User Reviews

This is one of those movies that was originally panned but holds up today, probably because the story and fashions are so of the era as to make it somewhat interesting. Doris is bedecked in all sorts of fabulous mod clothes in this confusing story about double agent cosmetic spies. There are some cute scenes, one in a restaurant and another in a movie theater (which is disconcerting because of the 20th Century Fox logo and their music starting - you think the movie may be starting over). Anyway, Doris sings Caprice on the movie screen while her character attempts to get a lock of hair from the woman in front of her. Meanwhile, the woman's boyfriend, embracing his girlfriend, has one hand on Doris' leg.

I disagree with one of the comments that said that Doris was a 45-year-old who thought she was 20, due to her outrageous makeup. In actuality, that was the makeup of the period, and she didn't look strange to me at all.

This is a terribly silly film but enjoyable for the cast, some good scenes, and as a '60s artifact.

Have always loved Doris Day since forever and would see anything with her in it. Not all her films were great, a few of them not even good, but Day was an incredibly talented performer, was always watchable and always gave her all even in her lesser films.

Despite being her lowest rated film (as of now) on IMDb, critical reception not being kind to it at the time and even Day herself (Richard Harris apparently too) disliking it, while a long way from a flawless film and the weaker of the two films Day did with director Frank Tashlin (the other being 'The Glass Bottom Boat), 'Caprice' to me wasn't that bad. Again from personal opinion, it is not Day's worst film, that distinction goes to 'Where Were You When the Lights Went Out?' and 'Lucky Me' and 'Starlift' are not far behind. She has certainly done much better, especially 'Calamity Jane' and 'Pillow Talk' for films and both of those and 'Love Me or Leave Me' for performances.

'Caprice' certainly could have been much better. Its most problematic element is the often hopelessly convoluted (things get so complicated at times figuring out what was going on was not always easy) and daft story that was in more need of excitement and suspense overall. The script suffers from the same problems, and, while there are some undeniably funny and thrilling moments, tonally it felt muddled. It didn't seem to know whether it wanted to be a comedy or spy/espionage thriller, instead trying to do both with varying results, and when to be. The comedic elements fare much better, with some witty dialogue and some wildly entertaining set pieces, while the thriller elements only work in spurts with the lack of suspense and the convolution working against it.

Richard Harris is a rather ill-suited leading man. Very like Richard Widmark in 'The Tunnel of Love', Harris does step out of his comfort zone, which is laudable, but there is a real sense that he was completely out of his depth, to say that comedy isn't his forte is being generous. He plays the role too heavily and broadly instead of the lightness of touch and urbane charm needed here. It also was rather hard to take him seriously with the blue eye shadow and he visibly looked embarrassed wearing it, it just looked strange even in this particular context.

On the other hand, Day is a warm and natural presence and she shows a gift for a deft balance of comedy and drama, her chemistry with Harris had some nice moments. There is effortless support from Ray Walston, Edward Mulhane and Michael J. Pollard, and Tashlin's direction is both restrained and witty on the most part.

'Caprice' looks great too, apart from some cheap multi-layered gauze, the eye shadow and some obvious back projection. The cinematography is one of the film's biggest merits, full of ravishing colours and an atmosphere that one wishes was matched in the story. Production design is similarly audacious, and the clothes are like their own characters (worth seeing 'Caprice' for them alone).

Music score is quirky and slinky while also with an understated ominous touch, also loved the title song and it is beautifully sung by Day. As said, 'Caprice' does sport some fine moments. They are the chase sequence in the apartment complex that's entertaining and thrilling, the hilarious elevator scene (genius comic timing by Day) and especially the delightful scene in the theatre. The film could have done with more kick sometimes but was never what one would call "boring" (highlighted seeing as it has become one of my most hated words to its overuse and how it's constantly abused on the internet).

In summary, not great (couldn't help thinking of 'Charade', also with a mix of comedy and thriller-mystery, and how much better that was) but a long way from a disaster. 6/10 Bethany Cox

"Caprice" was made near the end of Doris Day's spectacular film career. It was met with mixed reviews by the New York critics. But, when I saw the film at Radio City Music Hall, the audience seemed to enjoy it.

