0:00:03 > 0:00:06# Let's keep smiling
0:00:07 > 0:00:10# Let's keep laughing
0:00:11 > 0:00:14# Let's be happy
0:00:14 > 0:00:17# Ho, ho, ho, ha... #
0:00:18 > 0:00:22Doris Day, now in her 80s, is known the world over
0:00:22 > 0:00:26for her iconic roles in Calamity Jane and Pillow Talk
0:00:26 > 0:00:31and for timeless songs such as Que Sera Sera and Secret Love.
0:00:34 > 0:00:36Yet, the credibility of her contemporaries -
0:00:36 > 0:00:41Audrey Hepburn and Marilyn Monroe - has somehow eluded her.
0:00:41 > 0:00:42# I'm in love, I'm in love
0:00:42 > 0:00:44# I'm in love, I'm in love
0:00:44 > 0:00:45# I'm in love
0:00:45 > 0:00:48# With you... #
0:00:49 > 0:00:52In her first film, Romance On The High Seas,
0:00:52 > 0:00:56Doris Day played a sassy, streetwise club singer...
0:00:56 > 0:00:59and Oscar Levant her tiresome boyfriend.
0:00:59 > 0:01:01I've got to, I can't help myself....
0:01:01 > 0:01:04If you can't help yourself, you can't help yourself.
0:01:04 > 0:01:05By the end of her career,
0:01:05 > 0:01:09Oscar would quip that he'd known Doris Day before she was a virgin.
0:01:09 > 0:01:12Wasn't there a woman in this bed five minutes ago?
0:01:12 > 0:01:16But in dismissing her as the perpetual virgin -
0:01:16 > 0:01:19too good to be true, too nice to be interesting -
0:01:19 > 0:01:22are we missing out on the best of Doris Day?
0:01:22 > 0:01:25# ..Heading down to Rio... #
0:01:25 > 0:01:30To be able to work with her was quite an honour.
0:01:30 > 0:01:32And we just had great fun.
0:01:32 > 0:01:36She is a wonderful, down-to-earth human being.
0:01:36 > 0:01:40Doris Day, to me, unless I'm greatly mistaken,
0:01:40 > 0:01:44presents who she is. I think what you see is what you get with her.
0:01:44 > 0:01:45At the height of her fame,
0:01:45 > 0:01:51she was the most popular actress in THE WORLD.
0:01:56 > 0:01:59Doris was born Doris Mary Anne Von Kappelhoff
0:01:59 > 0:02:04into a German Catholic family in Cincinnati, Ohio, in 1924.
0:02:06 > 0:02:10From the age of eight, Doris and her older brother, Paul,
0:02:10 > 0:02:13were brought up by their mother, Alma,
0:02:13 > 0:02:15and though money was tight,
0:02:15 > 0:02:20Alma always managed to find enough for Doris's dancing lessons.
0:02:20 > 0:02:24It was clear from the beginning her talented daughter was born to perform.
0:02:31 > 0:02:32She used to have lessons
0:02:32 > 0:02:35and obviously had a natural talent for dancing.
0:02:35 > 0:02:38And she also had a dancing partner,
0:02:38 > 0:02:40a young man,
0:02:40 > 0:02:43and they entered various competitions
0:02:43 > 0:02:45and they were quite successful.
0:02:45 > 0:02:51They won one competition and their mothers both thought they should go to Hollywood.
0:02:51 > 0:02:55That was going to be... I think Doris was about 13 at the time.
0:02:55 > 0:02:59They were having a going-away party and she and some of her friends
0:02:59 > 0:03:04left the party to party themselves, I guess. I don't know.
0:03:04 > 0:03:08And, um...they got hit by a train.
0:03:08 > 0:03:09TRAIN WHISTLES AND CLANKS
0:03:09 > 0:03:11WOMAN SCREAMS
0:03:13 > 0:03:15And the train struck and broke her ankle
0:03:15 > 0:03:18and now she has to be in convalescence
0:03:18 > 0:03:20for a long period of time.
0:03:20 > 0:03:23And so she's there in bed, with her legs up,
0:03:23 > 0:03:26and she's got the radio on and she begins to sing along with the radio.
0:03:26 > 0:03:31And she... For the first time, she begins to sing these songs.
0:03:31 > 0:03:33So it's just Doris.
0:03:33 > 0:03:37Instead of moping around in bed, feeling sorry for herself.
0:03:37 > 0:03:39Boo-hoo I can't dance any more
0:03:39 > 0:03:41and, boo-hoo, I can't go to Hollywood.
0:03:41 > 0:03:44She's in bed singing lively songs with Ella Fitzgerald,
0:03:44 > 0:03:46or whoever she picks up,
0:03:46 > 0:03:48and pretty soon begins to sing.
0:03:48 > 0:03:51And so that gave her the new career.
0:03:53 > 0:03:55# I'll chase the blues away
0:03:55 > 0:03:58# I'll dance and sing all day... #
0:03:58 > 0:04:04It was something like a year she was going to have her whole leg in plaster.
0:04:04 > 0:04:09So her mother's friend, who was a singing teacher,
0:04:09 > 0:04:11said that she would give her lessons.
0:04:11 > 0:04:15Doris, obviously, had a natural talent for singing as well as dancing.
0:04:15 > 0:04:19She would listen to the radio and listen to Ella Fitzgerald
0:04:19 > 0:04:23and how she phrased her songs and how she sang them.
0:04:23 > 0:04:25And then, obviously, breaks came from that.
0:04:32 > 0:04:35Before long, Doris was making professional appearances
0:04:35 > 0:04:40and was soon picked up by local band leader Barney Rapp.
0:04:40 > 0:04:43Over the next year, she sang with his band, with Bob Crosby,
0:04:43 > 0:04:45and then with Les Brown,
0:04:45 > 0:04:49performing on radio and making her first recordings.
0:04:50 > 0:04:53# What say
0:04:53 > 0:04:57# Let's be buddies
0:04:57 > 0:05:00# What say
0:05:00 > 0:05:03# Let's be pals... #
0:05:03 > 0:05:09Years ago, in the twenties and thirties and forties and all,
0:05:09 > 0:05:12you really had to have talent.
0:05:12 > 0:05:14I'm not going to say it any other way.
0:05:14 > 0:05:18You had to have vocal chops to be signed to a record label.
0:05:18 > 0:05:21First off, cos people were used to listening
0:05:21 > 0:05:25to someone signed as a singer be able to sing - truly sing.
0:05:25 > 0:05:27In addition, they were real songs back then.
0:05:27 > 0:05:29I mean, honest to God songs.
0:05:29 > 0:05:35That was the golden age of singers and, um...songwriters,
0:05:35 > 0:05:39especially song writing, in the twenties, thirties and forties.
0:05:39 > 0:05:43# You sigh, a song begins
0:05:43 > 0:05:49# You speak and I hear violins
0:05:50 > 0:05:54# It's magic... #
0:05:54 > 0:05:57She fell in love with one of the band members.
0:05:57 > 0:06:00And that's when she married him.
0:06:00 > 0:06:03When she first got married, she was only 17
0:06:03 > 0:06:06but she was in love with Al Jordan.
0:06:06 > 0:06:08And, initially, they were apart -
0:06:08 > 0:06:10he was in one band, she was in another -
0:06:10 > 0:06:13and they were travelling all over the country.
0:06:13 > 0:06:16He would write to her and write her these lovely letters
0:06:16 > 0:06:19that obviously were winning her over.
0:06:19 > 0:06:21Absence makes the heart grow fonder and everything.
0:06:21 > 0:06:23And they met up periodically.
0:06:23 > 0:06:30So the courtship between them was obviously very drawn out,
0:06:30 > 0:06:32with not a lot of meeting, really.
0:06:32 > 0:06:35It was all through letters and phone calls
0:06:35 > 0:06:37but as soon as they were married,
0:06:37 > 0:06:39I think she realised the mistake
0:06:39 > 0:06:43because he was immediately very jealous and possessive
0:06:43 > 0:06:45and violent towards her.
0:06:45 > 0:06:48Well, the first marriage, I guess, was impetuous.
0:06:48 > 0:06:53A band player, a guy who really wasn't prepared for marriage.
0:06:53 > 0:06:56And certainly, I think, resented the fact
0:06:56 > 0:07:01that she was not the kind of obsequious wife that he had pictured.
0:07:01 > 0:07:04Certainly not a pregnant wife, which is not what he had in mind.
0:07:04 > 0:07:09Doris's parents had divorced when she was just eight
0:07:09 > 0:07:13and she'd always dreamed of creating her own happy family.
0:07:13 > 0:07:17She'd given up singing to set up home the moment she got married
0:07:17 > 0:07:22but, night after night, Al would return to their run-down apartment
0:07:22 > 0:07:25with some grievance or other and take it out on his pregnant wife.
