proves once again, that she is more than  America's Sweetheart who only does lightweight musicals and comedies. Day has proven herself before in other dramatic roles, such as her stand out performance as Torch Singer Ruth Etting in LOVE ME OR LEAVE ME (1955). Another film worth mentioning is JULIE (1956), which Day plays another Damsel in Distress being tormented by her sadistic husband .

Even though Day excelled in these types of roles, she vowed never to do another thriller due to her breakdown on the set of MIDNIGHT LACE (1960).  Day kept her promise by only doing lightweight comedies through the rest of her movie career. It really unfortunate that she didn't continue on playing these Damsel in Distress roles, which could have evolved  later in her career, into the Grande Dame Guignol genre. No one has a emotional  MELT DOWN  like Doris Day.

SECRET CEREMONY (1968)

Elizabeth Taylor is once again in another uneven and peculiar film, TAILOR MADE for the ECLECTIC film buff.  Taylor's last picture BOOM (1967) was another collaboration she had made with Director Joseph Losey that bombed at the box office. SECRET CEREMONY (1968) was just another entry in the long list of Taylor's BOX OFFICE BOMBS. After bomb after bomb, Taylor took fewer film roles in the mid 70 to pursue Stage and Television roles.

When SECRET CEREMONY (1968)  was aired on television several years later, it was exceedingly censored of its sexually suggestive content. The newly shot footage was added which did not include the leading actors. Many changes were made in the televised version which included changing Taylor's character occupation to PROSTITUTE to WIG MODEL.

The opening scene has our leading lady in a BLONDE WIG counting money left behind by a JOHN. After her trick has left the building, Elizabeth Taylor ditches her blonde wig on top of a Madonna statue and takes a shower. Taylor plays an emotionally battered prostitute named Leonora, who still grieves for her ten-year-old daughter. Dressed in black, Leonora goes over to her vanity table reaching out towards her daughter's communion picture.  Taylor embodies this tragic character who has suffered a great loss like herself is not a stranger to life's suffering.

Leonora leaves the apartment to go to church.  While on the bus, she is approached by a strange young woman named Cenci (Mia Farrow)who takes the seat next to her. Immediately Leonora becomes uncomfortable having this waif-like Pia Zadora lookalike just staring at her not saying a word. Thankfully, the bus arrives at the church. But when Leonora was disembarking off the bus, she could hear Cenci call out to her  "MUMMY."

As Leonora heads to the church, she could see that Cenci has gotten off as well. Leonora heads inside with the Cenci following behind. Leonora goes about her daily ritual heading to the cemetery behind the church to her daughter's grave. We read on the headstone that her daughter drowned at the age of ten. Behind her, Cenci watches her closely. Leonora turns around to confront the strange young woman but is taken back by her eyes which resemble those of her daughter's. She is immediately teleported back in her mind, to her daughter's funeral, where she threw herself over her daughter's grave. 

Immediately Cenci runs up to the fragile Leonora pulling her out of the cemetery. The next scene has Leonora standing in front of a mansion, apparently owned by the strange young woman. Cenci tells Leonora to wait while she goes inside. That would have been my cue to make a break for it, but instead, Leonora waits. A few minutes later, Cenci is at the front door letting Leonora inside.

Leonora is immediately lead into a bedroom, once occupied by her former DOPPELGANGER. We know this because of the extreme close up of the photograph of Cenci standing next to a woman who could have been Leonora's twin. Leonora can't believe the uncanny resemblance. Now reality sets in, Cenci believes that Leonora is her MOTHER. We know this because of the strange young woman is kneeling down at Leonora's feet calling her " MUMMY."  At once, Leonora tries to break free from her grasp saying " I'm not who you think I am, kid. Now, there's a good girl. Let go." 

Leonora breaks free, demanding to know what the strange young woman wants from her. After a brief moment of silence,  Cenci offers Leonora breakfast. Leonora accepts. Cenci sprints out of the room and down the hall. Giving Leonora time to look around at her doppelganger's closet. Immediately Leonora takes out a white mink coat and tries it on. Cenci returns with two silver trays with eggs, sausages, hot tea, and croissants. Clearly, Cenci lives alone and has no staff looking after her. So how did she prepare this breakfast for two in such a short time?  I wonder. After stuffing her face , Leonora thanks her strange hostess with a burp.