The opening credits were very clever and there was a spectacular beginning to the film, a ski chase with the villain in black and the victim in white getting shot to death.

Doris Day was dressed in mod attire and gave her usual professional performance. The plot was the film's biggest problem. It was very complicated and it takes two or three viewings to grasp everything.

Richard Harris was a good choice to play opposite Miss Day. He later said that, even though he didn't like "Caprice", he was delighted to work with Miss Day, a true expert in the comedy field. He stated that he learned more from her about comedy than he could have learned in years at the Royal Academy. Nice words.

This picture could have been good, if they had cut several scenes. I liked the rapport that Miss Day had with Edward Mulhare in their scenes together. She also worked well with Lilia Skala, Ray Walston and Jack Kruschen. There was a funny bit, which Doris played with Michael J. Pollard in a movie theatre, that was showing Doris Day and Richard Harris in "Caprice".

Doris Day is a "natural" actress. She uses props well and approaches her material from a realistic standpoint. You believe her, even when she is thrusted in the most unbelievable situations. Miss Day was very good near the end of the picture when she confronted Ray Walson, in drag, and then Edward Mulhare who sent her on an unexpected helicopter ride.

There were some exciting scenes, especially the one when Doris is being chased down the slopes by the man who killed her father in the beginning of the film. The resulting "rescue" was directly out of the old '40s cliffhangers.

It has become fashionable to dismiss "Caprice", but if you are a Doris Day fan, you might enjoy it if you can ignore some of the "cuteness" director Frank Tashlin threw into the plot.

While skiing an Interpol agent is shot and killed in the Alps of Switzerland. Not long afterward, "Patricia Foster" (Doris Day) is caught red-handed trying to sell industrial secrets from the cosmetics firm she is employed with to a rival company. She is immediately terminated and subsequently hired by the rival American firm to become an industrial designer for them. This results in her working with a man named "Christopher White" (Richard Harris) who is actually a secret agent employed by the same firm that initially fired Patricia. Or so it all seems. What follows is a complicated story involving industrial espionage, double agents, secret formulas and murder. Anyway, as I said before this is a complicated story and in order to fully understand it a person has to see this movie all the way to the end. Along with that I think a person needs to take into consideration the fact that this movie was filmed in 1967 and as a result some of the action may seem rather basic by today's standards. Likewise some of the humor may seem a bit tame as well. Even so, although some of it seems quite mild it was an enjoyable movie for the most part. Doris Day and Richard Harris do a decent enough job and Irene Tsu (as "Su Ling") looks quite nice even if her role was somewhat limited. All things considered then, I rate this as about average.

what can i say to add to all the reviews? this movie IS the quintessential 60's spy/spoof flick. (other than the Matt Helm movies)

the awesome clothes, the amazing sets, the beautiful women, and the GREAT GREAT GREAT music by De Vol. (if you can't have Quincy Jones - then De Vol is the way to go) the opening ski scene was recreated in Her Majesty's Secret Service, among others (incl. several later Bond flicks) that's how good it is. several times i had to back up the DVD to catch some lines that i had laughed over. such as DD : "were you really with the CIA ?" "yes but industrial esp. was more fitting employment for a coward."

the scenes that i found funniest were the bugging of the outdoor café, the scene where DD was spying on Irene Tsu on her deck, the chase inside & outside of an apartment building, & of course the movie theater scene with Michael Pollard.

all in all this is a very good spy spoof & well worth watching, no matter what anyone says >> INCLUDING Miss Day herself.

yes she had too much make-up, yes Richard Harris does SEEM mis-cast, & yes it doesn't quite have the same chemistry that DD had with Rock Hudson or James Garner ........ but just take it for what it's worth, & just sit back & watch & enjoy it. & oh yeah ......... make up your own mind about it. but i found it very funny & entertaining, & a cocktail or two won't hurt either.

This late Doris Day effort is a truly awful film ,a fact which is initially disguised by an excellently filmed pre-credits sequence in which a skier in white is chased down mountainous slopes by a sinister black-clad skier wearing a reflective visor and toting a high-powered rifle. Much of this sequence, and a second that appears near the end of the film, is shot with a hand-held camera. In fact it looks as if the cameraman was skiing down the mountain himself as he took the footage. It's a terrific piece of filming that immediately immerses the viewer in the action – but after this superlative opening and a cleverly designed credits sequence, the film falls flat with a resounding thud.

