0:00:02 > 0:00:06There's not a year goes past when I don't listen to these all over again.
0:00:06 > 0:00:08And yet the first year I was a movie critic
0:00:08 > 0:00:11was the last year that Doris Day made a movie,
0:00:11 > 0:00:14and I scored all kinds of cheap shots at her expense,
0:00:14 > 0:00:18all those one-liners about how she was Hollywood's perennial virgin.
0:00:18 > 0:00:20Took me a while to get back in touch
0:00:20 > 0:00:23with the fact that Doris Day had always been my favourite movie star,
0:00:23 > 0:00:26the one I admired the most and the one I liked the most.
0:00:26 > 0:00:30Maybe her talent was so big she just made it all look too easy,
0:00:30 > 0:00:32but she could sing, she could dance,
0:00:32 > 0:00:35she could make us laugh and she could make us cry.
0:00:35 > 0:00:39Join us now for A Sentimental Journey With Doris Day.
0:00:41 > 0:00:46- NEWSREEL:- A gala turnout in filmland for the Hollywood premiere of Midnight Lace.
0:00:46 > 0:00:48Doris Day, star of the new film, arrives.
0:00:48 > 0:00:51She just kinda glowed, for me.
0:00:51 > 0:00:54Not the only star in the sky, but certainly one of the brightest.
0:00:54 > 0:00:56The Village Theater in Westwood
0:00:56 > 0:00:59is the scene of the California premiere of The Thrill Of It All.
0:00:59 > 0:01:04The picture stars Doris Day, who is escorted by her husband,
0:01:04 > 0:01:07- Marty Melcher, to the glittering affair.- Those eyes, the light,
0:01:07 > 0:01:11the intelligence, the intensity, the emotion, the humour, all those.
0:01:11 > 0:01:13She didn't know how good she was!
0:01:13 > 0:01:17And another luminary to receive the award is lovely Doris Day.
0:01:17 > 0:01:18I think that Doris Day
0:01:18 > 0:01:21is probably the most underrated, underappreciated actress
0:01:21 > 0:01:23that's ever come out of Hollywood.
0:01:23 > 0:01:27The organisation's Star of the Year award is presented to Doris Day
0:01:27 > 0:01:32by TOA president Albert M Pickus with a special citation to Miss Day.
0:01:33 > 0:01:35She could do anything.
0:01:35 > 0:01:39It was that up spirit, thumbs up as opposed to thumbs down.
0:01:39 > 0:01:40And her life was not that happy.
0:01:40 > 0:01:46The evening ends on a beautiful note as Doris Day receives the accolade from Film paper.
0:01:46 > 0:01:48It's Miss Day's night!
0:01:53 > 0:01:57I'm still Doris Mary Ann Kappelhoff!
0:01:57 > 0:01:59From Cincinnati, Ohio.
0:01:59 > 0:02:01And, uh...
0:02:01 > 0:02:06from a lovely family, and all I ever wanted was to get married,
0:02:06 > 0:02:09have a nice husband and have maybe two or three children
0:02:09 > 0:02:14and keep house and cook, keep the house nice and clean
0:02:14 > 0:02:17and live happily ever after.
0:02:17 > 0:02:19And I ended up in Hollywood.
0:02:19 > 0:02:22And if I can do it, you can do it!
0:02:22 > 0:02:25Anybody can!
0:02:25 > 0:02:27MUSIC: "Sentimental Journey" by Doris Day
0:02:37 > 0:02:43# I gotta take that sentimental journey
0:02:43 > 0:02:50# Sentimental journey home
0:02:50 > 0:02:59# Sentimental journey. #
0:03:02 > 0:03:07Doris Day was born in Cincinnati, Ohio in 1924,
0:03:07 > 0:03:09the only daughter of William and Alma Kappelhoff.
0:03:09 > 0:03:14Until her father abandoned the family when she was five years old,
0:03:14 > 0:03:17little Doris lived in a perfect world.
0:03:17 > 0:03:19I loved playing house.
0:03:19 > 0:03:24And I pretended that I was married, and I always had babies,
0:03:24 > 0:03:30and I would cook and I would say, "Oh, Daddy's coming home at 5:30,
0:03:30 > 0:03:34"and I'm going to tell him what a good girl you were all day today."
0:03:34 > 0:03:37I would go all day long like that.
0:03:37 > 0:03:43Her father was a "professor" - in quotes - of music,
0:03:43 > 0:03:45so she comes from a family in which
0:03:45 > 0:03:50the piano and the organ and music was part of the life of their family,
0:03:50 > 0:03:52because her father earned his living that way.
0:03:52 > 0:03:58She took lessons and became an accomplished dancer.
0:03:58 > 0:04:01Well, I started dancing when I was five.
0:04:01 > 0:04:04I think I went to dancing school almost every day of the week.
0:04:04 > 0:04:08My poor little grandmother would trundle me off and take me.
0:04:08 > 0:04:13And I studied acrobatics, ballet and toe,
0:04:13 > 0:04:16tap-dancing, personality class,
0:04:16 > 0:04:19and I thought maybe one day I might be a ballerina.
0:04:19 > 0:04:22At age 13, Doris won an amateur dance contest
0:04:22 > 0:04:24with her partner, Jerry Doherty.
0:04:24 > 0:04:25Their prize money was set aside
0:04:25 > 0:04:28for lessons at a famous dance academy in Hollywood,
0:04:28 > 0:04:31and friends and neighbours gathered for a farewell party.
0:04:31 > 0:04:36They went for a milkshake or something after the party.
0:04:36 > 0:04:39They were in a car driven by one of her friends.
0:04:39 > 0:04:40She was sitting in the back seat
0:04:40 > 0:04:43with this young man who was in the dance with her,
0:04:43 > 0:04:47and he made a mad dash for the railroad crossing,
0:04:47 > 0:04:50hoping to beat the train. And he didn't.
0:04:50 > 0:04:54Oh, this train wreck! The great train wreck.
0:04:54 > 0:04:58Anyway, my leg was broken in many places,
0:04:58 > 0:05:03and I didn't walk for a long time...
0:05:03 > 0:05:05much less dance!
0:05:05 > 0:05:08And that's when I started singing.
0:05:08 > 0:05:11So every break is a good one.
0:05:11 > 0:05:13During a long recovery, Doris passed the time
0:05:13 > 0:05:16singing along with big bands on the radio -
0:05:16 > 0:05:19the Dorsey brothers, Duke Ellington,
0:05:19 > 0:05:21and her favourite vocalist, Ella Fitzgerald.
0:05:21 > 0:05:24Impressed by her daughter's natural talent,
0:05:24 > 0:05:27Doris's mother suggested she take voice lessons.
0:05:27 > 0:05:31And don't you know that she took me to a classical voice teacher.
0:05:33 > 0:05:37And it was the worst. It was just the worst! I hated it.
0:05:38 > 0:05:44But then we found out about a woman named Grace Raine
0:05:44 > 0:05:46from WLW in Cincinnati.
0:05:46 > 0:05:53She couldn't sing a note, but she was a great coach. She was the best.
0:05:53 > 0:05:56Anyway, we'd go over to her place on crutches.
0:05:56 > 0:05:57She was on the second floor,
0:05:57 > 0:06:01and I'd have to scoot up this long flight of stairs.
0:06:01 > 0:06:05And we didn't have much money at the time,
0:06:05 > 0:06:08and voice lessons are expensive,
0:06:08 > 0:06:12but she thought that I had some talent and she said to my mother,
0:06:12 > 0:06:16"I'm going to give her three lessons for the price of one."
0:06:16 > 0:06:19Eventually, 16-year-old Doris was featured
0:06:19 > 0:06:21in a weekly broadcast on WLW,
0:06:21 > 0:06:25and a local band leader, Barney Rapp, was listening.
0:06:25 > 0:06:28I sang a song called Day After Day.
0:06:29 > 0:06:32And Barney Rapp heard me sing that song.
0:06:32 > 0:06:36So when I came to him for my interview, he said,
0:06:36 > 0:06:39"What's your name again? Doris Kapps?"
0:06:39 > 0:06:40He made this awful face.
0:06:42 > 0:06:46And he said, "That has to go. I hope you don't mind."
0:06:46 > 0:06:48And he said,
0:06:48 > 0:06:51"Y'know, I loved the way you sang that song Day After Day."
