SEND ME NO FLOWERS

If you’re looking to recapture the flirty fabulous fun of such Day/Hudson flicks like PILLOW TALK and LOVER COME BACK, you’re going to be sorely disappointed with this effort. While the chemistry between Day and Hudson is still palpable, this re-teaming leaves much to be desired – like a decent plot and witty dialogue. By making Hudson a hypochondriac, the filmmaker’s were clearly trying to give him something more to do than stand around and look gorgeous. Unfortunately, he’s not remotely believable as a mopey, disease-obsessed neurotic. That, however, is the least of this film’s many errors in judgment. When his worst fears suddenly become a reality, or so he misunderstands, he attempts to find a new husband for his wife (Day), a lovely woman who’s apparently incapable of taking care of her self without the help of a man. The stereotype of the dependant wife is one Day was able to avoid for most of her cinema career and she’s unable to pull it off here. She may play ditzy with the best of them; however it’s clear from her demeanor that she is anything but.

That being said, neither of these issues is the film’s main problem, which is the lack of screen time between Day and Hudson. Since they’re already married when the story begins we’re denied the deliciously witty, sexual innuendos that make their other films so much fun. Instead, we’re treated to a buddy act between Hudson and Tony Randall, as they attempt to come to terms with Hudson’s impending demise and his wife’s marital future. While they make a charming comedy duo, their onscreen chemistry isn’t exactly what I was expecting to see. Though Randall is so brilliant as Hudson’s neighbor – drowning his sorrow at his friend’s fate with every bit of alcohol he can get his hands on – his performance almost makes the rest of the plot worth sitting through. Of course, Hudson’s attempt to force his wife into the arms of an old boyfriend (March) leads to an even greater misunderstanding than his fatal diagnosis, which Day doesn’t know about. When she finds him in the arms of another woman, the already wacky plot takes an obvious turn that causes the proceedings to lose whatever good will the film previously generated.

In the end, once they both discover he’s going to live after all, he’s forced to eat crow and try to repair the damage his constant worrying has done to their marriage. Day takes him back, but not before meting out a little vengeance of her own for all the crap his determination to die young put her through. Unfortunately for us, Day’s punishment and Hudson’s groveling are not heartfelt or funny enough to make this an experience worth savoring. Sure, SEND ME NO FLOWERS has some outrageous and romantic moments (especially Day’s revenge seduction scene), but they are few and far between. The plot leaves Day with nothing to do but look pretty and act frustrated and has Hudson fumbling for a character worthy of his comedic talent and rakish charm. Only Randall comes out ahead. His boozy performance is the high point of the film. He steals every scene he’s in from his A-List compatriots. Sometimes being the third wheel is a good thing. Romantic comedies are inherently filled with outrageous situations on the road to happiness. This one just happens to find a ditch of ridiculousness it can’t find a way around. Not the worst of its’ genre, but certainly nothing to write home about. For a silly, sexy, adult good time, check out Day and Hudson’s best pairing, PILLOW TALK. A film worthy of their talent and guaranteed to put a smile on your face and love in your heart.