Doris Day was about 42-years-old when she made this flick and, thanks to some ill-conceived make-up and atrociously synthetic looking wigs, she looks every day of those 42 years. Already at least fifteen years too old for the part, she's made to wear the type of outfits that shouldn't be seen on a woman over twenty-five, and doesn't look like she's having a good time at all. It's a shame, because she was still a good-looking woman at the time, as can be seen in WITH SIX YOU GET EGG ROLL, which she made the following year. No wonder she doesn't like to talk about this film anymore.

Her co-star is Richard Harris, who is also woefully miscast as a light leading man. Whoever convinced Harris he was suited to comedy roles was either inept or pandering to Harris's ego. Either way, all concerned made a big mistake when he signed up for this film. There's no chemistry whatsoever between him and Day, they never look like people who would be attracted to each other, and the manner in which their relationship develops is both poorly conceived and ineptly handled.

Director Frank Tashlin's career was in irreversible decline when he made this film (which can have only accelerated the slide) and he made only one more feature after this. He manages a couple of decent scenes, but the light touch he brought to a number of minor classics in the fifties just isn't there anymore. To be fair, the script doesn't give him much to work with – for a comedy it is remarkably unfunny – and the unnecessarily convoluted plot doesn't seem to know where it is going before eventually descending into absurdity, which is a shame because it contains the nugget of a good idea. Day didn't like this one, Harris didn't like it and, in all probability, neither will you.

Due to the convoluted nature of the plot, this film really holds one's attention as they try to figure out what in the world is going on.

Miss Day makes the film with her bright screen presence. Richard Harris, although a fine actor, was not the best choice for playing opposite Miss Day in this particular role.

Ray Walston overacts a bit and uses an acting style that would be better suited for a television show.

But the film is not trying to cure cancer, is just an entertaining diversion and works well as such.

To notch are the music and cinematography. The overall feeling of the film, however, is that is it is trying too hard to be "mod". You get this feeling from the onset, when Doris first appears on the screen dressed in an outfit designed for a nineteen year old, not a grown adult.

The plot suffers from too many rewrites and becomes muddled. However once you start watching it, you can't break away.

Several scenes provide real "belly laughs" and it is worth viewing the entire film just for these.

It does have flaws, but it's still worth watching. It could have been better and Doris Miss Day should have been more assertive to her husband, Marty Melcher, in demanding some changes in the plot, costume design and casting.

We can only wish that Doris had continued to make films. Few actresses can match her range, ability, screen presence and charm. Miss Day, we miss you greatly.

I don't know why the most people think, that "Caprice" is a mad movie, it is no true. This one is the follow-up of "The Glass-Bottom Boat" and is in every case bigger an greater, but not better. Frank Tashlin did a very good job, when he first cooperated with Doris but he used her for his crazy and hardly understandable sense of humor. You have to laugh about the whole movie, you can't take anything in it seriously. That's the trick of it. There are very funny moments, e. g. when Doris goes to cinema to watch "Caprice" and when she strikes again a sexual attack. Perhaps a few of you really enjoy this movie as I do. Take it easy and with a little smile. For all others: Doris didn't like the movie herself.

Doris plays a spy who is dedicated to stealing secrets from rival cosmetic companies. In this opportunity, you must seize the formula of a spray that keeps hair dry and tidy even after submerging in water. During the adventure she meets a handsome agent who also happens to be a double spy. It is not the best of Doris Day's films, it is more that she herself admitted that she did not want to do it but she had no alternative because of a contract signed by her husband and representative without her consent. In any case, the movie is entertaining and can be seen.

One area of film-making I've never really appreciated is the final edit. The editor is really the unsung hero of the movie - unsung because the work he / she does is so subtle, so thoughtful and well crafted that one doesn't notice it. HOWEVER, when its bad, its jarring. The editing of this movie makes it into a big mess. I read that Doris Day's evil, money stealing husband, Marty Melcher, signed her up without letting her say no! She does her best, though, to play her part as good as possible. But one performer, a good film does not make. And to make matters worse, Richard Harris is TERRIBLE. He seems bored and pompous throughout. Altogether a truly awful movie. Skip it if you're smart!!!