Leonora decides to play along with this masquerade as MUMMY, especially learning that her strange hostess lives alone and doesn't expect any callers. Leonora starts to ask probing questions like Where's DADDY? Immediately, Cenci demands that his name is never to mention in this house again. Leonora quickly reminds her strange hostess to mind her manners that it is her house after all...She's MUMMY. Then Cenci confesses that her step daddy touched her. Instead of sympathy, Leonora strikes her down to the floor Leonora promptly apologizes for her behavior and tells Cenci is that she back now. Leonora decides to continue with this unspoken agreement of mother/daughter role playing It seems that Leonora and Cenci share a common loss. Leonora finally found someone that she could take care of like a daughter. Now, Leonora will be taking over the role of her doppelganger as Cenci's MUMMY.

The next scene proves to be unsettling for most viewers watching to two grown women taking a bath together pretending to be mother and daughter. Lesbianism, Incest, suicide, murder, and moral indecency were words used by film critics alike to describe SECRET CEREMONY (1968) which lead to its demise at the box office. The public was misled to believe some misconceptions about the film, which does NOT contain any content of Lesbianism or incest. Maybe the critics NEVER  really watch the film in its entirety and only judge it by the film stills of Taylor and Farrow at bath time or in bed together.  There are NO sex scenes or implied ones between the two actresses. Yes, I will agree that the film is OUT THERE AT TIMES, but there is no lesbianism or incest. As far as  Robert Mitchum's character, he is Cenci's stepfather not her biological father.

Back to the synopsis, Cenci asks Leonora if she can crawl in bed with her. Before Leonora could respond, Cenci has already taken the initiative to join her. It is quite clear that Cenci does not see herself as a young woman in her 20's, but that of a little girl who has lost her MUMMY. Cenci definitely has emotional issues that have altered her life, that keeps her in the past instead of the future. Cenci and Leonora, both cling on to the memory of the ones, they lost by this bizarre role-playing of mother and daughter. It is NO  implied or otherwise suggested a sexual relationship between Leonora and Cenci. Only that they find comfort in each other's company instead of being totally alone.

The next morning, Cenci receives some unexpected callers to the mansion. It's her Aunt Hilda ( Pamela Brown) and Aunt Hannah ( Peggy Ashcroft) who have come to check on their niece. Unfortunately, these terrible harpies enjoy bullying their mentally unstable niece and think that they are entitled to some of their sister in law's expensive belongings. While hiding from her doppelganger's sister in laws. Leonora witnessed Aunt Hilda stuff an antique doll in her purse.

The next day Leonora decides to pay Aunt Hilda and Aunt Hannah a visit at their Antique shop. When Aunt Hannah greeted Leonora, she almost had coronary thinking that her sister in law has back from the dead. Immediately Aunt Hannah runs in the back to retrieve her sister. Aunt Hilda was not taken back by Leonora's resemblance of her dead sister in law. Instead, she insulted Leonora by spouting 'WELL. WHO THE HELL ARE YOU ?" I think Aunt Hilda needs a refresher course in how to treat customers. Anyways, Leonora tells the old harpies that she is Margret's cousin. It amazing to mean to me, how Liz Taylor took the pop shots that were written about her weight in stride. Aunt Hilda compares Leonora to her departed sister in law saying that she was heavier than her sister in law was and her eye color was different. Well. of course no one has violet eyes like Liz Taylor. After discovering that Cenci gave Leonora her mother's purple velvet outfit, the harpies invite Leonora to their parlor in the back for privacy.

Leonora learns from the old harpies that Cenci took care of mother through her illness without any help from servants, nurses, and doctors. In the end, Cenci did not accept her mother's death. She claims that her mother had gone to the Hairdresser for a long time, perhaps lost, and needs to find her.  Leonora also learns that Cenci 's stepfather Albert ( Robert Mitchum) manhandled her and was tossed out. Leonora asks why they haven't alerted the police or a doctor. The heartless old harpies replied stating what would they have gained from it by doing so. Leonora quickly responded back that they would have lost the chance to keep stealing things from that house. The old harpies denied Leonora's accusations. Leonora quickly grabs the antique doll that just been taken from the mansion. Immediately Aunt Hilda tries to grab the doll from Leonora's grasp. But after a brief tug a war, Aunt Hilda pulls off the doll's arm. Leonora threatens the old harpies "If you dare drag your ASS around in that house on any excuse whatsoever, I will set the cops on you"

Meanwhile back at the mansion, Cenci is reacquainted with someone from her dark past, her stepfather Albert (Robert Mitchum). Definitely not a stranger in playing RUTHLESS BASTARDS throughout his long career, but for some reason in this role Mitchum makes my skin crawl. Thankfully, Mitchum only has the supporting role in SECRET CEREMONY (1968), which probably made Mitchum thankful since the film tanked with harsh reviews.