0:06:53 > 0:06:56And he said, "I think maybe your name should be Day."
0:06:58 > 0:07:01So you see, my first band was Barney Rapp and his New Englanders
0:07:01 > 0:07:03in Cincinnati.
0:07:03 > 0:07:07And my darling, precious mother would have to drive me
0:07:07 > 0:07:10to and from work. And I was just a kid!
0:07:10 > 0:07:12And I had beautiful gowns,
0:07:12 > 0:07:15but she wouldn't let me put my gown on at home.
0:07:15 > 0:07:18She said, "Your gown's going to get wrinkled in the car.
0:07:18 > 0:07:21"You cannot wear it in the car. You have to dress there."
0:07:21 > 0:07:23I said, "There's no dressing room!"
0:07:23 > 0:07:25She said, "You dress in the ladies' room."
0:07:25 > 0:07:27So there I would be, in the john,
0:07:27 > 0:07:30and she would be saying, "Do you have your bra?"
0:07:30 > 0:07:32Oh, I was so embarrassed!
0:07:32 > 0:07:37# Big noise blew in from Winnetka... #
0:07:37 > 0:07:40After a stint with Barney Rapp, Doris auditioned for Bob Crosby,
0:07:40 > 0:07:43who was playing at the Blackhawk in Chicago.
0:07:43 > 0:07:48I was so green and young, from Cincinnati, Ohio, and I didn't know very much,
0:07:48 > 0:07:51and there I was, singing in front of that band,
0:07:51 > 0:07:54with all these fabulous musicians behind me,
0:07:54 > 0:07:59Jess Stacy at the piano and Nappy Lamare on guitar
0:07:59 > 0:08:01and Eddie Miller on saxophone
0:08:01 > 0:08:03and Bobby Haggart on bass - and I had a crush on him -
0:08:03 > 0:08:08Ray Bauduc on drums and Billy Butterfield on trumpet.
0:08:08 > 0:08:10And I was just...
0:08:10 > 0:08:13I was just flabbergasted, singing in front of this band.
0:08:13 > 0:08:15And I got the job!
0:08:15 > 0:08:20Doris earned 75 a week travelling with Bob Crosby and the Bob-Cats.
0:08:20 > 0:08:22The tour ended at the Strand Theater in New York,
0:08:22 > 0:08:25where Les Brown heard Doris for the first time
0:08:25 > 0:08:27and insisted that she join his band.
0:08:27 > 0:08:31I think every man in the band was in love with her, in a sisterly way,
0:08:31 > 0:08:34and she was a pal to everybody in the band.
0:08:34 > 0:08:39We were very lucky to find a girl that didn't, uh, give trouble.
0:08:39 > 0:08:42I can mention a lot of bands that had trouble with the girl singers
0:08:42 > 0:08:45because they were troublesome!
0:08:47 > 0:08:49# When we met
0:08:49 > 0:08:51# I smelt love so lightly
0:08:51 > 0:08:53# You can bet
0:08:53 > 0:08:54# I responded brightly
0:08:54 > 0:08:58# I said, "Dig me, Joe From top to toe
0:08:58 > 0:09:01# "But so politely"
0:09:01 > 0:09:03# When we danced
0:09:03 > 0:09:05# And you held me tightly
0:09:05 > 0:09:07# We romance
0:09:07 > 0:09:08# Then I wake it slightly
0:09:08 > 0:09:10# You said, "Solid jazz
0:09:10 > 0:09:13# "Please scratch my back"
0:09:13 > 0:09:16BOTH: # Well, so politely... #
0:09:16 > 0:09:19'Les Brown is just the greatest guy in the whole world,
0:09:19 > 0:09:23'as were all the boys in the band. They were all like brothers to me.
0:09:29 > 0:09:33'We rode buses all day, and I lived out of a suitcase.
0:09:33 > 0:09:35'It was just a hard routine,'
0:09:35 > 0:09:36although I loved it.
0:09:36 > 0:09:42But I always thought, "Wouldn't it be nice to work in the daytime
0:09:42 > 0:09:44"and have your nights?"
0:09:48 > 0:09:53# Is it love or is it conscription?
0:09:53 > 0:09:58# Is this marriage epidemic fact or fiction?
0:09:58 > 0:10:00# I see guys who used to falter
0:10:00 > 0:10:03# Dashing madly to the altar
0:10:03 > 0:10:07# Is it love or is it conscription? #
0:10:07 > 0:10:11'It was the happiest time that I could ever have.
0:10:11 > 0:10:14'But that's when I stopped my career,
0:10:14 > 0:10:17'right at a fabulous time in my life,
0:10:17 > 0:10:18'and said to Les,
0:10:18 > 0:10:21'"I'm going to go home to Cincinnati and get married."'
0:10:21 > 0:10:24He said, "You're going to do what? You're just starting!"
0:10:24 > 0:10:28I said, "Well, I'm in love. I think."
0:10:28 > 0:10:33She was with us only for about a year before she left to get married
0:10:33 > 0:10:37to Al Jorden, who was a trombone player with Jim Dorsey's band.
0:10:37 > 0:10:39They both went back to Cincinnati.
0:10:39 > 0:10:42She had a child, and, uh...
0:10:42 > 0:10:44So young. Not dry behind the ears.
0:10:44 > 0:10:47My mother was furious. Everybody was angry with me.
0:10:47 > 0:10:51And I married him. And I had my baby.
0:10:51 > 0:10:53And then I left him.
0:10:53 > 0:10:57He turned out to be quite a psychopathic, erm, individual,
0:10:57 > 0:11:00with pathologic jealousy,
0:11:00 > 0:11:03and mistreated and maltreated Doris in an outrageous way.
0:11:03 > 0:11:06But one beautiful thing came out of that marriage,
0:11:06 > 0:11:09my very first marriage, and that was my son.
0:11:09 > 0:11:15And if I hadn't married this bird, I wouldn't have my terrific son Terry.
0:11:15 > 0:11:17And so you see,
0:11:17 > 0:11:22out of these awful experiences comes something wonderful.
0:11:22 > 0:11:29# You're like a distant lost horizon, my love
0:11:29 > 0:11:33# You're unattainable to me... #
0:11:33 > 0:11:36'I started singing at WLW right away,
0:11:36 > 0:11:39'and I was doing a show called Moon River'
0:11:39 > 0:11:43that was on at midnight, from 12:00 to 12:30,
0:11:43 > 0:11:47and it went all over the middle west.
0:11:47 > 0:11:49Les Brown was travelling with the band,
0:11:49 > 0:11:52and he was listening to the radio.
0:11:52 > 0:11:55They were driving from one city to another.
0:11:55 > 0:11:57And he said, "That's Dodo!
0:11:57 > 0:11:59"That's Dodo, I know it's Dodo!"
0:11:59 > 0:12:05#..you see? That sails across the sea... #
0:12:05 > 0:12:07'And he called, and he said to my mother,'
0:12:07 > 0:12:11"You've got to get her back with my band. You've got to talk her into it."
0:12:11 > 0:12:14She said, "I don't think she'll go, because of Terry.
0:12:14 > 0:12:17"If I know Doris, I don't think she'll go."
0:12:17 > 0:12:18But I did.
0:12:18 > 0:12:24And back with Les, and then all the good things happened.
0:12:24 > 0:12:30# Gonna take a sentimental journey
0:12:30 > 0:12:36# Gonna set my heart at ease... #
0:12:36 > 0:12:38Sentimental Journey was incredible.
0:12:38 > 0:12:43This was right after the war, and I remember when, at rehearsal,
0:12:43 > 0:12:46after the dance job that night,
0:12:46 > 0:12:50he passed out this music, gave me the sheet music.
0:12:50 > 0:12:53I said, "That's a lovely title."
0:12:53 > 0:12:55And he said, "Wait till you hear it."
0:12:55 > 0:12:58We went right in the studio and recorded it.
0:12:58 > 0:13:00It was released in January of '45,
0:13:00 > 0:13:06and at that time, the war in Europe was pretty well finished,
0:13:06 > 0:13:09and it looked like victory was just around the corner. And it was.
0:13:09 > 0:13:14It makes me cry, almost, because all the...
0:13:16 > 0:13:20..the servicemen, y'know, there they were, overseas,
0:13:20 > 0:13:23and they were about to come home, and...
0:13:24 > 0:13:26..the letters started coming in.