A SUPER title for a film! Many have slammed this film. Doris Day detests it and will NOT talk about it. Why? It's polished, sexy, and stunningly filmed by Leon Shamroy! I believe this was his last film (although I may be mistaken). I agree that the plot was not exactly 007. But put it up against many of today's films and it's a fine body of work in many ways, albeit not in all ways. I personally do not think that Richard Harris was a good choice as a leading man for Doris Day. In 1966-67, my uncle was a longshoreman in Long Beach. He was also a rough rugged actor/stuntman in action films. He was doing something at Twentieth Century Fox and I asked him about Caprice. Could he get me in to see them film? So he went to the publicity department to get me some stills from the days shooting. Which he did. They were never officially released by Doris nor her husband. I felt fortunate to get both of them. The day came when he was taking me to the set where they were filming what he was working on and we would visit "Caprice". I skipped school and everything! Doris Day had fell filming and pinched a nerve in her back. She was in traction for quite awhile. They told us that they may have to scrap the film if she couldn't get back to work on it soon. I walked all around the sets. Remember the Eiffel Tower? They were really lush and that bed suspended from those big chains really swung(I sat on it inspite of the signs, I couldn't resist!). I, just a kid, was really impressed by it all. Martin Melcher spared nothing. It was lush! The interior of the jet was cool as well. At the end of the day, my uncle was able to get us a peek into Doris' bungalow at TCFox. WOW! They had great houses for their stars on the lot.

She had great clothes in the wardrobe area for the film. I remember how cool they all looked so perfectly maintained for filming. I particularly remember that pink hat she wore(I thought it was ugly). There were two of them as I recall. And several Platinum wigs. She refused to dye her own hair that color so the hair dresser, Barbara, said. I felt like a fly on the wall around there. The sets all said "HOT SET, DONT TOUCH ANYTHING!" I didn't. I felt VERY privileged.

Caprice was also Doris Day's last commercial recording on the Columbia label, for whom she recorded her entire recording career. It was a single that received good airplay on stations around the world that played easy listening stuff back then. It certainly wasn't as good a recording as "Move Over Darling"! For instance, they LOVED it in Portugal and Spain! The single was released with a high quality picture sleeve there! It's nothing to rave about, but lush, and rich just like the film "Caprice".

Hope you enjoy these memories of mine.

Frank Tashlin, usually known for great comedies with Jerry Lewis, comes back in this parody about spies and double spies and has some great cast: Doris Day, Richard Harris.

The beginning of the movie is promissing and the theme industrial espionage is great and fresh referring to the 60ies and has become since then more and more an issue.

The movie is fast paced, jumps a little bit to fast from one plot point to another, leaving the character development inbetween to the viewer, which is ok, if you want to keep the audience interrested. But the story is a bit confusing, mixing to much themes together: industrial espionage, a love romance, a parody to spy movies (especially James Bond), a little meta, a little bit suspence, a little bit action, a little bit comedy, but somehow the movie is not that suspenseful, has not that much of action and is not really funny from start till the end. It's a mixture of different genres that don't work that well.

Doris Day doesn't like this movie and Richard Harris did it between his filming of "Camelot", "A Man Called Horse" and "Cromwell", that are more famous and more demanding in terms of acting, but "Caprice" was a financial success for both actors.

There are some really cool, hilarious scenes in the movie, like the one in the cinema where a movie called "Caprice" is running and there is a meta dimension/reference in the movie that i like. But unfortunatelly this parts are rare that could have made a really great movie.

It's still an entertaining movie, but not as good as Pillow Talk, The man who knew to much or Midnight Lace with Doris Day.

If you're a fan of Doris Day and want to see her in a different role, this movie is recommended.

It's light, entertaining and fast paced.

A nice watch, but if I had a choice, I would prefer other movies to watch by these actors.

By her own admission Doris Day greatly disliked the script--but found to her horror that husband Marty Melcher had signed her to the project without her knowledge. Director Frank Tashlin and writer Jay Jason re-sculpted the script, altering plot lines and characters in an effort to win Day's confidence in the project--but she still didn't like it and is on record as considering CAPRICE the worst of her films.