The scene in which Cenci clips her abusive stepfather 's beard with scissors is rather odd, to say the least. After the beard trim, Albert wants Cenci to recall the sounds she made while they had sex. At first, Cenci refuses but gives in with a moaning sound.  Of course, this leads to Albert kissing her. Mitchum gives a very convincing act of this lowlife, so much so that you despise his character for taking advantage of this 22-year-old mentally unbalanced young woman.

Leonora makes a pit stop at the church to give confession before returning to the mansion. During her confession, we learn that Leonora was somewhat responsible for her daughter's death. Apparently, Leonora took her eyes off her daughter for a brief moment, while she was swimming. Leonora promises to do better this time with Cenci and not be careless.

Back at the mansion, Cenci is alone once again, acting out by tearing the house apart. When Leonora returns, she finds that Cenci hid under the sink. Cenci tells Leonora that her stepfather Albert has come by. The next scene, has Albert walking with the two harpies (Aunt Hilda and Aunt Hannah) in the cemetery. The harpies tell Albert about their visit with Margaret's cousin. Albert informs them that Margret has no cousin.

Leonora has now settled in the role of "Lady of the House" instead of "Lady of the Night" which was her old profession. Leonora has hired help to clean the mansion, tune the piano,  and wash the Roll Royce. Fortunately, Leonora was there to intercept a floral delivery to Cenci from her stepfather Albert. Leonora quickly disposes of them in the trash without telling Cenci. That evening Albert rings the mansion to speak to Cenci, but Leonora is not having it.

The very next scene, we see Leonora and Cenci (now sporting a bob wig instead of that long hair wig) arriving at a Luxurious hotel by the sea. Apparently, Leonora has made reservations on Cenci's dime. Cenci tells Leonora to go ahead to the dining room that she has a surprise for her. When Cenci arrives at the dining room, looking pregnant. Cenci had stuffed a pillow under her dress. Leonora was shocked at first but did not react, instead, she goes along with the gag ordering for three.

The next morning, we see that Albert has followed Leonora and Cenci to the seashore. Albert makes his move when he sees Leonora alone on the beach. He tells Leonora resembles more of a FAT COW that his late wife. Another pop shot at Taylor's weight. Liz really was a team player to put up with dialogue like this. I do have to admit though, I love the campy chitter chatter in this film, even if it is at Liz's expense.

Getting back to the synopsis, Albert threatens Leonora with legal action if she doesn't back away. He then continues to disgust Leonora with babbling about escapades he had with Cenci. Leonora had reached her boiling point, cutting Albert's face with a knife. Somehow, at the end of the discussion, Albert convinces Leonora that smothering is the last thing that Cenci needs. According to Albert, who predicts that Cenci would become more childlike until she in a corner with a baby bottle. Leonora starts to wonder if she did more damage to Cenci than good.

Leonora becomes more withdrawn, which Cenci senses that there is something wrong. Cenci asks if she could give Leonora a back massage, hoping to relieve the tension. But Cenci gets carried away by kissing lower and lower down Leonora's back. Immediately Leonora stops Cenci by screaming at her 'Get off me ..you little BITCH ."

Cenci then decides to go her own bed. Because she is simply exhausted, being in her condition. Yes, Cenci is still sporting her fake baby bump. Right then, Leonora completely loses it and go after Cenci. Leonora tells Cenci that she is not pregnant. But Cenci is convinced that she is and that she felt the baby kick. Leonora rips the stuffing out of that fake baby bump sending Cenci into a frenzy.
If things couldn't get any weirder, Leonora could see from her balcony that Cenci had gone to have sex with her stepfather Albert on the beach.

When Cenci returns, Leonora tries to reach out to her but its too late. The charade is over, Cenci no longer sees Leonora as her mother and is told to leave. Leonora makes a quick exit in her own clothes from the hotel leaving Cenci with the hotel bill.

