First off, sorry about the horribly wonky quality of the still. It was taken in a hurry, under less than optimum circumstances.
Secondly, hey, I didn't know this was gonna be a series! Here's the inadvertent part 1.
So I'm sitting around the house thinking I ought to get to the gym but I keep hearing the wind whistling against my living room windows and thinking, "Hell, no, I'm not going out there," so I put on TCM, which is showing Boy's Night Out, a 1962 ostensible sex comedy directed by Michael Gordon and starring Kim Novak, James Garner, Howard Duff, and a bunch of others, including Oskar Homolka, William Bendix and Cary Grant's mom, Jessie Royce Landis. These items are largely worth watching precisely because of these casts, and also the insane set design (art directors here were George W. Davis and Hans Peters), and of course the "unenlightened" attitudes and all that. The set up here is that Novak plays a sociology grad student who decides to do a "study" of certain male sexual attitudes by setting up a flat wherein she "entertains" three married men and one bachelor, of course withholding her sexual favors from them all, because, you know, she's just writing a paper, for God's sake. Guess who plays the bachelor with whom she falls in love? (Not to mention her thesis advisor? Or the bartender who gives the reciprocating bachelor sage advice?)
Anyway, to make herself more attractive, Novak's brainiac Cathy "has" to play dumb, so when Howard Duff's Doug comes over, she, after repelling his carnal advances of course, asks, "How about some music?" to which he of course assents—he HAS to!—and then she puts the platter on the stereo, which promptly malfunctions (she of course rigged the hi-fi to go screwy), enabling him to feel very manly by fixing it. What's most interesting is not the scenario per se but rather the choice of music that Novak's character offers Doug.
"Which would you like?" she asks. "The 'Love/Death' theme from Tristan or the Romeo and Juliet overture?"
Doug, no doubt feeling, um, blue, shoots back,"Play the 'Love/Death.' I'm in a 'Love/Death' mood."
And so, she puts on the "Liebestod" from Wagner's Tristan und Isolde, which is of course the inspiration for Bernard Herrman's "Scene d'amour" music from Vertigo, the recent appropriation of which made Ms. Novak extremely agitated, and which I wasn't too crazy about either. Is nothing sacred, indeed.