It isn't difficult to see why. Released at the height of the "spy movie" craze of the 1960s, CAPRICE seeks to emulate such films as CHARADE with a mixture of wit and suspense, only to arrive at lackluster farce and a series of absurdly obvious plot-twists. The story concerns Patricia Foster (Day), who becomes an industrial spy for a cosmetics company in order to uncover her father's killer. Unfortunately, the elements never hang together in any consistent way: the movie is too eager to throw away plot points for the sake of a laugh. This might be forgiven if CAPRICE was actually funny, but the laughs involved are few, far between, and very slight indeed.

Script and plot aside, the film's other great failure is the mismatch of Day with leading man Richard Harris. Although she was a beautiful woman, she is obviously quite a bit older than Harris, who plays a womanizing counter-agent surrounded by nubile, sultry models; the romance between the two consequently has an awkward quality. More than this, Day and Harris come from two extremely different acting styles and traditions. Try as they might they never quite succeed in making them mesh. And the direction certainly doesn't help: although directed such memorable bits of fluff as THE GIRL CAN'T HELP IT, Frank Tashlin is best remembered as the creator of numerous Jerry Lewis vehicles. To say it shows would be a significant understatement.

CAPRICE was alternately ignored and savaged by both critics and audiences in 1967. But a funny thing happened as time went by: it began to acquire cult status. The film is oddly appealing in a clunky sort of way. Doris Day bounces along in a series of Harlow-white wigs and pop-art dresses; Richard Harris' bed really swings (literally); models squirm, Ray Waltson snarls, women scream, popcorn is spilled, flowers are thrown. It has the same sort of "What on EARTH were they thinking?" appeal that graces such films as THE VALLEY OF THE DOLLS. Consequently, CAPRICE isn't really as unentertaining as many would have you believe--it just isn't entertaining in the way its creators hoped it would be.

The DVD edition is surprisingly fine. The film has received a nice clean up; the colors are sharp and clear and the sound is generally good. And there are a surprising number of bonuses, ranging from an interview with costume designer Ray Aghayan to a profile of the Day-Melcher relationship to radio interviews Day and Harris gave to promote the film. There is also an audio commentary track by Pierre Patrick and John Cork. This is occasionally as unintentionally amusing as the film itself, for both are extremely, extremely uncritical of the film, but they do offer occasional bits of interesting insight along the way.

When all is said and done, CAPRICE will never challenge the likes of PILLOW TALK, but hardcore Doris Day fans will enjoy it--and every one else will enjoy looking at the eye-popping visuals and making fun of the rest.

GFT, Amazon Reviewer

The talents of Frank Tashlin and Doris Day would seem to be a Hollywood combination made in heaven but, with "The Glass Bottom Boat" (made at M-G-M a year earlier than "Caprice') and this one, their fans were doomed to a certain degree of disappointment. The main trouble with this film is its impossibly convoluted and ridiculous script, giving little opportunity for anyone to shine, except, perhaps, the set and clothes designers, though one must appreciate that their efforts look very, VERY much of the dreaded "Mod" period when this one was conceived.

Technical credits are, for the most part, top-notch, especially that old pro Leon Shamroy's lush cinematography (although I do recall that the back projections were very obvious when I saw this on a 40-foot wide CinemaScope screen when it was first released).

I've never been a particular fan of Richard Harris and he was most definitely miscast opposite Doris. His too-clipped delivery of some of his lines can be attributed, I suspect, to Mr. Tashlin's rather slack direction (unusual for that comic master).

All in all, when one considers that producer Martin Melcher, Doris's husband, was, at the time, squandering her hefty paychecks in unwise investments, it's easy to understand why Ms. Day has since been content to retire form the screen and allow us to remember her better, earlier efforts.

It's amazing sometimes how certain films get made and reading in both books about Doris Day and Richard Harris, how Caprice was made just might be a subject for a film itself. Ironically the motive for both these stars was economical.

According to a recent biography of Richard Harris by Michael Feeney Callan, Caprice came between two big budget epics for Harris, Hawaii and Camelot both of which are better films. He and his then wife Elizabeth were living in the high end gated community of Bel Air and Harris was feeling squeezed. What to do, but take a film offer strictly for the money. As for Day this was one of many film offers negotiated by her Svengali of a husband Martin Melcher which she hated but as she later learned Melcher had depleted their savings with horrible investments.