0:13:28 > 0:13:31That song said so much, y'know?
0:13:31 > 0:13:40- # Sentimental journey.- #
0:13:40 > 0:13:43And of course, it made Doris. Don't you think?
0:13:43 > 0:13:50It brought her to the attention of the moguls out here in Hollywood.
0:13:50 > 0:13:55And when she left the band - uh, I think it was in '47 -
0:13:55 > 0:13:58she took a screen test and did her first picture
0:13:58 > 0:14:00and was a big hit. She was a big hit.
0:14:00 > 0:14:02And now it's history.
0:14:02 > 0:14:04Well, there's so much in between there, y'know?
0:14:04 > 0:14:07The big thing was that I was married.
0:14:08 > 0:14:11Seems like I was always married.
0:14:11 > 0:14:12But I was married.
0:14:12 > 0:14:16This particular time, I was married, and we had broken up.
0:14:16 > 0:14:19And I was singing at the Little Club in New York,
0:14:19 > 0:14:22and that's when we broke up, on the phone.
0:14:22 > 0:14:24I mean, you just don't do that.
0:14:24 > 0:14:27And so I wanted to go to California
0:14:27 > 0:14:34to talk with him and see if, y'know, we could maybe work things out.
0:14:34 > 0:14:37Her second marriage, to musician George Weidler, couldn't be reconciled,
0:14:37 > 0:14:39and Doris was devastated.
0:14:39 > 0:14:44Her agent suggested that maybe a big Hollywood party might cheer her up.
0:14:44 > 0:14:47At Hollywood parties, everybody has to get up and do something,
0:14:47 > 0:14:49which I hate.
0:14:49 > 0:14:50Maybe they don't do that now.
0:14:50 > 0:14:52I don't know what they do in Hollywood.
0:14:52 > 0:14:56But at that time, everybody was up performing all the time.
0:14:56 > 0:15:00And they dragged me up to the piano, and they had me sing.
0:15:00 > 0:15:03And Sammy Cahn was there, and Jule Styne,
0:15:03 > 0:15:07and they said, "We're writing the score
0:15:07 > 0:15:09"for a new movie for Michael Curtiz,
0:15:09 > 0:15:12"and he's looking for an unknown.
0:15:12 > 0:15:14"And she has to test."
0:15:14 > 0:15:17The movie was called Romance on the High Seas,
0:15:17 > 0:15:20and director Michael Curtiz discovered a star.
0:15:20 > 0:15:23I didn't know anything about acting, and I told him that!
0:15:23 > 0:15:26Y'know, I said, "You're taking a singer
0:15:26 > 0:15:33"and putting her into a top spot in your film, the leading lady,
0:15:33 > 0:15:37"and I haven't studied. And I would like to study."
0:15:37 > 0:15:39And he said no.
0:15:39 > 0:15:44He said, "I don't want you to study. No, no, no, no, no, dahlink."
0:15:44 > 0:15:47And... And I didn't,
0:15:47 > 0:15:51because he was the boss, and he said no.
0:15:51 > 0:15:53Sometimes I think I should have.
0:15:53 > 0:15:57Doris, paired with veteran actor Jack Carson, was a natural,
0:15:57 > 0:16:00and in scene after scene she stole the show.
0:16:00 > 0:16:04# When we walk hand in hand
0:16:04 > 0:16:08# The world becomes a wonderland
0:16:08 > 0:16:11# It's magic
0:16:12 > 0:16:15# How else can I explain
0:16:15 > 0:16:21# Those rainbows when there is no rain?
0:16:21 > 0:16:23# It's magic... #
0:16:23 > 0:16:28'The most important thing which Grace Raine told me
0:16:28 > 0:16:33'was that when you sing, don't think of a big audience out there.
0:16:33 > 0:16:39'Sing into someone's ear, a person. You're acting!
0:16:39 > 0:16:40'She was right.'
0:16:40 > 0:16:50# ..the magic is my love for you. #
0:16:50 > 0:16:53Everyone knew that Doris Day could sing.
0:16:53 > 0:16:56The surprise was her special gift for comedy.
0:16:56 > 0:16:59- My dear young lady?- Yes?- I advise you to go to your cabin
0:16:59 > 0:17:01- and get out of your clothes. - I beg your pardon?
0:17:01 > 0:17:04- Well, don't go in there. You'll be embarrassed.- Embarrassed? Why?
0:17:04 > 0:17:07- Well, nobody dresses first night out.- They don't?
0:17:07 > 0:17:10Even if it's chilly?
0:17:10 > 0:17:11This I got to see.
0:17:11 > 0:17:13'Jack Carson taught me so much.'
0:17:13 > 0:17:18He taught me where to stand, how to move,
0:17:18 > 0:17:22don't turn your head that way, it's not good, be careful,
0:17:22 > 0:17:24always see where the camera is,
0:17:24 > 0:17:28and all these little things, you know? He didn't have to do that.
0:17:28 > 0:17:33# You sigh, the song begins
0:17:33 > 0:17:38# You speak and I hear violins
0:17:38 > 0:17:41# It's magic... #
0:17:41 > 0:17:44Anybody who heard Doris sing never forgot her.
0:17:45 > 0:17:47But when she did It's Magic,
0:17:47 > 0:17:52I got involved with more weird people because of her It's Magic.
0:17:52 > 0:17:54I mean, somebody that you were out with
0:17:54 > 0:17:56that you didn't think was that swell,
0:17:56 > 0:18:00you'd listen to Doris for a little while and they looked wonderful!
0:18:00 > 0:18:03So I've got to get even with her for that someday.
0:18:05 > 0:18:10# When in my heart I know
0:18:10 > 0:18:12# The magic
0:18:12 > 0:18:20# is my love for you. #
0:18:29 > 0:18:33In her very first film, she, in effect, became a star overnight,
0:18:33 > 0:18:38because she did have this dazzling personality, she had confidence,
0:18:38 > 0:18:42an intensity and a freshness.
0:18:42 > 0:18:45There was something quite unlike anybody else about her.
0:18:45 > 0:18:48After that first picture, the public took her to their hearts,
0:18:48 > 0:18:51and they just didn't want to let her go.
0:18:51 > 0:18:55She just kept going and going, because she had that something.
0:18:58 > 0:18:59Don't stop me now! I'm tickin'!
0:19:03 > 0:19:06# I don't care what I did last night
0:19:06 > 0:19:09# And the night before that And the night before that too... #
0:19:09 > 0:19:15# I'll see you in my dreams... #
0:19:18 > 0:19:20You haven't even said that you love me.
0:19:20 > 0:19:26Well, gosh, what do you want? Moon, June, love, dove, that's my business all day!
0:19:26 > 0:19:30- Mr Kahn.- Yeah? - Let's get down to business!
0:19:32 > 0:19:35Warner Brothers signed Doris Day to a seven-year contract,
0:19:35 > 0:19:38and she made two or three movies a year, most of them musicals.
0:19:38 > 0:19:42Sparkling in every role, she became an accomplished actress
0:19:42 > 0:19:44and a box-office hit.
0:19:55 > 0:19:59God sure must think a lot of me for giving me you.
0:20:00 > 0:20:07I loved every minute, but I never thought of going into the movies,
0:20:07 > 0:20:09and becoming a movie star.
0:20:11 > 0:20:15Then, when I had the opportunity, what was great to me
0:20:15 > 0:20:20was the fact that I could have my son, and my mother,
0:20:20 > 0:20:22and a nice little house.
0:20:22 > 0:20:26So when I signed at Warner Brothers, I was thrilled
0:20:26 > 0:20:30that I could be living like other people.
0:20:30 > 0:20:33She felt that now she was a movie star,
0:20:33 > 0:20:37she had to give a movie star's performance in everything she did,
0:20:37 > 0:20:41and that meant coming to the set on time, being the last one to leave,
0:20:41 > 0:20:43learning your lines, showing up.
0:20:43 > 0:20:48It never occurred to Doris to say, "I'm a movie star, I'm having a week off,"
0:20:48 > 0:20:50or, "I'll do that when I feel like it."
0:20:50 > 0:20:52Not Doris. Doris did it.
0:20:52 > 0:20:53# 10,000
0:20:53 > 0:20:54# 400
0:20:54 > 0:20:56# 36 sheep
0:20:56 > 0:20:58# And one sheep that got away. #
0:20:58 > 0:21:00He took it on the Lam!
