That Touch of Mink (1962)

That Touch of Mink (1962) is a classic romantic comedy that captures the glossy charm and societal mores of early 1960s America. Starring the ever-suave Cary Grant and the queen of the rom-com, Doris Day, this film was a major box-office success in its time and remains a notable example of the final golden years of Hollywood’s studio-produced, screwball-influenced comedies.

Directed by Delbert Mann (who had won an Oscar for Marty in 1955), and written by Stanley Shapiro and Nate Monaster, the film brings together slick urban sophistication and screwball innocence, exploring themes of love, virtue, and class through the well-worn but crowd-pleasing formula of “will they or won’t they” sexual tension. While dated in some respects, That Touch of Mink is buoyed by charismatic performances, sparkling dialogue, and a high-gloss production that typified early ’60s studio filmmaking.

Plot Summary

Doris Day stars as Cathy Timberlake, a virginal, small-town girl living in New York City with her no-nonsense roommate Connie (Audrey Meadows). Cathy dreams of love and marriage but finds herself swept into a whirlwind romance with suave, wealthy businessman Philip Shayne (Cary Grant) after a chance encounter when his limousine splashes her with mud.

Philip, a dashing playboy of means and manners, is used to relationships without entanglement. He offers Cathy everything except marriage—expensive clothes, luxurious hotels, vacations, and companionship—but Cathy, true to her wholesome values, refuses to compromise her virtue. Much of the film revolves around this moral tug-of-war, as Philip tries to seduce her, while Cathy simultaneously struggles with her attraction to him and her determination to maintain her ideals.

Along the way, comic relief is provided by Gig Young as Philip’s neurotic financial analyst Roger, who suffers psychosomatic ailments from guilt over enabling his boss’s womanizing ways, and Audrey Meadows as Connie, Cathy’s sardonic, feminist-leaning friend.

Performances

Doris Day as Cathy Timberlake

By 1962, Doris Day was firmly entrenched in the image of the “professional virgin,” having starred in a series of romantic comedies in which her characters consistently clashed with the sexual expectations of the era. In That Touch of Mink, she reprises this persona with her trademark blend of sparkling energy, romantic idealism, and comic timing.

Day’s Cathy is endearingly naïve yet resolute, and while the character may seem like a relic of a bygone era, Day plays her with such conviction and charm that she remains engaging. Her ability to turn physical comedy into character development—especially in scenes of nervous breakdowns, slapstick indignity, or awkward romantic moments—shows her range as both a comic and dramatic actress.

Cary Grant as Philip Shayne

Cary Grant plays a variation of the urbane playboy he had mastered over the previous two decades. His performance here is cool, controlled, and laced with his usual wit and elegance. Grant’s Philip is less of a cad than his setup might suggest; he is worldly, yes, but clearly smitten with Cathy, and his attempts to play the libertine fall apart whenever confronted by her innocence and unpredictability.

What’s especially interesting is how Grant leans into self-parody. By 1962, he was in his late 50s, and his romantic comedies often played off his age difference with younger co-stars. Here, his age works to the film’s advantage, giving his character a layer of weary charm as he attempts to seduce someone so alien to his lifestyle.

Gig Young and Audrey Meadows

Gig Young steals several scenes as the guilt-ridden Roger. His sessions with his psychiatrist (John Astin, in an uncredited role) are among the film’s funniest moments, offering a satirical look at mid-century masculinity, neurosis, and repressed guilt over sexual mores. Audrey Meadows, as the cynical Connie, delivers one-liners with aplomb and acts as a necessary counterbalance to Cathy’s wide-eyed innocence.

Direction and Cinematic Style

Delbert Mann’s direction is clean, efficient, and classical in style. He allows the actors and script to take center stage, wisely avoiding stylistic excess. The film’s pacing is brisk, keeping the romantic and comedic beats tight and rhythmic. The polished set design and Technicolor cinematography give the film a rich, glossy sheen—a hallmark of Universal’s studio romances of the period.

Russell Metty’s cinematography complements the glamorous production design, bathing the characters in flattering light and capturing the opulence of Philip’s world: hotel suites, penthouses, and high-end fashion.

Screenplay and Humour

The screenplay by Shapiro and Monaster is a blend of innuendo, farce, and satire. Its dialogue is snappy, filled with double entendres and sly references to sex that pushed the boundaries of what the Production Code allowed at the time.

One of the film’s funniest set pieces involves Cathy checking into a Bermuda hotel, nervously awaiting her “moment” with Philip, only to get drunk on nerve-calming cocktails and sabotage the occasion. Her physical comedy in this scene is masterful and captures the absurdity of romantic expectations under rigid social codes.

Still, the script walks a fine line between satire and reinforcement of 1950s/60s gender norms. Much of the humor depends on Cathy’s refusal to sleep with Philip and his escalating desperation. From a modern perspective, some of this seems outdated—rooted in a social milieu that prized female purity and portrayed sexual assertiveness as male domain.

Music and Production Values

George Duning’s score adds a whimsical, romantic air to the proceedings. While not particularly memorable as a standalone work, it enhances the film’s buoyant tone. Costuming also deserves praise, especially Doris Day’s wardrobe, which showcases early ’60s fashion with an emphasis on elegance and femininity.

Reception and Legacy

That Touch of Mink was a commercial success, becoming one of the top-grossing films of 1962. It was nominated for three Academy Awards: Best Writing (Original Screenplay), Best Art Direction, and Best Sound. While it didn’t win, the nominations reflected the industry’s appreciation for its polished craftsmanship.

Critically, the film received mostly positive reviews for its performances and comedy, though even at the time, some viewed it as old-fashioned. In retrospect, it’s seen as a prime example of Doris Day’s iconic image and as one of Cary Grant’s final romantic comedies—he would retire just a few years later.

Feminist critiques have pointed out the film’s reinforcement of patriarchal norms and its depiction of women as either chaste or worldly, with few shades in between. Yet it also reflects the transition period of American culture—a society on the brink of the sexual revolution, still clinging to its old rules while questioning them at the edges.

Conclusion

That Touch of Mink is a sparkling, vintage romantic comedy that, while rooted in its era’s values and assumptions, remains thoroughly entertaining thanks to its sharp script, expert direction, and delightful performances. Cary Grant and Doris Day are perfectly matched, embodying a battle-of-the-sexes dynamic that relies more on suggestion and timing than outright sexuality.

While it may feel dated in its sexual politics, the film’s charm, humour, and cinematic elegance give it enduring appeal. For fans of classic Hollywood romantic comedies, it offers a final, glossy bow to an era before the more explicit and liberated rom-coms of the late ’60s and ’70s began to reshape the genre. A blend of champagne and silk with just a hint of slapstick, That Touch of Mink remains a pleasure to watch.