Also according to Harris since this film was about espionage, Day thought she was getting Sean Connery as her leading man. She plays an industrial spy who is double dealing a pair of cosmetics tycoons played by Edward Mulhare and Jack Kruschen. But she has another mission agenda. Her father was killed because he had found a narcotics smuggling ring working inside one of the firms. She's out to find the guy behind the ring who may have personally killed her father who was an Interpol Agent.

Enter Richard Harris who plays a mysterious agent himself and keeps pulling Doris out of harm's way. Doris upon signing for the film had the parts switched so that she was the industrial spy, that was to be a male role originally. The film is the only one that calls for her to be an action hero.

Caprice's biggest problem is that it can't seem to make it's mind up whether it is a spoof or somewhat serious. I can see why Doris would have wanted Sean Connery in the role, who better than the screen's James Bond for a spy film. Connery might have had the good sense to pass on this, but Harris needed the money.

They did not like each other these two, but then again Harris got along with very few of his colleagues during his early hell raising days. He was quoted in the book as saying kissing Day was like kissing his old maiden aunt.

Frank Tashlin who certainly did a lot better stuff in his career directed Caprice. The whole project reeks of indifference from its director and its stars.

"Caprice" is a film that supposedly, even its star, Doris Day, wasn't too pleased with the finished product. This is clearly evident in what Frank Tashlin, its director, and also one of its writers, created as a vehicle for Ms. Day. In fact, it was one of the last movies in which this luminous star appeared. Who can blame her?

The plot is the worst thing going for the movie. We don't believe for a moment all that is happening. Mr. Tashlin doesn't even get the charismatic Ms. Day to turn her charm as she always did in her films before. Then there is the problem of the way the star is made to look. Doris Day, who was forty five at the time, still had her lovely figure, but some of the costumes she is made to wear are just plain hideous! And what about those ugly hats? At that time most women all over the world, even those in business, had tossed their hats aside and wouldn't get caught dead with one of those worn by Ms. Day in the movie.

One can't blame Doris Day for the finished product. Richard Harris looks clear out of his element, after all, he wasn't notorious for playing comedy. Ray Walston, Jack Krushen, Edward Mulhare and Lilia Skala play supporting roles.

This film is only for hard core Doris Day fans only.

MASTER PLAN: steal a formula for water resistant hairspray. The director and star of "The Glass Bottom Boat" returned for another stab at comical intrigue. This one starts as a seemingly serious thriller about someone getting killed on the snowy Alpine slopes and others involved in some sort of espionage in Paris; the ski chases even precede the ones in the James Bond thriller "On Her Majesty's Secret Service"(69). But, we soon find out it involves corporate espionage, not the other kind; it's all about stealing formulas for perfumes and fragrances, with Doris Day playing a private secret agent in the employ of a tycoon (Mulhare). We're not sure who Richard Harris works for; he might be working for Mulhare's character; or, for one of his enemies; or, both; then again, he might be working for someone else entirely. Walston (of "My Favorite Martian" and "Picket Fences" TV shows) is the intense chemist and odd ladies man, obviously a little sinister. They all take the proceedings quite seriously, as if he who ends up with the special formula for hairspray shall rule the world. I found it difficult to get too excited as the story wore on, especially since I was expecting to laugh for a good portion of it. There is some mystery attached, I will give it that, as we wait for everyone to reveal what they're really doing by the conclusion.