0:21:00 > 0:21:04'There were times when I didn't like scripts that I had to do.
0:21:04 > 0:21:05'But a deal was a deal.'
0:21:05 > 0:21:09# Oh what a fool I am. #
0:21:09 > 0:21:13'I felt that it was wrong to go on suspension.'
0:21:13 > 0:21:17My working in a film and being good in a film didn't depend on Jack Warner.
0:21:17 > 0:21:20Someone much higher.
0:21:20 > 0:21:25And I just put my trust where it was supposed to be.
0:21:25 > 0:21:29And I just said, "I know that nothing is going to hurt me. I will give 100%."
0:21:29 > 0:21:33# You get a mental kiss with every sheep I count
0:21:33 > 0:21:36# Add them all together, that's a large amount
0:21:36 > 0:21:38# Cos I've counted a trillion sheep
0:21:38 > 0:21:39# How many?
0:21:39 > 0:21:41# I've counted a billion sheep
0:21:41 > 0:21:42# How many?
0:21:42 > 0:21:44# Well, at least a million sheep
0:21:44 > 0:21:47- # I know- ..how the numbers grow
0:21:47 > 0:21:52# And I got about a million more to go
0:21:52 > 0:21:54# 10,000, 9,000, 8,000
0:21:54 > 0:21:57# 7,000, 6,000, 5,000
0:21:57 > 0:21:59# 4,000, 3,000. #
0:21:59 > 0:22:01Sheep.
0:22:01 > 0:22:06Her agent and third husband Marty Melcher strongly reinforced Doris's dedication
0:22:06 > 0:22:09to hard work, and her loyalty to the studio.
0:22:09 > 0:22:12Marty was a very well-connected Hollywood agent,
0:22:12 > 0:22:15and was the agent for Doris on all of her films.
0:22:15 > 0:22:21He saw to it that Doris went from one film to another without drawing a deep breath.
0:22:21 > 0:22:24But Marty Melcher, to all intents and purposes,
0:22:24 > 0:22:29was a man devoted to Doris, devoting his life to her,
0:22:29 > 0:22:32making the best possible deals for her and so forth.
0:22:32 > 0:22:36During these happy times, Doris made two of her best Warner Brothers musicals,
0:22:36 > 0:22:39and both of them turned out to be perennial favourites.
0:22:39 > 0:22:44Moonlight Bay and Silvery Moon were filmed early on at Warner Brothers,
0:22:44 > 0:22:47and they just...
0:22:49 > 0:22:54..bring back such nostalgia for me when I think about them,
0:22:54 > 0:22:57because we made the two films back-to-back.
0:22:57 > 0:23:01And became a real family. We really did.
0:23:01 > 0:23:04We just loved all being together.
0:23:04 > 0:23:10I had a darling funny brother, we had a housekeeper who was a riot.
0:23:10 > 0:23:15And a precious mother and father, and a handsome beau
0:23:15 > 0:23:18'named Gordon MacRae. And I adored him.'
0:23:18 > 0:23:22- Oh, William, I had a wonderful time. - So did I, Marjorie.
0:23:22 > 0:23:25And think, we might never have met if you hadn't taken a shot at me!
0:23:25 > 0:23:28Oh, don't joke about that, I might have killed you!
0:23:28 > 0:23:32What's one life, more or less, when all of Europe is bathed in blood?
0:23:32 > 0:23:36Won't you come in and have a nice cold glass of buttermilk?
0:23:36 > 0:23:41Remember when he sang Just One Girl? That lovely, lovely ballad.
0:23:41 > 0:23:46And it was snowing, and he was coming over to my house for our date, to pick me up.
0:23:46 > 0:23:51I think he was one of THE best singers ever, ever, ever.
0:23:51 > 0:23:55# Just one girl
0:23:55 > 0:23:58# Only just one girl
0:23:58 > 0:24:01# There are others, I know
0:24:01 > 0:24:05# But they're not my pearl. #
0:24:05 > 0:24:11'Ah, when I see those movies, I laugh all the way through, remembering.
0:24:11 > 0:24:12'They were sweet movies.'
0:24:12 > 0:24:16# I'll be happy for ever
0:24:16 > 0:24:20# With just one girl
0:24:20 > 0:24:23# One girl
0:24:23 > 0:24:27# One girl. #
0:24:27 > 0:24:29Well!
0:24:29 > 0:24:31My girl.
0:24:31 > 0:24:35Doris was creating the image of the girls next door.
0:24:35 > 0:24:38And every girl next door wanted to be like Doris.
0:24:38 > 0:24:41She was wonderfully funny, and sympathetic and warm,
0:24:41 > 0:24:45and she was tender, and she had everything that they wanted to be.
0:24:45 > 0:24:50She was part of that whole '50s sense of optimism, and going forward,
0:24:50 > 0:24:55and cheerfulness, cheerleader cheerfulness, and she was a tomboy.
0:24:55 > 0:24:59Wait till I get out from under!
0:24:59 > 0:25:02Here, I'll help you. There we go.
0:25:02 > 0:25:06She was also resisting mightily feminine passivity
0:25:06 > 0:25:11and all the various burdens that the '50s culture imposed on her,
0:25:11 > 0:25:16so to me, she was a radical, somewhat revolutionary figure.
0:25:16 > 0:25:18We're OK now. I got her going.
0:25:19 > 0:25:21Yeah(!)
0:25:22 > 0:25:25- Here, let me help you. - It's getting cold.
0:25:25 > 0:25:27Gee, Margie, you ruined your favourite dress!
0:25:27 > 0:25:32Uh-uh. My favourite dress is the one you saw me in this afternoon!
0:25:32 > 0:25:35Now, Marjorie, I thought we settled all that.
0:25:35 > 0:25:40- You even said you'd be happy to wait till I got a job!- I'm only teasing.
0:25:40 > 0:25:43But you know something. I was just thinking.
0:25:43 > 0:25:48We'd only have to wait half as long if I had a job and was saving along with you.
0:25:48 > 0:25:54The business world's a man's world, and women have no right forsaking their sacred heritage.
0:25:54 > 0:25:56Now they're even meddling in politics!
0:25:56 > 0:25:59'To me, Doris Day is a symbol of female energy,'
0:25:59 > 0:26:02trying to tell us always with the image,
0:26:02 > 0:26:07what we can do - don't get downhearted,
0:26:07 > 0:26:11don't let difficulties bog you, but bounce on.
0:26:11 > 0:26:15# We'll be home tonight by the light of the silvery moon
0:26:15 > 0:26:19# And my heart's a-thumpin' like a mandolin pluckin' a tune... #
0:26:19 > 0:26:24Calamity Jane was an adventurous departure for Doris and a rousing success.
0:26:26 > 0:26:29Calamity Jane is probably my favourite movie,
0:26:29 > 0:26:31because that's the real me.
0:26:31 > 0:26:36When I was a little girl, I was a tomboy, I loved climbing trees and skating,
0:26:36 > 0:26:40and doing all the things that the boys did, yet I loved dolls.
0:26:40 > 0:26:44So I'm a half and half mixture.
0:26:44 > 0:26:48Yeah, there is something there, a crisp androgynous something
0:26:48 > 0:26:52that is nice, really nice.
0:26:52 > 0:26:54She has backbone,
0:26:54 > 0:27:00and spunk, which I think give her a kind of stiffness in the mind.
0:27:00 > 0:27:05Hey, wait a minute! You no-good...
0:27:05 > 0:27:07You talk too much.
0:27:07 > 0:27:09# In the summer, you're the winter
0:27:09 > 0:27:12# In the finger, you're the splinter
0:27:12 > 0:27:14# In the banquet, you're the stew
0:27:14 > 0:27:17# Say, I could do without you
0:27:17 > 0:27:19# In the garden, you're the gopher
0:27:19 > 0:27:22# In the Levi's, you're the loafer
0:27:22 > 0:27:24# Like an overturned canoe
0:27:24 > 0:27:27# Well, I can do without you
0:27:27 > 0:27:30# You can go to Philadelphia
0:27:30 > 0:27:32# Take a hack to Hackensack
0:27:32 > 0:27:35# Hey, I'll never ring a bell fer yer
0:27:35 > 0:27:37# Or yell fer yer to come back
0:27:37 > 0:27:40# In the question, you're the why
0:27:40 > 0:27:42# In the ointment, you're the fly
0:27:42 > 0:27:48# So I know some things are indispensable, like a buck or two
0:27:48 > 0:27:51# If there is one thing I can do without, I can do without you! #
0:27:51 > 0:27:56I'm always looking for insights into the real Doris Day,
0:27:56 > 0:27:58because I'm stuck with this infatuation,
0:27:58 > 0:28:02and need to explain it to myself.