0:07:29 > 0:07:34He wanted her to have an abortion, which she didn't want, and she wouldn't.
0:07:34 > 0:07:36And at one point, they were driving along in a car
0:07:36 > 0:07:40and he pulled a gun out of the glove box and held it to her stomach
0:07:40 > 0:07:43and said he was gonna kill her and kill the baby.
0:07:43 > 0:07:47And she decided that once she had the baby she would leave him, which she did.
0:07:47 > 0:07:51She managed to get out of the relationship and go back to her mother.
0:07:51 > 0:07:55And, of course, he was remorseful and wanted her back.
0:07:55 > 0:08:00And he actually did end up killing himself with the gun in his car.
0:08:00 > 0:08:04She went back to Cincinnati and lived with her mother and Terry.
0:08:04 > 0:08:07And then she went back on the radio
0:08:07 > 0:08:10and Les Brown heard her again on the radio
0:08:10 > 0:08:14and got her to come back with the band and start all over again.
0:08:14 > 0:08:17# Each night in some cafe
0:08:17 > 0:08:19# I'm on display
0:08:19 > 0:08:23# Until the dark turns into dawn... #
0:08:25 > 0:08:27You're travelling every night, you're packing up
0:08:27 > 0:08:31and moving to the next stop, and of course the band singer
0:08:31 > 0:08:34stands there and sings while everybody's dancing.
0:08:34 > 0:08:37Most people don't even bother to listen sometimes.
0:08:37 > 0:08:42If you're well known, or you're singing a pop song of the day that people want to hear,
0:08:42 > 0:08:45they might kind of stop dancing and gather round to listen.
0:08:45 > 0:08:47That's a tough life.
0:08:47 > 0:08:49# Going to take... #
0:08:49 > 0:08:53During the war years, Doris toured the United States with the Les Brown Band
0:08:53 > 0:08:56and learned her craft.
0:08:56 > 0:09:00In 1945, they had a smash hit with Sentimental Journey,
0:09:00 > 0:09:06which sold a million copies and spent nine weeks at number one in the US charts.
0:09:06 > 0:09:09She was one of the great ballad singers in American history.
0:09:09 > 0:09:12And she started Sentimental Journey, that she sang,
0:09:12 > 0:09:15she was a big band singer of course.
0:09:15 > 0:09:18And that was 1944 and that was one of the most popular songs ever.
0:09:18 > 0:09:21And her singing style was...
0:09:21 > 0:09:24I mean, she was a kind of girl next door -
0:09:24 > 0:09:27chipper, bright, and yet sultry.
0:09:27 > 0:09:29There was a sexy quality to her singing.
0:09:29 > 0:09:32So already there was something more complicated going on.
0:09:32 > 0:09:34# I'm ready
0:09:34 > 0:09:37# Willing and able... #
0:09:37 > 0:09:40Doris's life was certainly complicated.
0:09:40 > 0:09:44Her son, Terry, was growing up in Cincinnati, raised by her mother,
0:09:44 > 0:09:48while she was on the road most of the time.
0:09:48 > 0:09:52Perhaps inevitably, she fell for another musician.
0:09:52 > 0:09:55And in 1946 she married George Weidler
0:09:55 > 0:09:59and once again left her promising career with Les Brown.
0:10:00 > 0:10:03It was really her only ambition from a teenager.
0:10:03 > 0:10:07She wanted to just grow up and have a happy marriage and have children
0:10:07 > 0:10:11and have everything that her parents hadn't had.
0:10:12 > 0:10:16# It was the last time
0:10:16 > 0:10:19# I saw you
0:10:19 > 0:10:21# The last time... #
0:10:22 > 0:10:27Just eight months into the marriage, George wrote asking for divorce.
0:10:27 > 0:10:31With her personal life in tatters, and her career stalled,
0:10:31 > 0:10:35she went along to a Hollywood party on her last night in LA.
0:10:35 > 0:10:40Before the night was out, she'd secured a screen test with Warner Brothers.
0:10:42 > 0:10:47She was so upset by her personal life,
0:10:47 > 0:10:51and having a second marriage break up,
0:10:51 > 0:10:56that it really affected her singing and she was crying and very upset.
0:10:57 > 0:11:02She was ready to go back to Cincinnati again after that screen test.
0:11:02 > 0:11:05She really didn't think anything would come from it.
0:11:06 > 0:11:09But Doris needn't have worried.
0:11:09 > 0:11:13Despite a disastrous sobbing screen test, the camera loved her
0:11:13 > 0:11:17and the studio signed Doris up for a seven-year contract.
0:11:17 > 0:11:19# For your share of gay times
0:11:19 > 0:11:23# Romance in high seas... #
0:11:23 > 0:11:25From the first film she was in,
0:11:25 > 0:11:26she knew how to move to a mark
0:11:26 > 0:11:29and stand there to give the same performance,
0:11:29 > 0:11:32at the same measure of tone, again and again,
0:11:32 > 0:11:34so different cameras could capture her.
0:11:34 > 0:11:38From very early on, she had something - she had a star quality.
0:11:38 > 0:11:41# It was just one of those nights
0:11:41 > 0:11:45# Just one of those fabulous flights
0:11:45 > 0:11:48# A trip to the moon on gossamer wings... #
0:11:48 > 0:11:51To capitalise on her reputation as a singer,
0:11:51 > 0:11:56Warners cast her in lavish musicals like Lullaby Of Broadway
0:11:56 > 0:12:01and steadily developed her acting skills and her value as a star.
0:12:02 > 0:12:06Audiences knew instantly that they loved Doris Day.
0:12:08 > 0:12:11Though she'd had an accident and broken both her legs
0:12:11 > 0:12:13and thought her career as a dancer was finished,
0:12:13 > 0:12:17she ended up dancing beautifully in many films after that.
0:12:17 > 0:12:19And she always looks so in control,
0:12:19 > 0:12:21so completely in command of her body
0:12:21 > 0:12:27and as if she knows to the absolute centimetre where she's going to stop and when she's going to turn.
0:12:27 > 0:12:31Her hair always looks perfect, she sings so beautifully...
0:12:31 > 0:12:33She always looks happy when she's performing.
0:12:33 > 0:12:37She was portrayed as the girl next door,
0:12:37 > 0:12:39all-American, clean-cut girl.
0:12:39 > 0:12:42Everybody's ideal.
0:12:42 > 0:12:46And I think that was her appeal. That was her appeal initially.
0:12:46 > 0:12:49And that, to all intents, has stuck with her.
0:12:49 > 0:12:53In case you're interested, this one's betting a thousand.
0:12:53 > 0:12:55The Moonlight films - On Moonlight Bay
0:12:55 > 0:12:58and By The Light Of The Silvery Moon -
0:12:58 > 0:13:01confirmed Doris's natural comic timing.
0:13:01 > 0:13:06Despite their nostalgic feel, they revealed something both innocent and independent in Doris
0:13:06 > 0:13:10that she'd continue to develop throughout her career.
0:13:10 > 0:13:12Push up the jack.
0:13:12 > 0:13:15Here, I'll help you.
0:13:15 > 0:13:18- There we go.- Oh, dear.
0:13:18 > 0:13:19Oh, my!
0:13:20 > 0:13:22OK. Push off!
0:13:25 > 0:13:27Start the motor, huh?
0:13:32 > 0:13:34ENGINE STARTS
0:13:34 > 0:13:37We're OK now. I got her going.
0:13:38 > 0:13:39Yeah.
0:13:39 > 0:13:43She plays a tomboyish young woman and she showed her mettle.
0:13:43 > 0:13:45She wasn't going to be coy.
0:13:45 > 0:13:47The films were coy, the screenplays were coy,
0:13:47 > 0:13:49but somehow she was a straight shooter.
0:13:49 > 0:13:51Alongside the high gloss musicals,
0:13:51 > 0:13:56the studios managed to squeeze in the occasional more dramatic role.
0:13:57 > 0:14:01In Storm Warning she plays opposite her heroine, Ginger Rogers,
0:14:01 > 0:14:05in a story about the Klu Klux Klan.
0:14:05 > 0:14:08She looks hard working and a bit grubby and careworn
0:14:08 > 0:14:10and she brings a tremendous kind of spontaneity
0:14:10 > 0:14:12and believability to this role,
0:14:12 > 0:14:17which is so different from old-fashioned musicals, where she's dancing and stuff.
0:14:23 > 0:14:26But Doris was thought of, above all, as a musical star.
0:14:26 > 0:14:29And in post-war America and Europe,
0:14:29 > 0:14:33the musical had a powerful and pervasive appeal.
0:14:33 > 0:14:35The American musical, which is peculiar to America,
0:14:35 > 0:14:39came from Jewish sung theatre in New York.
