YMMV / Pillow Talk

• Hilarious in Hindsight: Rock Hudson pretending to be gay. Particularly since he'd already told his friends at the time, and they all loved watching this sequence.
• Spiritual Successor: Lover Come Back (1961) and Send Me No Flowers (1964) reunited Day, Hudson, and Tony Randall for further comedic escapades, albeit as different characters in each.
• Values Dissonance: The finale could be mistaken for Black Comedy Rape these days. Even a couple of lines almost make it seem like that.
  • When Tony Walters very aggressively makes a pass at Jan in the front seat of his car, her attempts to fend him off are Played for Laughs. Although she's successful, Jan doesn't threaten to report him for sexual assault and he refuses to take her home, pressuring her into going for a drink and a dance instead as a transparent attempt to get her drunk (which she sees through). The movie doesn't really treat him as anything more than a nuisance, and only Rex mentions he can't stand men who attempt to make passes at women who aren't interested, seemingly to set up his charming gentleman from Texas persona more than he actually means it, and Tony never shows up again in the film.
  • Brad's wooing of Jan whilst pretending to be another person would probably nowadays be seen as unpleasant at best and actively, cruelly manipulative at worst. Even his perfect man persona Rex is subject to this - the movie presents him as being 'one of the good ones' partly because he achieved the bare minimum of treating Jan with respect and he doesn't try to pressure Jan into sex in his hotel room (and even this action was part of Brad's head games with her).
  • Similarly, the movie's portrayal of Jonathan. Jan rejects him at the start of the movie but he most of the rest of it thinking he has a chance and going so far as to investigate Rex to break up Jan's relationship with him. Though Rex isn't what he appears, Jonathan had no reason to suspect that and his invasion of her privacy and constant meddling in her life isn't really seen as a moral failing by the film, either. To a modern viewer, it can easily come off that Jan has interactions with three romantic paramours (Tony, Brad and Jonathan) who are all deeply flawed and that she could do better than all three of them - or at the very least, she'd solve more problems by getting a new phone line than by choosing any of the men the movie presents. At the start of the movie her housekeeper implies her being single is a problem that needs fixing much more directly than the movie really calls out any of the male leads (except maybe Brad, who is presented as being in the wrong but is pretty Easily Forgiven).

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