0:28:02 > 0:28:05I do think she is a terrific singer,
0:28:05 > 0:28:10you feel this is a kind of ideal woman, singing these words.
0:28:10 > 0:28:15# Now I shout it
0:28:15 > 0:28:20# From the highest hill
0:28:21 > 0:28:30# Even told the golden daffodils
0:28:30 > 0:28:34# At last
0:28:34 > 0:28:41# My heart's an open door
0:28:43 > 0:28:50# And my secret love's no secret
0:28:50 > 0:28:55# Any more. #
0:28:56 > 0:28:59When I was a little kid I knew that she was a good singer,
0:28:59 > 0:29:02but when I was in the business ten years or so
0:29:02 > 0:29:08and I had the opportunity to work with so many different singers,
0:29:08 > 0:29:12that's when I really appreciated how great she was as a vocalist.
0:29:12 > 0:29:18And at this point, I really think that she and Ella Fitzgerald
0:29:18 > 0:29:26were all by themselves in their ability to bring magic to a lyric.
0:29:26 > 0:29:33Her instincts were so correct, her intonation is flawless,
0:29:33 > 0:29:37she had a way of being very personal with a song,
0:29:37 > 0:29:40so that she was absolutely perfect for the recording industry,
0:29:40 > 0:29:44everything that she sang was absolutely to one person.
0:29:48 > 0:29:51Her singing career was as successful as her movies,
0:29:51 > 0:29:54and in between films, she lived in recording studios,
0:29:54 > 0:29:57creating one gold record after another.
0:30:01 > 0:30:03I think that Doris is a great singer.
0:30:03 > 0:30:06I think she has got the most incredible phrasing,
0:30:06 > 0:30:08and she can really...
0:30:08 > 0:30:12She can make a lyric sound like it's smiling.
0:30:12 > 0:30:14She can make a record sound like there's a smile,
0:30:14 > 0:30:17or there's some kind of a tear behind it,
0:30:17 > 0:30:23she can really create a visual effect, I think, with an audio art.
0:30:23 > 0:30:28I think the idea of internalising love songs,
0:30:28 > 0:30:34so it almost has a dreamy quality, is something that carried over to another generation entirely.
0:30:41 > 0:30:45Love Me or Leave Me was Doris's first movie away from Warner Brothers,
0:30:45 > 0:30:50and her husband Marty Melcher's first success in his new role as her personal manager.
0:30:53 > 0:30:56Her co-star was the great James Cagney,
0:30:56 > 0:30:59who played Marty Snyder, a two-bit Chicago gangster
0:30:59 > 0:31:01obsessed with the career of Ruth Etting,
0:31:01 > 0:31:07a singer who had clawed her way from cheap dance halls to centre stage.
0:31:10 > 0:31:13I had made many musicals at Warner Brothers,
0:31:13 > 0:31:17but this was an extravaganza, this was going to be a biggie.
0:31:17 > 0:31:20And it was thrilling to me.
0:31:20 > 0:31:25But I wondered if I would be right for that particular part.
0:31:26 > 0:31:30Because I was always considered the girl next door.
0:31:30 > 0:31:33You made us a nice little scandal tonight.
0:31:33 > 0:31:35Fred Taylor's in hospital with a broken jaw!
0:31:35 > 0:31:37He's lucky he's alive, so what?
0:31:37 > 0:31:41- So Zigfield doesn't want me in the show, not if you're around! - That don't hurt my feelings!
0:31:41 > 0:31:47- He's a bigger jerk than I figured if he lets you go for free! - Only I'm not going.
0:31:47 > 0:31:51I was a hit tonight. A big hit. It's a chance to be somebody.
0:31:51 > 0:31:53It's the Follies, it's Broadway!
0:31:53 > 0:31:56It's a chance to meet decent people and to make friends.
0:31:56 > 0:32:00It's what I've wanted and worked for, why should I leave it? What sense does it make?
0:32:00 > 0:32:04- It doesn't have to make sense, it's the way it's going to be! - You can't tell me what to do!
0:32:04 > 0:32:09- I can!- Marty!- You think you own me? - That's exactly right!
0:32:09 > 0:32:13'You watched her grow up in that movie, and the depth,'
0:32:13 > 0:32:16I think that's the first time we saw real depth in this lady,
0:32:16 > 0:32:22she went much beyond that top-level or even the one underneath, she went all the way down.
0:32:22 > 0:32:26- I'm right where I want to be. - And I ain't good enough. - I didn't say that!
0:32:26 > 0:32:31- Well, say it! Have some guts, say it! - All right! You don't belong here!
0:32:31 > 0:32:34I can't help it, it's the way you act!
0:32:34 > 0:32:37The way I've always acted, I never heard you holler!
0:32:37 > 0:32:40It's rotten, dirty, and I hate it!
0:32:40 > 0:32:44'There aren't enough words and accolades for Jimmy Cagney,'
0:32:44 > 0:32:46as far as I'm concerned.
0:32:46 > 0:32:48And we had a great time working together,
0:32:48 > 0:32:53he's the most professional actor I've ever met.
0:32:53 > 0:32:56Jimmy Cagney returned the compliment.
0:32:56 > 0:33:00He once said "Doris Day perfectly illustrates my definition of good acting.
0:33:00 > 0:33:05"Just plant yourself, look the other actor in the eye and tell them the truth."
0:33:06 > 0:33:09You got to give her credit. The girl can sing.
0:33:11 > 0:33:13About that, I never was wrong.
0:33:17 > 0:33:24# I want your love but I don't want to borrow
0:33:24 > 0:33:31# To have it today and to give back tomorrow... #
0:33:31 > 0:33:35I think the same thing applies to Doris's acting as her singing,
0:33:35 > 0:33:40it was seamless. I don't think she was given the credit she deserved.
0:33:40 > 0:33:48# ..no love for nobody else... #
0:33:48 > 0:33:51Love Me or Leave Me was both a critical and popular hit,
0:33:51 > 0:33:56which firmly established Marty Melcher as the guiding force of Doris's career.
0:33:56 > 0:34:00We worked very well together. But I wasn't with anyone but Marty.
0:34:00 > 0:34:04I said, "I would like to be with so and so agency, or at that agency,
0:34:04 > 0:34:08"they have so many great writers, producers and directors,
0:34:08 > 0:34:13"and I'd like to be able to go with that,
0:34:13 > 0:34:16"and be a part of one of those great projects."
0:34:16 > 0:34:20"No, no, no. You're with me, and that's it."
0:34:20 > 0:34:25I really felt that I should have had another agent.
0:34:25 > 0:34:27Not my husband.
0:34:27 > 0:34:31It really is not good for a relationship.
0:34:33 > 0:34:35The romance goes out the window
0:34:35 > 0:34:41when you suddenly feel you're married to your father.
0:34:41 > 0:34:44But thanks to the persistence of Marty, Doris travelled to Morocco
0:34:44 > 0:34:48to star in Alfred Hitchcock's The Man Who Knew Too Much. It was to become a classic.
0:34:48 > 0:34:52I didn't want to go to North Africa. I love London,
0:34:52 > 0:34:54but I do not like North Africa.
0:34:54 > 0:35:00But we went, and of course I kept saying to Marty,
0:35:00 > 0:35:04"Why doesn't Mr Hitchcock call Grace Kelly?"
0:35:04 > 0:35:07And Marty was ready to clobber me, because he said,
0:35:07 > 0:35:13"The script is so wonderful, you should be so grateful to be doing it," you know...
0:35:13 > 0:35:17Anyway, we get to North Africa, and the first day of shooting,
0:35:17 > 0:35:24I look around, and I see this mistreatment of the animals, and I couldn't bear it.
0:35:24 > 0:35:26And they worked it out.
0:35:26 > 0:35:31And all of the horses and their birds and the animals we used,
0:35:31 > 0:35:34they were fat as toads by the time we left!
0:35:34 > 0:35:41Doris plays a doctor's wife in this tale of espionage, murder and a kidnapped child.