0:14:39 > 0:14:40But, in a way,
0:14:40 > 0:14:44what it evolved into was a kind of fairytale
0:14:44 > 0:14:48and that taps into something very primal.
0:14:48 > 0:14:51You know, good is good, evil is evil.
0:14:51 > 0:14:53Good is rewarded, evil is destroyed
0:14:53 > 0:14:55and everyone lives happily ever after.
0:14:55 > 0:14:59And that's something very primal we all want to hear.
0:14:59 > 0:15:02As soon as we hear, "once upon a time", we're hooked.
0:15:02 > 0:15:06And then we have to have at the end, "They lived happily ever after."
0:15:06 > 0:15:07We've got to have it.
0:15:07 > 0:15:11The world had been through some terrible trauma
0:15:11 > 0:15:14and was trying to invent itself anew.
0:15:14 > 0:15:17And it invented this perfect world,
0:15:17 > 0:15:22where everybody was nice and everybody was well dressed,
0:15:22 > 0:15:25and everybody was heterosexual,
0:15:25 > 0:15:28and everybody had lots of children, but at least two,
0:15:28 > 0:15:32and everything was sane.
0:15:32 > 0:15:33And there were no deviations.
0:15:33 > 0:15:35And that was the legend,
0:15:35 > 0:15:39the sort of unspoken expectation.
0:15:39 > 0:15:42Of course, nobody lived up to it.
0:15:42 > 0:15:45Nobody. Nobody could.
0:15:45 > 0:15:49We had nothing then and we wanted to be taken out of ourselves.
0:15:49 > 0:15:55We wanted to spend two hours in glorious Technicolor seeing those wonderful costumes and thinking,
0:15:55 > 0:15:58oh, wouldn't that be wonderful to have that?
0:15:58 > 0:16:00# Well, what do you know
0:16:00 > 0:16:04# He smiled at me in my dreams last night
0:16:04 > 0:16:10# My dreams are getting better all the time... #
0:16:10 > 0:16:14The relationship with Terry was off and on
0:16:14 > 0:16:19because, obviously, she couldn't see him regularly.
0:16:19 > 0:16:21There was some resentment in him,
0:16:21 > 0:16:26as there are on all these kids who are the offspring of movie stars
0:16:26 > 0:16:30because you can't be a movie star and get up at six in the morning
0:16:30 > 0:16:33and be on locations and take care of your kid.
0:16:45 > 0:16:47Doris's agent, Marty Melcher,
0:16:47 > 0:16:49had formed a strong relationship with Terry
0:16:49 > 0:16:54and she saw in him a prospect for the happy family life she craved.
0:16:57 > 0:17:00On her 27th birthday, they were married.
0:17:00 > 0:17:04And soon Marty adopted Terry as his son.
0:17:04 > 0:17:08With her mother, Alma, at home to keep house and raise Terry,
0:17:08 > 0:17:12this was the closest Doris ever came to her dream.
0:17:12 > 0:17:17It was a dream that she and many others found impossible to sustain.
0:17:17 > 0:17:22It was a terribly unhappy period and the movies did not help.
0:17:22 > 0:17:27Most of the movies of the '50s and '60s were about gender roles
0:17:27 > 0:17:31and they were insisting that men were this and women were that.
0:17:31 > 0:17:37They tried to make the rules we were supposed to live by look like fun.
0:17:37 > 0:17:38But they weren't.
0:17:38 > 0:17:44The musical was reaching its height in the mid-'50s and then it was declining.
0:17:44 > 0:17:47And it was declining because the world was changing.
0:17:47 > 0:17:53The world isn't like that any more, where people had a set role.
0:17:53 > 0:17:57Men had a set role. Women had a set role.
0:17:57 > 0:17:59Once that changes,
0:17:59 > 0:18:04then you can't go back to what it was like before that time.
0:18:04 > 0:18:07GUNSHOT Are you calling me a liar again?
0:18:10 > 0:18:13Don't you ever fix your hair?
0:18:13 > 0:18:14They called her Calamity...
0:18:14 > 0:18:17In 1953, Doris starred in a musical
0:18:17 > 0:18:21that exactly caught the mood of these complicated times.
0:18:21 > 0:18:25Calamity Jane - resourceful, independent, but ready for love -
0:18:25 > 0:18:28was a part just made for Doris Day.
0:18:28 > 0:18:32I think the film I first saw her in was Calamity Jane in 1953,
0:18:32 > 0:18:35which I loved, and which I think stands up very well.
0:18:35 > 0:18:40And there she was this buckskin-wearing Western tomboy lady,
0:18:40 > 0:18:45actually girl, who had to be taught to be a lady and didn't want to
0:18:45 > 0:18:50and expressed, I think, a lot of the feelings of girls and young women
0:18:50 > 0:18:54who were resisting what it meant to become a lady in the '50s.
0:18:54 > 0:18:58Doris Day expressed this fierce sense of independence.
0:18:58 > 0:19:01She wasn't awkward in her tomboyishness.
0:19:01 > 0:19:05She loved it and resisted being a lady because she knew what it meant.
0:19:05 > 0:19:09I never knew a woman could look like that.
0:19:09 > 0:19:13Say, how do you hold that dress up there?
0:19:13 > 0:19:15Please! I have to change clothes, would you mind?
0:19:15 > 0:19:18Helping you? Why sure!
0:19:18 > 0:19:20I've slugged men for less than that.
0:19:20 > 0:19:22If you don't get out of here this instant,
0:19:22 > 0:19:27- Mr Canary, or Mr Calamity, or whatever your name is...- Mister?
0:19:27 > 0:19:29Why, I ain't no Mister.
0:19:30 > 0:19:34- You're.... You're a woman? - Why, of course I'm a woman.
0:19:34 > 0:19:36You thought I was a man?
0:19:42 > 0:19:45Come to think of it, that ain't so funny.
0:19:45 > 0:19:50# Once I had a secret love... #
0:19:53 > 0:19:56Calamity Jane was a worldwide success
0:19:56 > 0:19:58and retains a powerful appeal.
0:19:58 > 0:20:02Doris won an Oscar for Secret Love, a song that would go on
0:20:02 > 0:20:07to become a gay anthem and secured Doris a place in the gay pantheon.
0:20:08 > 0:20:12# Now I shout it
0:20:12 > 0:20:17# From the highest hills
0:20:18 > 0:20:27# Even told the golden daffodils
0:20:27 > 0:20:29# At last... #
0:20:29 > 0:20:33But this image of on-screen vitality had come at a cost.
0:20:33 > 0:20:36During filming, she discovered a lump in her breast
0:20:36 > 0:20:40and constantly complained of breathlessness.
0:20:40 > 0:20:43Doris and Marty were confirmed Christian Scientists -
0:20:43 > 0:20:47a faith with strong convictions about ill health.
0:20:47 > 0:20:51Her second husband introduced Doris to Christian Science.
0:20:51 > 0:20:54Christian Science believes you shouldn't see a doctor
0:20:54 > 0:20:57and you should just heal yourself from within.
0:20:57 > 0:21:01As her symptoms grew worse, she became convinced she had cancer
0:21:01 > 0:21:05and that she was failing in her faith.
0:21:05 > 0:21:10The whole business of religion endorses life...
0:21:10 > 0:21:16was affected, I guess, by Melcher's embracing of Christian Science.
0:21:16 > 0:21:24She had also, um...been exposed to it with her second husband.
0:21:24 > 0:21:29But Marty's, um...commitment to it was much more,
0:21:29 > 0:21:32um...exclusive.
0:21:32 > 0:21:36Nothing else was permitted, that was it.
0:21:36 > 0:21:41Her crisis was over as soon as Doris was allowed to see a doctor.
0:21:41 > 0:21:43The lump was benign
0:21:43 > 0:21:46and the breathlessness caused by hyperventilation,
0:21:46 > 0:21:50a symptom of her arduous and stressful working life.
0:21:50 > 0:21:54Her doctor prescribed a routine of daily dead man's floats
0:21:54 > 0:21:58and before long Doris was considered well enough to be back at work.
0:21:58 > 0:22:04I love you, Laurie. I love you and nobody else gets you, understand?
0:22:04 > 0:22:08Her next box-office hit was Young At Heart,
0:22:08 > 0:22:11in which she played opposite a young Frank Sinatra.
0:22:11 > 0:22:14What good's a hit song?
0:22:14 > 0:22:15Here we go again.
0:22:15 > 0:22:19Sinatra was a huge star at that point.
0:22:19 > 0:22:23He was probably the most major recording star that we had.
0:22:23 > 0:22:28He's the rather neurotic, the total self-defeating musician,
0:22:28 > 0:22:31and I can't think of anybody better to pair him with,
0:22:31 > 0:22:33to be optimistic and hopeful -
0:22:33 > 0:22:36which Doris Day always seemed to have been...