Cenci is more alone than ever in the big mansion. We see that Cenci has decided to end her life by taking a bunch of pills (probably her mother's medication). But Cenci was interrupted by a knock on the door. Leonora has come back to play MUMMY wearing the white mink coat. The problem is Cenci no longer sees Leonora as her mother. Cenci has become bitter and cold no longer childlike.  Leonora is desperate, she wants to wear MUMMY's nice clothes again and live in this big mansion.

Leonora tells Cenci that she did nothing wrong. Then She kneels down groveling at Cenci's feet. Cenci becomes hysterical and screams " NO" running out of the room.  Next, we see that Cenci beside the glass of milk, giving us the clue that she has taken the pills. Downstairs, Leonora leaves the key and few things behind, but heads out the door sporting the white mink coat. As Leonora slowly leaves, we see that poor Cenci has had second thoughts about suicide and struggle to get Leonora attention. But of course, Leonora is not aware and leaves with tears running down her face. Cenci reaches out with arms outstretched, grasping the word "MUMMY" and then collapses to her death.

  The finale takes us to the funeral parlor at Cenci 's Wake. Leonora has come to pay her respects. But stays clear of the open casket sitting in a faraway corner. Suddenly, Albert arrives and immediately stands close to the casket. Leonora goes over to Albert and stabs him with her little knife. The camera immediately pans to Cenci's body in the casket. Justice has been served, now Cenci can rest in peace. Leonora flees the scene leaving Albert dead on the floor. Next, we find that Leonora still dressed in black, lying atop of her bed humming a nursery rhyme. Apparently, we left to draw our own conclusion about what happens next. I want to believe that Leonora seeks professional help to deal with the guilt of her daughter's death and is never charged with the murder of Albert.

                              FILM FACTS

            Julie Christie was offered the role of Cenci , but turned it down.

The mansion used in SECRET CEREMONY  (1968) is known as The Debenham House which located in Holland Park in London. The Mansion was built in 1896.

Mia Farrow's next picture after SECRET CEREMONY  was going to be TRUE GRIT  with John Wayne. But Robert Mitchum convinces her that the director Henry Hathaway was difficult to work with. Farrow took Mitchum's advice and decline the role that went to Kim Darby.

THE WINGS OF THE DOVE (1997) also used the Debenham House as its main location in the film.

                IMMORTAL DIALOGUE

                                  

                 " Ducks don't DROWN. Look."

    " Well, we can't have you walking about like a WHORE."

                                   " They think you're DEAD mummy."

              "LOOK, what you've done. You KILLERS !!"

              " I'm not going to eat you, you silly bitch."

 "Do you know what it's like sitting on a park bench as the cars come cruising by, waiting for some poor bastard that no one else wants to sleep with ."

           " You look more like a COW than my late wife."

" Listen here, you mysterious bitch, you FLUFF, you COW ."

                  "Oh, Poor  Mummy. You are stiff as a rod. "

                              THE CAST
                Leonora ... ELIZABETH TAYLOR
                Cenci ... Mia Farrow
                Albert .. Robert Mitchum
                Hannah .. Peggy Ashcroft
                Hilda ... Pamela Brown

         MY BOTTOM LINE IS ...
SECRET CEREMONY (1968) will not appease your average film Fan. It is definitely too dark and too twisted to appeal to their pallet. This film is for those of us, who enjoy a great train wreck that has gone off the rails into the uncanny. Believe me, it certainly does, and will not disappoint in that expect. SECRET CEREMONY (1968) is a multi-layered psychological melodrama that needs numerous viewing to be understood. Once you have gained the clarity of this muddled disaster, you may find yourself appreciating it as a forgotten gem. At least that was my experience anyways.

Elizabeth Taylor gives a tour de force performance here, sadly not many will appreciate it due to the film's reputation and it's obscurity. Taylor definitely tapped into her own sufferings that life has dealt her for the portrayal of the middle-aged prostitute that has lost herself holding onto the past. I am quite surprised of the pop shots in the dialogue that Taylor had to endure about her weight. But  Taylor seems to take it in great stride, who was once considered to be the Most Beautiful Woman in the World in her prime, only to be referred to as a FAT COW in this film. SECRET CEREMONY may be filled with campy dialogue, but too dark and depressing to become a Cult Favorite.