walking with their baby and Roger through a park. The two leave Roger alone with the baby for a few moments, during which time Dr. Gruber approaches him to ask how things are going with Philip. In response, Roger joyously displays the baby, causing another misunderstanding with his therapist. Cast Production Cary Grant was a big fan of The Honeymooners and Audrey Meadows in particular, and was responsible for getting her the part of Connie. In her autobiography, Doris Day wrote that Cary Grant was very professional and exacting with details, helping her with her wardrobe choices for the film and decorating the library set with his own books from home. However, he was a completely private person, totally reserved, and very distant. Their relationship on this film was amicable, but totally devoid of give-and-take. When Roger (Gig Young) is showing Cathy (Doris Day) the list of potential husbands for her, one of the names on the list is Rock Hudson, Day's co-star in Pillow Talk, Lover Come Back, and Send Me No Flowers. In fact, Hudson had expected to be cast as Philip, but director Delbert Mann wanted Cary Grant. A news item in the July 20, 1961 Daily Variety noted that Cary Grant had "telephoned the French automotive company, Citroën, to order a new car for use in the film." The factory reportedly shipped “the display model” to the studio without hesitation and the car is prominently featured in the film, garnering key publicity for the new roadster model, the Citroën DS 19 Décapotable Usine. Release The film grossed $17.6 million at the box office, earning $7.9 million in theatrical rentals in the United States and Canada. It was the 4th highest-grossing film of 1962. It was the fastest film to gross over $1,000,000 at a single theatre, reaching that milestone in five weeks at Radio City Music Hall in New York and was there for another five weeks setting a theatre record gross at the time of $1.9 million. Reception Review aggregator Rotten Tomatoes gives the film an approval rating of 78% based on reviews from 9 critics. The Daily Variety film review on May 9, 1962 noted "The gloss of That Touch of Mink, however, doesn't obscure an essentially threadbare lining," while "Miss Day...certifies herself an adept farceur with this outing." Critic Emanuel Levy notes that "Day performs with some charm her familiar type, the world’s