0:22:36 > 0:22:39the epitome of affirmative thinking - than to put her with him.
0:22:39 > 0:22:41They were marvellous together.
0:22:41 > 0:22:45It was summer and my sister, Helen, said that she would take me
0:22:45 > 0:22:48to the pictures, to town pictures, because it was a Sunday.
0:22:48 > 0:22:53That was a very, very big treat and we got the last two seats for Young At Heart.
0:22:53 > 0:22:56And as we sat down in the circle, and that was two and six, you know,
0:22:56 > 0:22:59that's 13 pence which was a lot of money in those days.
0:22:59 > 0:23:03We sat down and as soon as she came on, I was lost.
0:23:03 > 0:23:08She didn't speak, she was just carrying some milk and some food.
0:23:08 > 0:23:12But there was something about her that was utterly, utterly magical.
0:23:12 > 0:23:16And when she began to sing, then I absolutely lost my heart to her.
0:23:16 > 0:23:19I'll never, never forget that day.
0:23:19 > 0:23:21I fell in love with her immediately
0:23:21 > 0:23:25and it's as vivid now as it was then, all those years ago.
0:23:25 > 0:23:30# In my uncertain heart... #
0:23:30 > 0:23:34Doris was considered to have held her own as an actress and a singer
0:23:34 > 0:23:38and it was a knowledgeable audience who passed judgment.
0:23:38 > 0:23:41Lots of people, ordinary people, have wonderful voices.
0:23:41 > 0:23:44All my family had really good singing voices.
0:23:44 > 0:23:45My mother had a wonderful voice.
0:23:45 > 0:23:50I'm the only member of the family that sings in the key of Z!
0:23:50 > 0:23:55I've got a terrible voice. I remember at a drama school, the teacher said,
0:23:55 > 0:23:58"Terence, your voice comes from the same mould as Frank Sinatra.
0:23:58 > 0:24:01"He got the voice and you got the mould!" Cow!
0:24:01 > 0:24:04But true, alas. But everybody sang.
0:24:04 > 0:24:07And everybody knew what was a collective song
0:24:07 > 0:24:11and everybody knew what their personal song was and what it did,
0:24:11 > 0:24:13which one didn't know at the time.
0:24:13 > 0:24:16But it's only afterwards, when one looks back on it,
0:24:16 > 0:24:19that it was poetry for ordinary people
0:24:19 > 0:24:22and they sang how they felt through those songs.
0:24:23 > 0:24:27# Hold me in your arms
0:24:27 > 0:24:32# Hold me in your arms
0:24:32 > 0:24:34# Tonight
0:24:34 > 0:24:37# Was meant to be... #
0:24:37 > 0:24:41To me, she had a... There was a pulse in her voice.
0:24:41 > 0:24:44Not a throb, it was a pulse.
0:24:44 > 0:24:49It just had something very organic about it and very natural.
0:24:49 > 0:24:52I never felt that she worked hard to sing.
0:24:52 > 0:24:54She just sang.
0:24:54 > 0:24:57And I think sometimes when you're that relaxed as a singer,
0:24:57 > 0:24:59that relaxes the listener.
0:24:59 > 0:25:02It reaches you, it certainly reached me.
0:25:02 > 0:25:04Frank Sinatra and Bing Crosby, you know,
0:25:04 > 0:25:07they were great singers of our time and crooners.
0:25:07 > 0:25:09And they all have, you know,
0:25:09 > 0:25:13top-notch things to say about Doris and her voice.
0:25:13 > 0:25:18How, if you want to hear somebody sing a song, listen to Doris.
0:25:18 > 0:25:20They can hear those qualities in it.
0:25:28 > 0:25:31Marty's management style had so riled Sinatra
0:25:31 > 0:25:35that he'd refused to work with Marty on the set.
0:25:35 > 0:25:39But Doris had now reached the end of her contract with Warners
0:25:39 > 0:25:42and Marty was in sole charge of her working life.
0:25:44 > 0:25:45With Doris's track record,
0:25:45 > 0:25:48there was no shortage of interesting collaborators
0:25:48 > 0:25:51and Doris began one of the most varied
0:25:51 > 0:25:54and rewarding stages of her career.
0:25:54 > 0:25:59It's no accident that for the next three or four roles, she chose different films.
0:25:59 > 0:26:02She was no longer the girl next door and wasn't wearing dirndls
0:26:02 > 0:26:04and she wasn't wearing gingham
0:26:04 > 0:26:07and all those old-fashioned things we associate with her.
0:26:07 > 0:26:11Instead of which, she chose dark roles like the Hitchcock film
0:26:11 > 0:26:12and Love Me Or Leave Me.
0:26:12 > 0:26:14# Yes, everybody wants my baby
0:26:14 > 0:26:17# But my baby don't want nobody but me
0:26:17 > 0:26:19# That's plain to see... #
0:26:19 > 0:26:22Love Me Or Leave Me is one of her greatest performances.
0:26:22 > 0:26:27It's based on Ruth Etting's story of the singer and her thug manager, played by Jimmy Cagney,
0:26:27 > 0:26:31sort of at the end for his career but still tough as get out!
0:26:31 > 0:26:33And she's really sexy in that.
0:26:33 > 0:26:36# ..Love me or leave me... #
0:26:36 > 0:26:39She's a taught singer. She has this great way with the song.
0:26:39 > 0:26:44I mean, she can be cool and yet seductive and not sentimental.
0:26:44 > 0:26:47Audiences loved this gritty version of Doris
0:26:47 > 0:26:51and the film's soundtrack spent 17 weeks in the US charts,
0:26:51 > 0:26:56a record that only Whitney Houston with the Bodyguard has ever beaten.
0:26:56 > 0:26:58And she's tough there.
0:26:58 > 0:27:03She's not going to let this guy... I mean, this is one thing you see as she evolves in her career,
0:27:03 > 0:27:09and one of the threads through it, is she really is independent-minded at a time when most women weren't.
0:27:09 > 0:27:13And she's not going to just bow down before some man.
0:27:13 > 0:27:19She's just a riveting and complex and glamorous figure in that.
0:27:19 > 0:27:22In fact, it's different from most other films
0:27:22 > 0:27:25because later on she was always kind of a girl.
0:27:25 > 0:27:27Here, she's a woman.
0:27:27 > 0:27:29MUSIC: "Que Sera Sera"
0:27:33 > 0:27:37Hitchcock had been keen to work with Doris since her Warner days
0:27:37 > 0:27:41and cast her alongside another screen legend, James Stewart,
0:27:41 > 0:27:43in The Man Who knew Too Much.
0:27:43 > 0:27:45# Will I be pretty?
0:27:45 > 0:27:47# Will I be rich...? #
0:27:47 > 0:27:50Playing a recently retired singer whose child has been kidnapped,
0:27:50 > 0:27:54her character struggles with the genteel constraints of the day.
0:27:54 > 0:27:57The whole film she's got white gloves in her hand
0:27:57 > 0:28:01and this little cloche popped on her head
0:28:01 > 0:28:04and she's exquisite, beautifully dressed, she's perfect.
0:28:04 > 0:28:06She's always perfect.
0:28:06 > 0:28:11But she's hesitant, she lets her husband do the talking,
0:28:11 > 0:28:15she is a little passive, she gets to the opera house and doesn't move.
0:28:15 > 0:28:19But she's the one who precipitates the action in every single scene.
0:28:19 > 0:28:21There were no films that criticised marriage.
0:28:21 > 0:28:24So you thought, this looks like on paper,
0:28:24 > 0:28:29this is a great marriage - this handsome doctor and his famous wife.
0:28:29 > 0:28:32But she's had to leave the stage, she's given it all up,
0:28:32 > 0:28:35she still thinks of herself as this singer.
0:28:35 > 0:28:36This was who she was
0:28:36 > 0:28:39and now, suddenly, she's Mrs Doctor's Wife.
0:28:39 > 0:28:41So the minute the son disappears,
0:28:41 > 0:28:44he's almost got to keep her under lock and key
0:28:44 > 0:28:48for fear that this resentment is going to explode in some way.
0:28:48 > 0:28:50Hold that call a minute, Jo.
0:28:50 > 0:28:52- Why?- Because I asked you to!
0:28:55 > 0:28:57Are we about have our monthly fight?
0:28:59 > 0:29:01I hope not.
0:29:01 > 0:29:03Well, then, stop acting like that.
0:29:04 > 0:29:07I merely said I was going to call Mrs Drayton.
0:29:07 > 0:29:08Just a minute.
0:29:09 > 0:29:11Wait a minute.
0:29:11 > 0:29:13Just a minute. Just a minute.
0:29:13 > 0:29:15I want you take these, they'll relax you.