0:35:41 > 0:35:43Something like Hitchcock's The Man Who Knew Too Much,
0:35:43 > 0:35:49which is one of her great films, this neurotic underpinning, this edge of hysteria,
0:35:49 > 0:35:50and there's one scene,
0:35:50 > 0:35:53they've just found out about the disappearance of a child.
0:35:53 > 0:35:58You see the whole picture of this very traumatic marriage.
0:35:58 > 0:36:02You know what happens when you get excited and nervous. Do me a favour.
0:36:02 > 0:36:05Six months ago you told me I took too many pills.
0:36:05 > 0:36:10Six months ago you weren't a witness to a murder. Now, come on. Sit down.
0:36:10 > 0:36:13SHE WAILS
0:36:13 > 0:36:18- Sit down.- Why didn't you tell me?
0:36:18 > 0:36:21- I wasn't sure until now!- You did it!
0:36:21 > 0:36:25- Let go of me!- Sit down.
0:36:27 > 0:36:30Lie down.
0:36:32 > 0:36:34Oh, dear God.
0:36:34 > 0:36:37I want my boy!
0:36:37 > 0:36:40Please, please stop it.
0:36:40 > 0:36:42Where has he been?
0:36:45 > 0:36:49Forgive me. Forgive me.
0:36:50 > 0:36:51'It was difficult.'
0:36:51 > 0:36:59But, you see, the way I really think, that when you need something,
0:36:59 > 0:37:03when you have to draw on whatever,
0:37:03 > 0:37:09it's there. What you need is there.
0:37:09 > 0:37:12And I know that. I'm very positive about that.
0:37:12 > 0:37:14And it just happened.
0:37:28 > 0:37:31SHE SCREAMS
0:37:39 > 0:37:44I think that Doris Day is probably the most underrated, underappreciated actress
0:37:44 > 0:37:47to ever come out of Hollywood, because she can sing,
0:37:47 > 0:37:51she has a presence, she has personality, she can be sexy,
0:37:51 > 0:37:53in a way that is almost too much to deal with,
0:37:53 > 0:37:58you almost have the sense she had to be narrowed down in some way to make her more acceptable.
0:37:58 > 0:38:05She's a many-faceted lady, she has terribly deep feelings,
0:38:05 > 0:38:10the roots go all the way down to the centre of the planet. And she has...
0:38:10 > 0:38:14there's a vulnerability. When you've been that kind of a superstar,
0:38:14 > 0:38:19if you can maintain a vulnerability to the rest of the world, that says something about you.
0:38:21 > 0:38:26In The Man Who Knew Too Much, Doris gave the world an Oscar-winning song.
0:38:26 > 0:38:32I thought that it would make a good record, you know, for children, but I wouldn't buy it.
0:38:32 > 0:38:36And, oh, I ate those words! Everybody bought it.
0:38:36 > 0:38:38# Que sera, sera
0:38:39 > 0:38:42# Whatever will be, will be... #
0:38:42 > 0:38:44I don't see my films.
0:38:44 > 0:38:47I see all the wrong things and I turn it off.
0:38:47 > 0:38:51But sometimes a song will come on the radio that I've done,
0:38:51 > 0:38:56a long time ago, you know, and I think, "Ah..."
0:38:56 > 0:38:59And I'll listen, really listen.
0:38:59 > 0:39:03And I'll feel so good inside, you know.
0:39:03 > 0:39:08I'll say, "I did it, that was good."
0:39:08 > 0:39:11# Teacher's pet
0:39:11 > 0:39:14# I want to be teacher's pet... #
0:39:14 > 0:39:18Teacher's Pet was a new kind of role for Doris Day.
0:39:18 > 0:39:22The pretty girl next door had become a serious journalism teacher,
0:39:22 > 0:39:25surprised by the romantic manoeuvring of a crusty newspaper editor.
0:39:25 > 0:39:28- Oh!- Oh, sorry.- Come in!
0:39:28 > 0:39:30Mr Gallagher, I'm so excited about this piece.
0:39:30 > 0:39:32- Well, thanks.- It's a brilliant job.
0:39:32 > 0:39:36But, Mr Gallagher, you do think that someday you might consider
0:39:36 > 0:39:39- giving up what you've been doing? - Someday?
0:39:39 > 0:39:41I'm giving it up right now.
0:39:41 > 0:39:43I can see I've been wasting my time.
0:39:43 > 0:39:47Mr Gallagher, I'm delighted!
0:39:47 > 0:39:49We'll shake on it.
0:39:52 > 0:39:54Mr Gallagher!
0:39:57 > 0:39:58Oh!
0:39:58 > 0:39:59So long, Professor.
0:40:15 > 0:40:19The change that came in Doris's career
0:40:19 > 0:40:22was happily coincidental, career-wise,
0:40:22 > 0:40:24to what was happening to all of us.
0:40:24 > 0:40:26We were all going through changes.
0:40:26 > 0:40:30We were going from the '50s, where everything was Gloriosky Zero,
0:40:30 > 0:40:34to the '60s, where...I mean, all kinds of changes
0:40:34 > 0:40:36took place that are still taking place.
0:40:36 > 0:40:39We're still feeling the residuals of that.
0:40:39 > 0:40:41I didn't want to hurt you any more than I already had.
0:40:43 > 0:40:46What you did to me is unimportant,
0:40:46 > 0:40:49but what you did to the other students is inexcusable.
0:40:49 > 0:40:52They pay their tuition, which they can ill-afford,
0:40:52 > 0:40:55and after working hard at other jobs all day long,
0:40:55 > 0:41:00they study or they come to class, because they'll sacrifice anything to gain a little more knowledge.
0:41:00 > 0:41:05- Oh, now wait...- Oh, I don't expect you to understand, Mr Gannon.
0:41:05 > 0:41:09You're stupid...and I think you're proud of it.
0:41:10 > 0:41:12And this makes you cruel.
0:41:14 > 0:41:16Now, may I leave if you're finished?
0:41:26 > 0:41:28Are you finished now?
0:41:28 > 0:41:32I knew that Doris had something more than what she was doing,
0:41:32 > 0:41:36and when the script of Pillow Talk was presented to me, the idea,
0:41:36 > 0:41:38that is, there was nobody but Doris.
0:41:38 > 0:41:41Doris... Who else could play what she could play?
0:41:41 > 0:41:46Who else could be chic and sophisticated and stunning and lovely and funny and all that?
0:41:46 > 0:41:51And that was Doris Day, and I decided to change her image completely.
0:41:51 > 0:41:55This career girl had everything but love.
0:41:55 > 0:41:57This bachelor had nothing else but.
0:41:57 > 0:42:00They had absolutely nothing in common, except a party line.
0:42:00 > 0:42:03Would you please get off this line?
0:42:03 > 0:42:06And then the wooing got frantic.
0:42:14 > 0:42:19If I may be so bold, I said, "Doris, you have the wildest ass in Hollywood, and you got to show it!
0:42:19 > 0:42:24"Guys want to see it, and girls want to be like you, and if you change your image, maybe they will."
0:42:24 > 0:42:27- INTERNAL MONOLOGUE:- So that's the other end of your party line.
0:42:27 > 0:42:31And so I called Jean Louis, who did her clothes,
0:42:31 > 0:42:34and Larry Germain, who did wonderful hairdos,
0:42:34 > 0:42:39and Bud Westmore, the make-up man, and I said, "Look, we got to change this gal.
0:42:39 > 0:42:44"She is gorgeous, stunning, something very special, and the audience doesn't know about it yet!"
0:42:44 > 0:42:47We wanted Rock Hudson for it, and he was afraid to do it, because he said,
0:42:47 > 0:42:52"I can't do comedy, I don't know anything about comedy, I've never done it."
0:42:52 > 0:42:57And...I said to him, you know, "The script is funny, you don't have to worry.
0:42:57 > 0:43:00"When you have funny lines, you're funny."
0:43:00 > 0:43:02Hello, hello, hello! Is anybody on this line?
0:43:02 > 0:43:05Yes, I am on the line, would you please get off it?
0:43:05 > 0:43:06All right, but you're on my half-hour.
0:43:06 > 0:43:08Urr!
0:43:08 > 0:43:10Rex? Rex, are you there?
0:43:10 > 0:43:13Er, yes, ma'am, who was that?
