Jennifer Nelson and Bruce Templeton meet when Bruce reels in her mermaid suit leaving Jennifer bottomless in the waters of Catalina Island. She later discovers that Bruce is the big boss at her work (a research lab). Bruce hires Jennifer to be his biographer – only to try and win her affections. However, there’s a problem. Bruce’s friend General Wallace Bleeker believes that Jennifer is a Russian spy, and he has her placed under surveillance. Then, when Jennifer catches on…—IMDb
Few filmmakers have moved as easily between animated and non-animated work as New Jersey-born Frank Tashlin. A school drop-out at age 13, he drifted into a multitude of jobs before he went to work for producer Paul Terry at 17, as a cartoonist on Terry’s Aesop’s Film Fables animated shorts. Three years later he was working as a gagman for Hal Roach, and soon after began his own comic strip, which ran through 1939. He worked for Disney’s story department until the mid ‘40s, and later joined Warner Bros., where he became a director for Leon Schlesinger’s cartoon unit. But from the middle of the decade onward, he moved out of animated work entirely and into comedy screenwriting, adapting One Touch of Venus as a film vehicle, and then taking up writing for Bob Hope (The Paleface, etc.) and Red Skelton (The Fuller Brush Man, etc.), and later became a director for Jerry Lewis (Geisha Boy, Cinderfella), Hope (Son of Paleface), and Doris Day (The Glass Bottom Boat). His experience in cartoons… read more
Though it's brief, the chase at the end of the film stands as one of the finest slapstick set-pieces in history. There are nods to Keaton all over the film and of course Doris Day is a live action cartoon character on par with the director's best creations at Warner Bros. Pure Tashlin. Pure filmmaking.