0:29:15 > 0:29:17Relax me?
0:29:17 > 0:29:19I'm so relaxed, I'm tired.
0:29:19 > 0:29:22It's a performance of brittle intensity.
0:29:22 > 0:29:24Twice she sings Que Sera Sera,
0:29:24 > 0:29:27the song for which she is perhaps best known
0:29:27 > 0:29:30and which won her another Best Song Oscar.
0:29:30 > 0:29:33Six months ago, you told me I took too many pills.
0:29:33 > 0:29:37Six months ago you weren't a witness to a murder.
0:29:37 > 0:29:42The first is benign and lovely and almost a lullaby for the child
0:29:42 > 0:29:45and the second is when lives are at stake.
0:29:45 > 0:29:48And also what's great about that is she rises above
0:29:48 > 0:29:51just the simple interest of a mother trying to save her child.
0:29:51 > 0:29:55She knows that other lives are at stake too.
0:29:55 > 0:29:59# Que sera sera
0:29:59 > 0:30:04# Whatever will be, will be
0:30:04 > 0:30:08# The future's not ours to see
0:30:08 > 0:30:11# Que sera sera... #
0:30:11 > 0:30:14I mean, she could, I think, make a song thrilling anyway
0:30:14 > 0:30:17and here she really just outdoes herself.
0:30:17 > 0:30:19# The Pajama Game
0:30:19 > 0:30:21# Is the game we're in... #
0:30:21 > 0:30:24As well as developing her range as an actress,
0:30:24 > 0:30:27Marty was keen to retain Doris's profile in musicals
0:30:27 > 0:30:32and he secured a deal for her to work on the film version of The Pajama Game,
0:30:32 > 0:30:37with Stanley Donan, director of Singing In The Rain.
0:30:37 > 0:30:40As soon as she comes on, you think, she's a star!
0:30:40 > 0:30:44God, it's stunning when she comes on. Absolutely stunning.
0:30:44 > 0:30:47And then she sings I'm Not At All In Love. Fabulous.
0:30:47 > 0:30:50# I'm not at all in love
0:30:50 > 0:30:51# Not at all in love
0:30:51 > 0:30:53# Not I
0:30:53 > 0:30:54# Not a bit
0:30:54 > 0:30:56# Not a mite
0:30:56 > 0:30:57# Though I'll admit
0:30:57 > 0:31:00# He's quite a hunk... #
0:31:00 > 0:31:04There are moments in Pajama Game
0:31:04 > 0:31:07when you see this kind of crisis that she reveals.
0:31:07 > 0:31:12Here she's a strong union leader but she loves the man who's the boss.
0:31:12 > 0:31:15Unfortunately, it is weakened by the fact that the boss
0:31:15 > 0:31:17happens to be John Raitt,
0:31:17 > 0:31:21who I have to say is really oak from the knees up.
0:31:21 > 0:31:23But she is quite wonderful.
0:31:23 > 0:31:26# Love never made
0:31:26 > 0:31:29# A fool of you
0:31:30 > 0:31:36# You used to be too wise... #
0:31:36 > 0:31:41What is this? Can't anyone do any work around this joint any more?
0:31:41 > 0:31:44The run of quality work continued with Teacher's Pet.
0:31:45 > 0:31:48In Teacher's Pet, a lovely little comedy,
0:31:48 > 0:31:53there's a sequence in it when she's in a lift with Clark Gable,
0:31:53 > 0:31:55who also gives a lovely performance,
0:31:55 > 0:31:59when she's teaching journalism and he is a newspaper man
0:31:59 > 0:32:02and has gone in there undercover and fooled her.
0:32:02 > 0:32:07And she says, you know, these people who come to my class, they work all day,
0:32:07 > 0:32:11they have to pay for these lessons and you've betrayed them.
0:32:11 > 0:32:13What you did to me is unimportant.
0:32:13 > 0:32:17What you did to the other students is inexcusable.
0:32:17 > 0:32:20They pay their tuition, which they can ill-afford,
0:32:20 > 0:32:23and after working hard at other jobs all day long,
0:32:23 > 0:32:24they study and they come to class
0:32:24 > 0:32:28because they'll sacrifice anything to gain a little more knowledge.
0:32:28 > 0:32:32- Now...- I don't expect you to understand, Mr Gannon.
0:32:32 > 0:32:34You're stupid.
0:32:34 > 0:32:37And I think you're proud of it.
0:32:37 > 0:32:39And this makes you cruel.
0:32:41 > 0:32:45She can go from comedy to something that's very serious
0:32:45 > 0:32:48and can alter the tone of an entire scene
0:32:48 > 0:32:52and that's not easy. It really isn't.
0:32:52 > 0:32:55There's lots of dramatic actors and actresses who can't do that.
0:32:55 > 0:32:58# You can't have
0:32:59 > 0:33:02# Everything
0:33:02 > 0:33:06# Be satisfied with the
0:33:06 > 0:33:09# Little you may get... #
0:33:10 > 0:33:12Free of the Warner treadmill,
0:33:12 > 0:33:16Doris should have been in a better position to manage her work and home life.
0:33:16 > 0:33:19Terry had grown into a rebellious teenager
0:33:19 > 0:33:22but with Marty in charge of her career,
0:33:22 > 0:33:25she found she had less time than ever to be a parent to him.
0:33:25 > 0:33:27I don't think that...
0:33:27 > 0:33:29she had any clear idea
0:33:29 > 0:33:33of what she wanted to do in terms of a domestic life,
0:33:33 > 0:33:37anything beyond just being an actress and a singer.
0:33:37 > 0:33:41Because between acting and having to record
0:33:41 > 0:33:45and a voice... She had a voice coach.
0:33:45 > 0:33:47She took very good care of her voice.
0:33:47 > 0:33:50But, you know, making albums,
0:33:50 > 0:33:53she recorded a lot of songs,
0:33:53 > 0:33:55and she did a lot of radio.
0:33:55 > 0:33:58And before that, with the big bands,
0:33:58 > 0:34:01that takes a great deal of time.
0:34:01 > 0:34:05That, plus movies, and there isn't a hell of a lot of time
0:34:05 > 0:34:08to spend for yourself, or to have a relationship,
0:34:08 > 0:34:10or to do anything except work at it.
0:34:10 > 0:34:15In addition to making films, Marty scheduled a busy recording career
0:34:15 > 0:34:18and the promotional work to match.
0:34:18 > 0:34:22Doris left all her business and financial affairs in his hands.
0:34:22 > 0:34:27On the rare occasion when she resisted his ideas,
0:34:27 > 0:34:31complaining she didn't like a script, he ignored her wishes anyway.
0:34:31 > 0:34:34She would say, "Oh, Marty, I don't want this. It's dumb."
0:34:34 > 0:34:36He would say, "Oh, no, it's fine."
0:34:36 > 0:34:39And we're getting x dollars and you'll make it work.
0:34:39 > 0:34:41And he would talk her into it.
0:34:41 > 0:34:44So he was a Svengali, he was the one who kept control of her
0:34:44 > 0:34:46and kept her working...
0:34:46 > 0:34:51and made her feel like she was not measuring up,
0:34:51 > 0:34:56if she didn't exceed whatever demands he was making.
0:34:56 > 0:35:01She was being pushed beyond any limits of herself.
0:35:02 > 0:35:03Darling...
0:35:03 > 0:35:07Julie, you're going to die.
0:35:07 > 0:35:11Julie brought out a lot from her private life
0:35:11 > 0:35:15because she was being harassed by her husband really, like Al Jordan.
0:35:15 > 0:35:17It was a repeat of that.
0:35:17 > 0:35:21And also, at the time, the actor who played her husband in Julie,
0:35:21 > 0:35:24she got on really well with him and she spent a lot of time with him
0:35:24 > 0:35:27and I think Marty was really jealous
0:35:27 > 0:35:30and causing a lot of trouble for her.
0:35:33 > 0:35:36Doris complained of severe abdominal pains.
0:35:36 > 0:35:40Marty recommended more Christian Science and stuck to the schedule.
0:35:41 > 0:35:45With filming finally over, Doris made an appointment with her doctor
0:35:45 > 0:35:48and learned she'd need a hysterectomy.
0:35:50 > 0:35:51She was 32.
0:36:00 > 0:36:04As in the past, Doris responded to a crisis
0:36:04 > 0:36:07by picking herself up and pressing on.
0:36:07 > 0:36:10After a brief respite, and with Marty's and encouragement,
0:36:10 > 0:36:13she resumed her demanding schedule
0:36:13 > 0:36:16but the run of successful films had begun to falter.
0:36:16 > 0:36:19He was very worried that her stock was falling
0:36:19 > 0:36:23after a film she made called It Happened To Jane, or Twinkle And Shine.
