All in a Night's Work


Comedy / Romance

Rotten Tomatoes Audience - Spilled 43%
IMDb Rating 6.2 10 800

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Uploaded By: FREEMAN



Bess Flowers as Shopper
Ian Wolfe as O'Hara
Norma Crane as Marge Coombs
Jerome Cowan as Sam Weaver

Movie Reviews

Reviewed by bkoganbing 7 / 10

A Memorable Vacation

I remember seeing All in a Night's Work when it first came out in 1961. It was at a drive-in movie with my cousins who I was visiting at the time. It was and still remains a very funny film with Dino and Shirley giving some great performances.

If this had been made at Universal instead of Paramount All in a Night's Work would have been starring Rock Hudson and Doris Day. Dino steps into a Rock Hudson part as the wolfish heir to a publishing empire. And Shirley, though she invests the part with her own brand of kookiness, is really Doris the eternal virgin. After all she does go to Florida for the sunshine on her vacation.

Shirley gets a bit more than she bargained for. After saving a lecherous old playboy from drowning, she has to fend off his advances in the best Doris Day manner. In doing so she stumbles into the room of her boss, the owner of the magazine she works for and Dean Martin's uncle, wearing nothing but a towel.

A very officious house detective, Jack Weston, spots her in said towel as she's leaving the room. It turns out that her boss had passed away that night and Weston's beady little mind suspects scandal. The rest of the film is that proverbial comedy of errors.

Though it's not heard in the film, Dean Martin did record a song All in a Night's Work for Capitol and he sold a few records of it back in the day. The song fits perfectly in his style, can't imagine anyone else doing it.

Gale Gordon and Jerome Cowan play colleagues of Dean's uncle and Cliff Robertson plays Shirley's fiancé, a veterinarian. Dean has a fabulous scene in Robertson's office where on impulse he grabs a dog and takes the poor hound to inside so he can get a line on Robertson. He uses the fake name of Julius Hemmenschlager with Robertson. It's Dino's best scene in the film.

And Shirley gets quite plastered while nightclubbing with Robertson and his visiting parents, the stuffy Mabel Albertson and the slightly pickled Charlie Ruggles. Quite a sight to see MacLaine and Ruggles singing the school song of the Kansas Institute for Vetrinary Medicine.

One thing does puzzle me. After Weston removes the towel through the elevator door. Just how does a nude Shirley MacLaine get back to her room?

Reviewed by mark.waltz 5 / 10

So that's what it takes to get a free fur.

It's misunderstanding after misunderstanding and presumed blackmail, all over a young woman who saved a man's life who presumably ended up dying afterwards anyway. Shirley MacLaine is in another corporate setting as a working girl who finds herself at the mercy of the executive suite, and while this is different than "The Apartment", she its still the same type of quirky girl that she was there. It's a wacky, confusing script that leaves out a lot of detail until the end, and what you end up with is a fun romp that is just simply there to enjoy for the laughs, the glorious Technicolor and some fabulous fashions with a cast of veterans from movies, stage and TV who are always a joy to watch.

Playboy Dean Martin has been chosen to take over chairman of the board of his late uncle's company, and they are dealing with trying to find out who the young woman was who was seen running out of his hotel room. As it turns out, Shirley MacLaine, a member of the research team, was the girl, and she is perplexed by the gift of a fur by a man whom we later learn is not even involved in anything other than drunkenly ogling her, before she pulled him out of a pool and later after she took him to his hotel room.

She is engaged to pet psychiatrist Cliff Robertson, and he has enough problems with his clients and his domineering mother, Mabel Albertson and fun-loving henpecked father Charlie Ruggles (identical to his grandfather from "The Parent Trap"), while MacLaine is dealing with all sorts of suspicions coming out of her firm.

The confusion gets greater when she goes out with Robertson and his parents, and finds that the company is following her around, giving her cart blanc everywhere she goes hoping she'll drop the blackmail. It's soon obvious that she's falling for Martin while the Ralph Bellamy like Robertson becomes more suspicious about his fiance's actions and if they are actually compatible.

This is the only film that I recall seeing Norma Crane of "Fiddler on the Roof" in, but in addition to Albertson, TV audiences will also recognize Richard Deacon, Gale Gordon and Mary Treen among others. This isn't a bad film, just hectic and at times truly ridiculous, but it's one of those 60's films that is so wonderful and it's absurdity that you just can't help but enjoy it. MacLaine and Martin do have terrific chemistry which helps as well. And it's all in 90 minutes which makes it all the more easy to enjoy.

Reviewed by moonspinner55 4 / 10

Mink and misunderstandings...

While on vacation in Palm Beach, a research analyst from New York City saves a drunk from drowning--in doing so, she ruins her new dress and is seen sneaking out of a millionaire's hotel room wearing only a towel. The rich guy, a publishing magnate (whom the girl works for!), never even sees her--he's dead in his bed. When his nephew (Dean Martin) takes over the magazine empire, he's made aware that his womanizing uncle was seen with a tootsie on the night of his demise who might be tempted to blackmail the company (how they come to that conclusion is anyone's guess). Anemic sex-and-big business comedy is a big step down from "The Apartment" just one year before. "Apartment" co-star Shirley MacLaine (who received an Oscar nom for her work in that film) is back doing the same kind of scatterbrained, breathlessly 'adorable' work she did in all her pictures leading up to "The Apartment". The comic situations are desperately juvenile, such as MacLaine's beau (Cliff Robertson, acting the stiff) coming across the mink coat Shirley acquired after her good deed and embarrassing her in front of his stuffy parents. The screenwriters (Edmund Beloin, Maurice Richlin and Sidney Sheldon, adapting Owen Elford's play) frantically iron and re-iron their story wrinkles, substituting wit with groaning one-liners. It takes one tipsy scene from MacLaine to get an honest laugh, the rest being ham-handed and overplayed. ** from ****

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