This is a bit more stylish than "The Glass Bottom Boat" and has some real nice sets, trying to capture the elegance of a James Bond-wannabe suspensor, but it also lacks the breezy qualities of the previous Doris Day comedy. Since it is supposed to be a comedy when all is said and done, it fails to capture that easygoing tone of the better laughers, with barely any chuckle-inducing scenes, despite some silly slapstick involving Day's clumsiness (again). This is probably because it has trouble deciding what it wants to be - a comedy or a thriller - and the two tones scrape against each other uncomfortably rather than jell. Day and Harris have no chemistry and Harris was obviously miscast - this type of role is for Rock Hudson, James Garner or Rod Taylor to breeze through; Harris is known for his intense dramas & realistic thrillers, and his intensity still seeps in despite his efforts to be carefree. When he and Day are telling the audience that they've fallen in love in the last act I didn't buy it for a second; I expected him to start slapping her or just shoot her as the movie was ending. There's also not much surprise as to who the real villains are; Mulhare, for example, was best known for his dastardly role in "Our Man Flint" at this point. The actress Tsu was quite cute in a secondary role and it's too bad she didn't have a bigger career. Watch for actor Pollard ("Bonnie and Clyde") hamming it up as Tsu's boyfriend in one scene. The filmmakers also broke a fourth wall here by having Day's character in a theater which is playing the movie "Caprice." This was the one genuinely amusing moment. Heroine:6 Villain:6 Male Fatales:5 Henchmen:4 Fights:4 Stunts/Chases:5 Gadgets:5 Auto:5 Locations:6 Pace:5 overall:5

The writing is terrible, but the film editing is an utter disaster, jumping from scene to scene in a disjointed manner where the transitions are neither explained nor make sense. My wife and I, BIG Doris Day fans, had to abandon this disaster shortly before the halfway mark.

Drug smuggling in the cosmetics industry, with Doris Day and Richard Harris as industrial spies. Wild Frank Tashlin slapstick--funny gadgets, double agents--mixes curiously with serious action sequences involving a sniper; there's also a transvestite reveal (!) and at least one movie in-joke (Day's father, seen in a photograph, is Arthur Godfrey, who played her dad in Tashlin's "The Glass Bottom Boat"). Certainly an odd choice for Day, who later claimed her manager-husband signed her to the project before she could read the script (it was later tailored to her--and very well). She's dryly sarcastic throughout, and very appealing in her scenes with Harris. Incredible Leon Shamroy cinematography, terrific locations, plus a hilarious bit by Michael J. Pollard as a hippie. A strange one, indeed, but fun. *** from ****

This must be the worst film Doris Day ever made. After a bright beginning it descends into a ridiculously muddled plot and an uneasy mix of comedy and drama. Richard Harris is unlikeable as the love interest - and his relationship with Doris is ill-defined, their sudden great love emerging from nowhere. The wildly melodramatic ending where everyone is pulling guns on everyone is just awful, and the conclusion that the baddie only did it because he secretly wanted to be a woman is both ludicrous and offensive.

The only thing that saves this from getting a 1 is Doris' wonderful mod clothes!

Surely Fox had intended this one for Raquel Welch but dusted it off when Doris needed to complete her three picture deal with the studio. She had saved their necks at Christmas time in 1963 with MOVE OVER, DARLING (the re-tooled SOMETHING'S GOTTA GIVE), but two years later she was rewarded with DO NOT DISTURB, a second-rate farce based on a third rate play. Then along came this attempt to turn Doris into a go-go mod spy with BATMAN trimmings. Well, Doris is always watchable and there are a few funny and/or exciting set pieces, and the photography is gorgeous, but really, I am shocked that a major MAJOR talent like Doris Day settled for this feeble outdated-the-minute-it-was-released effort. There isn't even a decent ending! The way films were being made and watched and reviewed and studied was changing rapidly (mostly for the good) in 1967, and it is a shame that an iconic performer like Miss Day could not ride the wave to a nice third act to her movie career. Still, this does have the makings of a cult film, and perhaps when viewed in context of the time it was made and released (Spring of 1967) future audiences will appreciate it for what it is rather than what it is not. Watch anyway!

The only thing one can say about "Caprice" is that it will not be mentioned along with the name of Doris Day, but as the end of a glorious era of technical innovation in film. Cinemascope, Fox's answer to television, gave theater-goers new thrills, new vistas, and greater entertainment value for their hard earned dollar. We take the wide-screen process for granted, but thanks to an enterprising Frenchman, we have widescreen films to this day. Alfred Newman, the genius composer and conductor, wrote the extension for his Fox opening. For ten years, no one heard the famous opening until May 25, 1977 at the premier of "Star Wars." Unfortunately, Cinemascope ended on a whimper and not a bang, as "Caprice" is simply forgettable in every way.