0:36:23 > 0:36:25They stuck it out with lots of different titles,
0:36:25 > 0:36:29trying to get people to see it again and make the money go up.
0:36:29 > 0:36:32And, so, in a bid to do something different,
0:36:32 > 0:36:36he suggested she read the script for a slightly racy sex comedy.
0:36:36 > 0:36:41To begin with she said, "No, no." And then she read it and thought, actually, it could be quite nice.
0:36:41 > 0:36:43It could be sophisticated.
0:36:43 > 0:36:45And she also liked that it was modern -
0:36:45 > 0:36:47no more wigs and no more buckskins
0:36:47 > 0:36:50and no more flouncing around in crinolines.
0:36:50 > 0:36:53She had to be urban and urbane and have fabulous clothes.
0:36:53 > 0:36:57So she said, "I'll do it." And she went into Pillow Talk.
0:36:59 > 0:37:03This career girl had everything but love.
0:37:03 > 0:37:05This bachelor had nothing else but.
0:37:05 > 0:37:09They had absolutely nothing in common except a party line.
0:37:09 > 0:37:12Would you please get off this line?!
0:37:12 > 0:37:15I must have watched Pillow Talk about 300 times
0:37:15 > 0:37:19and I could watch it this afternoon and watch it again tomorrow
0:37:19 > 0:37:22and I would still laugh at all the right places.
0:37:22 > 0:37:25And I just love it. I absolutely love it.
0:37:25 > 0:37:30She's got a fabulous wardrobe, a fabulous apartment, and she loves the way she looks
0:37:30 > 0:37:33and the camera starts with her naked leg as she pulls on her stocking
0:37:33 > 0:37:35and she's singing these risque lyrics.
0:37:35 > 0:37:38You can just tell she's having a really great time.
0:37:38 > 0:37:41And it was an amazing box office for her.
0:37:41 > 0:37:46It was a huge star. She was the world number-one box office star because of that picture
0:37:46 > 0:37:48and everybody wanted a piece of her.
0:37:48 > 0:37:52It changed her career, it gave her career a second lease of life.
0:37:52 > 0:37:54# Pillow talk
0:37:55 > 0:37:57# Pillow talk
0:37:57 > 0:37:59# Another night... #
0:37:59 > 0:38:03Pillow Talk won the 1959 Academy Award for Best Screenplay
0:38:03 > 0:38:07and Doris won a nomination for Best Actress.
0:38:07 > 0:38:10Marty had found a winning formula and in Send Me No Flowers
0:38:10 > 0:38:12and Lover Come Back,
0:38:12 > 0:38:15Hudson and Day delighted the public again
0:38:15 > 0:38:17with their unique on-screen chemistry.
0:38:17 > 0:38:22A woman instinctively senses when a man can be trusted.
0:38:22 > 0:38:25And you, Doctor, can be trusted.
0:38:27 > 0:38:31My first movie to really see was Lover Come Back.
0:38:31 > 0:38:34So that's how I got interested in her.
0:38:34 > 0:38:37My friend and I both really liked Doris Day
0:38:37 > 0:38:40and so when a new movie would come in town,
0:38:40 > 0:38:45one of our mothers would take us downtown to the theatre
0:38:45 > 0:38:48and we'd pack a lunch and then they'd give us some money,
0:38:48 > 0:38:50so that we could buy a drink and popcorn later.
0:38:50 > 0:38:54We'd go in at noon and we'd stay there until six o'clock.
0:38:54 > 0:38:58So we'd get see the movie about three or four times.
0:38:58 > 0:39:02And then the next Saturday, we'd go and do the same thing again.
0:39:02 > 0:39:06And, so, depending on how long the show was in town,
0:39:06 > 0:39:10we could have seen it 15-20 times before it left.
0:39:10 > 0:39:13Mr Ramsey, here, tells me that you spoke to him
0:39:13 > 0:39:15and I'd like to ask you a favour.
0:39:15 > 0:39:18Will you kindly keep your big nose out of my business?
0:39:18 > 0:39:20- No! No! - If the competition's too tough,
0:39:20 > 0:39:23get out of the advertising profession.
0:39:23 > 0:39:26You aren't even IN the advertising profession.
0:39:26 > 0:39:29If I weren't a lady, I'd tell you what profession you're in.
0:39:29 > 0:39:32It's like chick lit ahead of its time.
0:39:32 > 0:39:35Thelma Ritter is the daily that comes in
0:39:35 > 0:39:39and Doris Day says, defiantly, "I love being a single woman."
0:39:39 > 0:39:43And Thelma Ritter says, "The only thing worse than a single woman
0:39:43 > 0:39:46"is one who claims to enjoy being a single woman."
0:39:46 > 0:39:48But the fact is, she does kind of enjoy it.
0:39:48 > 0:39:52In the '50s and '60s, there weren't a lot of women working
0:39:52 > 0:39:55but my mother did work
0:39:55 > 0:39:59and so that kind of correlated with Doris Day working.
0:39:59 > 0:40:05Also, her characters that she was doing at that time were working.
0:40:05 > 0:40:08And, so...there wasn't any doubt in my mind
0:40:08 > 0:40:11that's what I was going to end up doing -
0:40:11 > 0:40:16that I was going to go off and have a career and do things.
0:40:16 > 0:40:18As a woman in the late '50s,
0:40:18 > 0:40:21she was already a good 10 years ahead of her time, saying,
0:40:21 > 0:40:23"A woman has a right to it all."
0:40:23 > 0:40:28She has a right to a fabulous career in a fabulous city, to be the best at what she's doing,
0:40:28 > 0:40:33but also to have a man and not to necessarily marry him, look after him and wash his socks.
0:40:36 > 0:40:40Marty varied the format with a number of Hollywood's leading men,
0:40:40 > 0:40:44and with James Garner, Doris created another winning partnership.
0:40:44 > 0:40:46# Move over, darling... #
0:40:52 > 0:40:53Oh, Gerald!
0:40:53 > 0:40:55Oh, honey, are you all right?
0:40:55 > 0:40:57Darling? Darling?
0:40:58 > 0:41:01Doris was always upbeat.
0:41:01 > 0:41:04That made everybody else upbeat.
0:41:04 > 0:41:07And, you know, we had a wonderful, wonderful time.
0:41:07 > 0:41:12I learned a lot about how to act on a set from her.
0:41:12 > 0:41:13I was still pretty young then.
0:41:13 > 0:41:15She was such a professional.
0:41:15 > 0:41:18She was there, every day, right on time.
0:41:18 > 0:41:22If she said she would be ready in front of camera at eight,
0:41:22 > 0:41:25at eight she was ready in front of the camera.
0:41:25 > 0:41:28Now, I know people that say, "I'll be there at eight."
0:41:28 > 0:41:30and at 9.15, they finally get in there.
0:41:30 > 0:41:35Well, that's very costly and it gets everybody else grumbling.
0:41:35 > 0:41:38Let's get on, everybody else was there, they want to work.
0:41:38 > 0:41:43But she was always on time, ready to work, knew what she was doing,
0:41:43 > 0:41:47which made it a pleasure for me and everyone else.
0:41:47 > 0:41:50# Our lips shouldn't touch
0:41:50 > 0:41:52# Move over, darling
0:41:52 > 0:41:55# I like it too much
0:41:55 > 0:41:57# Move over, darling
0:41:57 > 0:41:59# That gleam in your eyes... #
0:41:59 > 0:42:02Doris's second Garner movie, Move Over, Darling,
0:42:02 > 0:42:04was another colossal hit.
0:42:05 > 0:42:09The title song, written by the 21-year-old Terry,
0:42:09 > 0:42:11spent 16 weeks in the UK chart,
0:42:11 > 0:42:14despite attempts by the BBC to ban it.
0:42:14 > 0:42:19Public taste was shifting and for a while Doris rode the changing times.
0:42:19 > 0:42:23Those things were well done. She has a marvellous way about her.
0:42:23 > 0:42:26She's a terrific actress and very likeable
0:42:26 > 0:42:29and pulled those things off beautifully.
0:42:29 > 0:42:32They all did, they were terrific films.
0:42:32 > 0:42:35Yes, there's really something wild afoot!
0:42:37 > 0:42:44But as Marty continued to cast Doris in the same romantic comedy roles, their charm began to wane.
0:42:44 > 0:42:46Screwball comedies were sex comedies without the sex.
0:42:46 > 0:42:51So sex was all around and there were undertones, but it couldn't be spelled out.
0:42:51 > 0:42:56There's always a little bit of artifice in the screwball comedy, or Shakespearean comedy.
0:42:56 > 0:42:59You have to have obstacles and sometimes it's a job
0:42:59 > 0:43:04to make the obstacles so that they're not just completely tedious and grating.