0:43:13 > 0:43:15Oh, my party line, a horrible little man.
0:43:15 > 0:43:18He sure isn't very well-mannered.
0:43:18 > 0:43:21Mannered? He isn't even worth talking about!
0:43:21 > 0:43:27Now...what were you saying?
0:43:27 > 0:43:31Uh, I'll be stopping by about 7:30.
0:43:31 > 0:43:34All right. That'll be fine.
0:43:34 > 0:43:37- Uh, Miss Morrow?- Uh-huh?
0:43:37 > 0:43:40I've never been much on making fancy speeches,
0:43:40 > 0:43:44but I get a nice warm feeling being near you, ma'am.
0:43:44 > 0:43:50It's like...like being around a pot-bellied stove on a frosty morning.
0:43:55 > 0:43:57Oh, Rex!
0:43:57 > 0:44:00What a lovely thing to say.
0:44:00 > 0:44:04Doris and Rock had a wonderful chemistry,
0:44:04 > 0:44:06and she helped Rock, she made him feel easy.
0:44:06 > 0:44:11In fact, I think she was the pivot of why the entire picture worked,
0:44:11 > 0:44:14because we all watched what she was doing,
0:44:14 > 0:44:17and what she was doing was a language to all of us.
0:44:17 > 0:44:18She didn't know how good she was!
0:44:18 > 0:44:20She just knew she could do it.
0:44:20 > 0:44:25And if it was that easy, it couldn't be much, I guess she figured. It...
0:44:25 > 0:44:28It isn't that easy for the rest of us!
0:44:28 > 0:44:30She was a natural.
0:44:30 > 0:44:33SHE SOBS
0:44:36 > 0:44:39'You know, we had a scene where she was crying.
0:44:39 > 0:44:42'We're in the car and she's crying, then she's crying some more,
0:44:42 > 0:44:44'crying in a different way and so forth.'
0:44:44 > 0:44:50Now, everything you see on the screen they shot seven or eight times to get the one take they want,
0:44:50 > 0:44:55and so all told there must have been 50 takes of her crying.
0:44:55 > 0:45:01Jan...you've been crying for 60 miles now.
0:45:01 > 0:45:03I-I know, but...
0:45:03 > 0:45:05'And I was there when she was doing it.'
0:45:05 > 0:45:10The director, Mike Gordon, would say, "Now, cry all out, you're just sobbing!"
0:45:10 > 0:45:12SHE CRIES
0:45:12 > 0:45:14'She would do it.'
0:45:14 > 0:45:16That's all right, come on.
0:45:18 > 0:45:21'He'd say, "Now you've calmed down, you're not crying any more,'
0:45:21 > 0:45:26"but every now and again like a little baby, one sob comes."
0:45:26 > 0:45:31She could do it! Real tears just came, she was remarkable.
0:45:31 > 0:45:33SHE CRIES
0:45:33 > 0:45:35I think that for every generation...
0:45:37 > 0:45:42you...idolise people and you emulate and you are inspired by,
0:45:42 > 0:45:46and that's what makes you want to be what you are,
0:45:46 > 0:45:49that's what makes you want to be an actress or, you know,
0:45:49 > 0:45:50an airplane pilot or an astronaut.
0:45:50 > 0:45:56You have these idols, and she was my first, and I wanted to be Doris Day.
0:45:58 > 0:46:03In all beehives, there are workers and there are drones.
0:46:08 > 0:46:09This is a worker.
0:46:09 > 0:46:13- Thank you.- 'The point about Doris Day is she was a working girl.'
0:46:13 > 0:46:17She would have come to New York on her own, without any connections,
0:46:17 > 0:46:20gotten herself a job through her own brains and ambition,
0:46:20 > 0:46:25and had risen in the ranks of whatever advertising agency or whatever.
0:46:25 > 0:46:28And she was there not to get a man.
0:46:28 > 0:46:31She was there because she loved working, she was good at it.
0:46:31 > 0:46:33And this to me was very exciting.
0:46:33 > 0:46:36This was my image of the possibilities for women
0:46:36 > 0:46:40suddenly opening up, of being able to come to New York and get a job,
0:46:40 > 0:46:44and that's what people were doing in the '60s, and she really, in a sense, led the way.
0:46:44 > 0:46:48I wanted to be her in every movie she was ever in.
0:46:48 > 0:46:51I think that's the sign of a successful actress and a successful movie,
0:46:51 > 0:46:55that you want to be that person, you want to live that life,
0:46:55 > 0:47:00and that's the biggest...validation I can give her
0:47:00 > 0:47:03is that she always made me feel like I wanted to be that person.
0:47:03 > 0:47:07I consider her one of the greatest reactresses in the business.
0:47:07 > 0:47:09No-one reacts to a line the way she does.
0:47:11 > 0:47:14Nobody gets angrier better than Doris Day.
0:47:14 > 0:47:16SHE YELLS FRUSTRATEDLY
0:47:16 > 0:47:22You listen to me! No alcoholic beverage, no drug known to science,
0:47:22 > 0:47:26no torture yet devised could induce me to stay married to you!
0:47:26 > 0:47:29- That's it, let's discuss it.- Uh!
0:47:29 > 0:47:33- I have a job interview, and I have to go looking like this. - He doesn't care.
0:47:33 > 0:47:34Oh...
0:47:42 > 0:47:43Please...
0:47:43 > 0:47:47- Oh!- Julie, please...- I was right!
0:47:47 > 0:47:48You are having an affair!
0:47:48 > 0:47:51- Yes, and I'm a rat.- Oh, you are! - Julie, please!
0:47:52 > 0:47:53SHE SCREAMS Shhh!
0:47:58 > 0:48:02Oh, my darling. Oh, my darling, are you having another nightmare?
0:48:02 > 0:48:05You'll go to jail for this.
0:48:05 > 0:48:07- Now, Carol...- Don't you touch me!
0:48:07 > 0:48:10SHE SCREAMS Will you listen to reason?!
0:48:10 > 0:48:13Let me tell you something, Mr Webster.
0:48:13 > 0:48:15I wish I were a man right now.
0:48:15 > 0:48:17Keep trying, I think you'll make it.
0:48:17 > 0:48:18SHE SCREAMS
0:48:18 > 0:48:21Whatever happened to my rights as a woman?!
0:48:21 > 0:48:23But, Judy, what's wrong?
0:48:23 > 0:48:26Ask Linda Bullard!
0:48:26 > 0:48:27What are you doing?!
0:48:27 > 0:48:32- I am filling this suitcase with my clothes!- Oh, really?
0:48:32 > 0:48:37And I'm going to continue to do it until you give up this asinine career and go back to being a wife!
0:48:37 > 0:48:41- Go back to being a wife?!- Yes! - That's mine, give me that!
0:48:43 > 0:48:46Gloria! Ooh!
0:48:46 > 0:48:48Ooh!
0:48:49 > 0:48:51Ooh! Ooh!
0:48:51 > 0:48:52Oh, what?!
0:48:52 > 0:48:54Ooh! Oh!
0:48:54 > 0:48:56Oh!
0:48:56 > 0:49:02There's a rhythm to comedy, and if you put one extra syllable or extra word in, you kill the laugh.
0:49:02 > 0:49:05And Doris had a kind of an innate sense of that.
0:49:06 > 0:49:08What are you doing?
0:49:08 > 0:49:11I'm kissing you. Do you mind?
0:49:11 > 0:49:14Not if you don't.
0:49:14 > 0:49:18Well, relax. I'll keep you informed of my every move.
0:49:20 > 0:49:23You have a beautiful back.
0:49:23 > 0:49:25My mother always made me sit up straight.
0:49:25 > 0:49:27I'm grateful to your mother.
0:49:27 > 0:49:30And such attractive shoulders.
0:49:30 > 0:49:33Swimming was compulsory at high school.
0:49:33 > 0:49:36I'm grateful to the public school system.
0:49:36 > 0:49:39There's so much to be grateful for
0:49:39 > 0:49:41and so little time to be grateful.
0:49:56 > 0:49:59There was a kind of laughter at Doris Day,
0:49:59 > 0:50:02at the image of the perennial virgin, but it was a nervous laughter.
0:50:02 > 0:50:07She was testing her men, putting them through their paces to see if they were worthy of her.
0:50:07 > 0:50:10She was their...their shining star,
0:50:10 > 0:50:13she was something that they could reach for.