0:43:12 > 0:43:15As the world succumbed to flower power,
0:43:15 > 0:43:19the screwball comedy obstacles began to look ludicrous,
0:43:19 > 0:43:20rather than entertaining.
0:43:20 > 0:43:26And in 1967, Oscar Levant made his infamous quip about Doris the virgin.
0:43:27 > 0:43:30Once independent, capable and choosey,
0:43:30 > 0:43:35Doris had become the girl who likes to say no.
0:43:39 > 0:43:40AARGH!
0:43:40 > 0:43:43I think the real trouble came when...
0:43:43 > 0:43:47she kept on trying to seem younger than she was
0:43:47 > 0:43:50and the filters didn't help and all of that.
0:43:50 > 0:43:54So I think people were sort of embarrassed by this.
0:43:54 > 0:43:57The reviews come out and they're not kind anymore.
0:43:57 > 0:44:00One review says she's got "creeping pucker."
0:44:00 > 0:44:03Which kind of gives you all kinds of ideas about chicken neck.
0:44:03 > 0:44:07And the rumours about firing cameramen, or wanting them fired,
0:44:07 > 0:44:10because she's not got enough gauze on the lens, or Vaseline,
0:44:10 > 0:44:12or whatever it is, to hide the creeping pucker.
0:44:12 > 0:44:15It's just not very nice and these stories start to get out.
0:44:17 > 0:44:23If the answer was to play roles more appropriate to her age, Doris had few choices.
0:44:23 > 0:44:26And those that came her way didn't always suit.
0:44:26 > 0:44:29She was offered the role of Mrs Robinson in The Graduate,
0:44:29 > 0:44:33for which Anne Bancroft subsequently won an Oscar,
0:44:33 > 0:44:36but she didn't like its overt sexuality.
0:44:36 > 0:44:39She knew what she was doing with The Graduate.
0:44:39 > 0:44:42By the end of her career, as with so many actresses,
0:44:42 > 0:44:44an element of self-parody comes in.
0:44:44 > 0:44:45It's bound to.
0:44:45 > 0:44:47So if she played the role in The Graduate,
0:44:47 > 0:44:50the old Doris Day is just too strong an image
0:44:50 > 0:44:52not to be peeping through that
0:44:52 > 0:44:56and I think it would have set up all sorts of weird vibrations.
0:44:56 > 0:44:58# Ten cents a dance
0:45:00 > 0:45:03# That's what they pay me... #
0:45:03 > 0:45:08Yet, turning down The Graduate was a rare victory for Doris.
0:45:08 > 0:45:12The independence of spirit that characterised her on-screen persona
0:45:12 > 0:45:16seemed completely absent in her dealings with Marty.
0:45:16 > 0:45:20In her relationship with men, from the very beginning,
0:45:20 > 0:45:23they were all totally unsuccessful
0:45:23 > 0:45:25and it started with the trauma with her father
0:45:25 > 0:45:28and it was just one trauma after another.
0:45:28 > 0:45:31WOMAN GIGGLES
0:45:31 > 0:45:36Her father was having an affair with her mother's friend.
0:45:36 > 0:45:40She heard her father and this woman together
0:45:40 > 0:45:42and that was very traumatic for her.
0:45:42 > 0:45:44And eventually he left
0:45:44 > 0:45:49and, obviously, that was an awful void for her.
0:45:49 > 0:45:52MUSIC: "Mr Tambourine Man" by The Byrds
0:45:56 > 0:46:02Another void was created when Terry withdrew from family life.
0:46:02 > 0:46:04Now a successful record producer,
0:46:04 > 0:46:07responsible for The Byrds' Mr Tambourine Man,
0:46:07 > 0:46:08and other major hits,
0:46:08 > 0:46:12he joined the ranks of people who had little time for her husband.
0:46:12 > 0:46:15Well, he had a bad reputation.
0:46:16 > 0:46:21You know, if you knew her, you knew that he was not good for her.
0:46:21 > 0:46:25But that was her choice and her husband.
0:46:25 > 0:46:30Whatever happened between them, I don't know, but it was not...
0:46:30 > 0:46:33He was not looked on...
0:46:33 > 0:46:35as too nice a guy.
0:46:36 > 0:46:39Eventually, Doris asked for a separation
0:46:39 > 0:46:44and was shocked when Marty announced divorce would mean financial ruin.
0:46:45 > 0:46:51All Doris's earnings had been invested in both of their names.
0:46:51 > 0:46:55Doris moved out of Marty's bed but they continued to live together
0:46:55 > 0:46:58and he remained in control of her career.
0:46:58 > 0:47:01I think that...
0:47:01 > 0:47:03Marty became...
0:47:03 > 0:47:09a kind of a conglomeration of several other men.
0:47:09 > 0:47:11Her father, somewhat...
0:47:11 > 0:47:13somewhat Al Jordan...
0:47:13 > 0:47:17I guess Marty must have had some charm to him
0:47:17 > 0:47:20but the people whom I interviewed about Marty
0:47:20 > 0:47:25all said they didn't understand why she didn't pick up on him sooner.
0:47:25 > 0:47:28Everybody out there knew about him. They knew what he was doing.
0:47:28 > 0:47:35But Doris always wants to believe so deeply in the good of people...
0:47:35 > 0:47:37She doesn't...
0:47:37 > 0:47:39She wants to believe everybody is honest
0:47:39 > 0:47:43and everybody is going to be part of the human race,
0:47:43 > 0:47:47as she'd like it to be, rather than as it is.
0:47:47 > 0:47:51Of all places that that doesn't work it's in Hollywood, California,
0:47:51 > 0:47:53which is full of, um...
0:47:53 > 0:47:57the worst kind of... double dealers and...
0:47:59 > 0:48:02..miscreants that you can find anywhere.
0:48:02 > 0:48:10# You ain't been blue... #
0:48:11 > 0:48:15With Six You Get Eggroll was another formulaic Marty picture
0:48:15 > 0:48:18and was to be Doris's final film.
0:48:18 > 0:48:21During the shoot, Marty had become ill,
0:48:21 > 0:48:24and by the time he was persuaded to seek medical treatment,
0:48:24 > 0:48:26his condition was beyond help.
0:48:26 > 0:48:31In April 1968, after 17 years together,
0:48:31 > 0:48:34Marty died of heart disease.
0:48:34 > 0:48:39Despite their estrangement, Doris was grief-stricken by his death
0:48:39 > 0:48:43but Terry uncovered a further catastrophe
0:48:43 > 0:48:45as he wound up Marty's affairs.
0:48:45 > 0:48:51Marty had invested and lost every single cent of Doris's earnings over her entire career.
0:48:52 > 0:48:56In addition, he'd left her 500,000 in debt.
0:48:58 > 0:49:01To discover everything that you've done -
0:49:01 > 0:49:04having made these vast numbers of movies,
0:49:04 > 0:49:08and then vast numbers of records, later CDs,
0:49:08 > 0:49:10that earned a lot of money -
0:49:10 > 0:49:17to find that you owe 500,000, or whatever the sum was...
0:49:17 > 0:49:19is crushing.
0:49:19 > 0:49:23But Doris again decided...
0:49:23 > 0:49:26that when you're down,
0:49:26 > 0:49:29there's no way out but up and so...
0:49:29 > 0:49:31as cliched as that is,
0:49:31 > 0:49:35Doris decided she would invent her own television show,
0:49:35 > 0:49:37which she did against all odds,
0:49:37 > 0:49:42because she had never been involved with the production of a show.
0:49:47 > 0:49:52# Que sera sera
0:49:52 > 0:49:56# Whatever will be, will be
0:49:56 > 0:49:59# The future's not ours to see
0:49:59 > 0:50:02# Que sera sera
0:50:02 > 0:50:05I think Doris loved being the producer.
0:50:05 > 0:50:10There were very few women who had that much control of their own show.
0:50:10 > 0:50:14It was very freeing for her
0:50:14 > 0:50:20and also she was very intelligent about what she was able to do.
0:50:20 > 0:50:26I mean, she knew herself just about well as anybody
0:50:26 > 0:50:28and she felt if it made her happy,
0:50:28 > 0:50:31it would make people who liked her happy.
0:50:31 > 0:50:33And she was, you know, in the top shows
0:50:33 > 0:50:36all the time she was on the air.
0:50:36 > 0:50:38# To everything
0:50:38 > 0:50:41# Turn, turn, turn... #
0:50:42 > 0:50:44A silver lining to Marty's death
0:50:44 > 0:50:48was that mother and son became closer.
0:50:48 > 0:50:51But as he struggled to resolve her financial affairs
0:50:51 > 0:50:54and work with her on a fresh sound for her new show,
0:50:54 > 0:50:59Terry became entangled in one of the most bizarre incidents in American history.
0:51:01 > 0:51:04In 1969, the murder of actress Sharon Tate
0:51:04 > 0:51:08by Charles Manson's followers shook Hollywood.
0:51:09 > 0:51:12Terry had auditioned Manson at his ranch and,
0:51:12 > 0:51:15until a few months before Sharon Tate's gruesome murder,
0:51:15 > 0:51:18had lived in the house in which it took place.
0:51:18 > 0:51:22The possibility that Terry had been the intended victim seemed credible
0:51:22 > 0:51:26and police advised Terry and Doris to hire private bodyguards.
0:51:26 > 0:51:30With this added to the financial strains,
0:51:30 > 0:51:33Terry lost himself in drink and drugs.
0:51:33 > 0:51:36But worse was to follow.
0:51:36 > 0:51:41Terry loved motorcycles and he, I guess,
0:51:41 > 0:51:44lived up in the canyon
0:51:44 > 0:51:47and he was on his bike
0:51:47 > 0:51:54and he told me that it was just an error on his part in how you ride a bike.
0:51:54 > 0:51:57If you're going to go round a kerb, you just lean with it
0:51:57 > 0:51:58and don't turn the handle bars.
0:51:58 > 0:52:00Well, I guess he did the wrong thing.
0:52:00 > 0:52:04At any rate, he either hit...
0:52:04 > 0:52:07I can't remember now whether he hit a rock or another car,
0:52:07 > 0:52:12but he was thrown straight up off the bike and landed on his feet.
0:52:12 > 0:52:15But it shattered both of his legs.
0:52:15 > 0:52:17SIRENS BLARE
0:52:23 > 0:52:24It was a long convalescence.
0:52:24 > 0:52:28Terry never regained full use of his legs.
0:52:28 > 0:52:30He could never play tennis the way he once did
0:52:30 > 0:52:34because he didn't have the mobility but nevertheless could walk.
0:52:34 > 0:52:38And during that time, I think Terry and his mother became very close.
0:52:38 > 0:52:40From then on they were very close
0:52:40 > 0:52:42and Terry managed a lot of what she did
0:52:42 > 0:52:46during the time of her television programme and afterwards.
0:52:46 > 0:52:51# I never went in for afterglow
0:52:51 > 0:52:53# Or candlelight... #
0:52:53 > 0:52:56In 1973, after five years of The Doris Day Show,
0:52:56 > 0:52:59she was free of Marty's influence.
0:53:02 > 0:53:05She paid off his debts, fulfilled her television contract
0:53:05 > 0:53:08and won substantial damages against his lawyer.
0:53:08 > 0:53:11She was 49.
0:53:11 > 0:53:14Stepping out of the limelight, Doris turned her attention
0:53:14 > 0:53:16to issues of animal welfare,
0:53:16 > 0:53:19setting up the Doris Day Pet Foundation,
0:53:19 > 0:53:22and entered a brief fourth marriage.
0:53:22 > 0:53:27But her desire for privacy prompted a backlash from the press.
0:53:27 > 0:53:29In the '80s, people remembered she'd been a star
0:53:29 > 0:53:33and they went out and they tried to get her to do that come back thing.
0:53:33 > 0:53:35She said, "I won't do it."
0:53:35 > 0:53:38I think that produced a slightly catty come back from the press
0:53:38 > 0:53:40and they said, "She's an old hag anyway.
0:53:40 > 0:53:44"She doesn't want us to see she's put on weight, lost weight,
0:53:44 > 0:53:46"lives out of trash cans, drives a Dumpster."
0:53:46 > 0:53:48It's so far from the truth.
0:53:48 > 0:53:52I mean, she goes out practically every day
0:53:52 > 0:53:56but last time I went up to Carmel...
0:53:56 > 0:53:59There's a country club. It sounds so fancy but it's a place to eat.
0:53:59 > 0:54:02It's just down the hill from where she lives
0:54:02 > 0:54:04and she's buddies with the busboys
0:54:04 > 0:54:08and knows their name, how's their kids...
0:54:08 > 0:54:12She doesn't hide from anybody. She's extremely social.
0:54:12 > 0:54:17She's very busy though because she's hands on taking care of her animals
0:54:17 > 0:54:21and her fan mail and her friends that come to visit her.
0:54:21 > 0:54:23From the mid-'70s onwards,
0:54:23 > 0:54:28Doris focused on family and her animal welfare work.
0:54:28 > 0:54:31On a number of occasions, Terry almost persuaded her
0:54:31 > 0:54:33to return to the recording studio
0:54:33 > 0:54:35but it was a wish she would never see fulfilled.
0:54:37 > 0:54:40In a further twist of fate,
0:54:40 > 0:54:42Terry Melcher died in 2004 -
0:54:42 > 0:54:45the year of his mother's 80th birthday.
0:54:47 > 0:54:51# When autumn leaves
0:54:51 > 0:54:54# Begin to fall... #
0:54:55 > 0:54:58The only time that...
0:54:58 > 0:55:03that she probably was so beyond being sunny was,
0:55:03 > 0:55:06I think, when Terry died.
0:55:06 > 0:55:10When she couldn't come to the phone at all.
0:55:10 > 0:55:12You know, she just had...
0:55:12 > 0:55:15hadn't come to the place where you can talk.
0:55:16 > 0:55:19That had to be the most stunning blow.
0:55:20 > 0:55:24And he really was extremely important.
0:55:24 > 0:55:26Extremely important.
0:55:26 > 0:55:31And, um...and they were so close.
0:55:34 > 0:55:36And he did a lot for her
0:55:36 > 0:55:39and she did a lot for him
0:55:39 > 0:55:43in the last part of their life together.
0:55:43 > 0:55:45But that's probably, you know,
0:55:45 > 0:55:48the biggest...the biggest tragedy
0:55:48 > 0:55:53and, um... now she's just carrying on.
0:55:54 > 0:56:00# Make someone happy... #
0:56:00 > 0:56:05Doris recorded her last original album in 1967...
0:56:05 > 0:56:09made her final film, aged just 44, in 1968.
0:56:09 > 0:56:1440 years have passed since she was a number-one box office star.
0:56:14 > 0:56:21Her reputation, so long clouded by cliches, is finally ready to be reappraised.
0:56:21 > 0:56:24I was surprised in going back and looking at these movies
0:56:24 > 0:56:26at how much respect I had for her.
0:56:26 > 0:56:29As I say, just for her competence.
0:56:29 > 0:56:31How well she did everything she did
0:56:31 > 0:56:35because that never occurred to me at the time she was doing it.
0:56:35 > 0:56:38All that occurred to me was that I hated the role.
0:56:38 > 0:56:42The problem is, we don't like goodness.
0:56:42 > 0:56:45We find goodness repellent now.
0:56:45 > 0:56:49We dismiss it as sentimental, or uninteresting.
0:56:49 > 0:56:52And...it's not.
0:56:54 > 0:56:58She makes goodness truthful because she's truthful.
0:56:58 > 0:57:02I think there's an immense amount of truth in her
0:57:02 > 0:57:06and it comes across the screen with such power.
0:57:06 > 0:57:08It really, really does.
0:57:08 > 0:57:11But because our culture...
0:57:11 > 0:57:17despises that, she is dismissed as something trivial when she's not.
0:57:17 > 0:57:22# ..One smile
0:57:22 > 0:57:24# That cheers you... #
0:57:24 > 0:57:26The Stanley Shapiro comedies -
0:57:26 > 0:57:31the Rock Hudson, James Garner, Cary Grant - they were SO popular.
0:57:31 > 0:57:34So she was almost a victim of her popularity.
0:57:34 > 0:57:38So this became... They were just so huge.
0:57:38 > 0:57:41I think if they had passed a little bit under the radar,
0:57:41 > 0:57:44nobody would have made such fuss for or against them
0:57:44 > 0:57:49but they were kind of engraved in the American conscience of that time.
0:57:49 > 0:57:53All the rebel Hollywood film-makers, they're always quoted as saying,
0:57:53 > 0:57:56"We're not going to make those Doris Day movies anymore."
0:57:56 > 0:57:59So, very unfairly, she became emblematic
0:57:59 > 0:58:06of everything that was exhausted and conventional about Hollywood.
0:58:06 > 0:58:10I think, eventually, people will come to realise
0:58:10 > 0:58:13just what a great talent she was -
0:58:13 > 0:58:18as well as a great star - and that's very rare.
0:58:18 > 0:58:21And people will realise what they've missed.
0:58:21 > 0:58:26# ..Someone to love
0:58:26 > 0:58:28# Is the answer
0:58:29 > 0:58:35# Once you've found him
0:58:35 > 0:58:43# Build your world around him
0:58:44 > 0:58:48# And you
0:58:48 > 0:58:51# Will be happy too. #