0:50:13 > 0:50:16Thousands and thousands of people all over the world
0:50:16 > 0:50:19took Doris Day to their hearts.
0:50:19 > 0:50:22And it was Doris Day who did it, she did it herself, believe me.
0:50:27 > 0:50:29What do stars mean to us after all,
0:50:29 > 0:50:33but they're kind of an indication of what people can be,
0:50:33 > 0:50:38that we're...yes, lost and poor and in this small town
0:50:38 > 0:50:42and our socks don't match, but nevertheless there are people up there
0:50:42 > 0:50:45who are enacting humanity in this dazzling way,
0:50:45 > 0:50:47and she was one of them,
0:50:47 > 0:50:51so even to me she was a kind of directive image!
0:50:51 > 0:50:54Not that I want to be exactly like Doris Day, but I'd like to be that good.
0:50:54 > 0:50:57There's a man in Mommy's bed!
0:51:01 > 0:51:09After a string a successful comedies in the '60s, Doris Day made what was to be her final film in 1968.
0:51:09 > 0:51:11# Hallelujah! #
0:51:11 > 0:51:14I made a film called With Six You Get Eggroll
0:51:14 > 0:51:17that I really liked very much.
0:51:17 > 0:51:19It was Marty's last film.
0:51:19 > 0:51:24And I enjoyed that so much, and I really enjoyed working with Brian Keith, and...
0:51:24 > 0:51:29That was sort of me, in that I felt strongly about that.
0:51:29 > 0:51:34- Well?- Nothing, I'm just trying to picture you running that lumber yard.
0:51:34 > 0:51:38Well, I'm a whizz on a bandsaw if that interests you.
0:51:38 > 0:51:42Can you run a home, too, take care of those kids and everything?
0:51:42 > 0:51:44Now, that's difficult. Oh!
0:51:44 > 0:51:46You ever find any time for yourself?
0:51:46 > 0:51:49I manage. I have a housekeeper, Mrs Benson by name.
0:51:49 > 0:51:53- Oh, yeah, I met her! - And it all works.
0:51:55 > 0:51:58'Marty became ill on that film.'
0:51:59 > 0:52:06And, uh... I went through a terrible year, you know, when he passed away.
0:52:07 > 0:52:10I didn't think I'd ever get over it.
0:52:10 > 0:52:13It was after that death, when there had to be an accounting,
0:52:13 > 0:52:16that it was discovered that all of her funds were gone,
0:52:16 > 0:52:18that she was 500,000 in debt.
0:52:18 > 0:52:21It was unreal, what happened to her.
0:52:21 > 0:52:23To be number one in the world for ten years
0:52:23 > 0:52:26and then suddenly find out that you didn't have anything?
0:52:26 > 0:52:30She really thought she had 20 million when her husband died.
0:52:30 > 0:52:31She didn't have anything.
0:52:31 > 0:52:36Marty Melcher had entrusted most of Doris's earnings with an attorney and business partner who,
0:52:36 > 0:52:40she charged, squandered the funds in reckless and self-serving investments.
0:52:40 > 0:52:45Doris insisted on a lawsuit against him, persevered,
0:52:45 > 0:52:49and in the end won a tremendous judgment against the lawyer.
0:52:49 > 0:52:53I just knew that justice would prevail, I've known it all along,
0:52:53 > 0:52:55and I was assured of that this morning.
0:52:55 > 0:52:58Do you think almost 23 million is enough?
0:52:58 > 0:53:03Oh, my goodness, it's... Re-living all of it just destroyed me.
0:53:03 > 0:53:07'We went through hell for seven years in court.
0:53:07 > 0:53:09'But I don't think Marty meant to do it.'
0:53:09 > 0:53:11I think...
0:53:11 > 0:53:18I think that he just trusted the wrong person...completely,
0:53:18 > 0:53:22and found himself really in trouble.
0:53:22 > 0:53:27At one point, she was spending 40,000 a month for legal fees
0:53:27 > 0:53:30to try to get back some of the money that was hers.
0:53:30 > 0:53:33She decided she'd do television,
0:53:33 > 0:53:37so she plunged into The Doris Day Show, worked 18 hours a day,
0:53:37 > 0:53:41did about five, six years of those, restored all of her finances,
0:53:41 > 0:53:46and she's not only a survivor but she is a happy survivor.
0:53:46 > 0:53:50# Que sera, sera
0:53:50 > 0:53:54# Whatever will be, will be...
0:53:54 > 0:53:59'Thank God I had that series, because that paid the lawyers,'
0:53:59 > 0:54:02and we went seven years with that, and...
0:54:02 > 0:54:08So that was a blessing, that was a real godsend.
0:54:08 > 0:54:12She may look delicate, but she's a strong, self-sufficient,
0:54:12 > 0:54:14intelligent lady.
0:54:14 > 0:54:21She is a great actress, she's a great singer and a...a humanitarian.
0:54:21 > 0:54:25Doris now lives in the tranquillity of the Carmel Valley in California,
0:54:25 > 0:54:29close to her son Terry, her daughter-in-law Jacqueline and her grandson Ryan.
0:54:29 > 0:54:33And it's here that Doris dedicates her time to her favourite cause,
0:54:33 > 0:54:35the rights and protection of animals.
0:54:35 > 0:54:40I just hope that I can really make it better for the animals.
0:54:40 > 0:54:43I know I have, so far,
0:54:43 > 0:54:45with my pet foundation.
0:54:45 > 0:54:48And we've placed so many doggies and cats
0:54:48 > 0:54:51in wonderful homes with terrific people,
0:54:51 > 0:54:54and that is just thrilling to me.
0:54:54 > 0:54:57And the Animal League, you know, if we can just...
0:54:57 > 0:55:00get the animals out of the laboratories, I'll be very happy about that.
0:55:00 > 0:55:06And we're trying to change the laws and make it better for the animals, make it a better world for them.
0:55:06 > 0:55:12I don't think she has ever really thought of herself as, quote, "superstar."
0:55:12 > 0:55:17She has chosen her way of life up in Carmel with all her animals,
0:55:17 > 0:55:19that's been a personal choice,
0:55:19 > 0:55:23but she doesn't go with an entourage wherever she goes,
0:55:23 > 0:55:27she doesn't have to be in a clump of people to be impressing.
0:55:27 > 0:55:29She's impressive without doing any of that.
0:55:29 > 0:55:33Doris is my neighbour these days. She lives in Carmel Valley,
0:55:33 > 0:55:36I live down in Carmel, and I see her frequently.
0:55:36 > 0:55:41She comes to the fabulous Mission Ranch,
0:55:41 > 0:55:45and I see her at her office, which is Safeway.
0:55:45 > 0:55:48I just love going to the market.
0:55:48 > 0:55:51I never had a chance to do that, you have to remember that, you see?
0:55:51 > 0:55:55I was always working, and everything was brought to the house, delivered,
0:55:55 > 0:55:59and so I didn't have that chance, and I really love it.
0:56:05 > 0:56:09# I know I don't know you very well... #
0:56:09 > 0:56:11'I'm very grateful,
0:56:11 > 0:56:14'because I've had so many blessings.'
0:56:14 > 0:56:19And I've had a lot of trauma in my life,
0:56:19 > 0:56:24and I've lost so many loved ones, two-leggers and four-leggers.
0:56:27 > 0:56:33And, uh...sometimes I feel like I can't go through it again, you know, but you do,
0:56:33 > 0:56:40and then you say, "Well, I don't know...if there is a heaven."
0:56:40 > 0:56:42I suppose this is heaven.
0:56:42 > 0:56:45When everything is going well, it's heaven, isn't it?
0:56:45 > 0:56:47It's heaven right here.
0:56:47 > 0:56:50# As long as I am living
0:56:50 > 0:56:55# That's how long I'll go on giving you my heart
0:56:58 > 0:57:01# My heart
0:57:01 > 0:57:06# If we ever get together
0:57:06 > 0:57:13# My heart will have a head start on fate
0:57:23 > 0:57:25# As long as I am living
0:57:25 > 0:57:31# That's how long I'll go on giving you my heart
0:57:35 > 0:57:40# I'm giving you my heart. #
0:57:40 > 0:57:43Subtitles by Red Bee Media Ltd
0:57:43 > 0:57:46E-mail subtitling@bbc.co.uk