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Doris Day (born Doris Mary Anne Kappelhoff; April 3, 1922 – May 13, 2019) was an American actress and singer. With an entertainment career that spanned nearly 50 years, Day was one of the most popular and acclaimed female singers of the 1940s and 1950s, with a parallel career as a leading actress in Hollywood films, where she became one of the biggest box-office stars of the 1960s. She was known for her on-screen girl next door image and her distinctive singing voice.

Key Information

Day began her career as a big band singer in 1937, achieving commercial success in 1945 with two No. 1 recordings, "Sentimental Journey" and "My Dreams Are Getting Better All the Time" with Les Brown and His Band of Renown. She left Brown to embark on a solo career and recorded more than 650 songs from 1947 to 1967. Her recording of "Que Sera, Sera (Whatever Will Be, Will Be)" became known as her signature song and was inducted into the Grammy Hall of Fame in 2011.

Day made her film debut with the musical Romance on the High Seas (1948). She played the title role in the musical Calamity Jane (1953) and starred in the thriller The Man Who Knew Too Much (1956). She co-starred with Rock Hudson in three successful comedies: Pillow Talk (1959), for which she was nominated for the Academy Award for Best Actress, Lover Come Back (1961) and Send Me No Flowers (1964). Day also worked with James Garner on both Move Over, Darling (1963) and The Thrill of It All (1963) and starred alongside Clark Gable, Cary Grant, James Cagney, David Niven, Ginger Rogers, Jack Lemmon, Ronald Reagan, Rex Harrison, Myrna Loy, and Rod Taylor in various films. After ending her film career in 1968, she starred in her own television sitcom The Doris Day Show (1968–1973).

In 1989, Day was awarded the Golden Globe and the Cecil B. DeMille Award for Lifetime Achievement in Motion Pictures. In 2004, she was awarded the Presidential Medal of Freedom. In 2008, she received the Grammy Lifetime Achievement Award as well as a Legend Award from the Society of Singers. In 2011, she was awarded the Los Angeles Film Critics Association's Career Achievement Award. As of 2020, Day was one of eight recording artists to have been the top box-office earner in the United States four times.[1][2] Day was a prominent advocate for animal welfare and founded the advocacy group Doris Day Animal League (DDAL) and the non-profit organization Doris Day Pet Foundation, now the Doris Day Animal Foundation (DDAF).[3]

Early life

[edit]
Childhood home in Cincinnati

Day was born Doris Mary Kappelhoff[4] on April 3, 1922, in Cincinnati, Ohio,[5] the daughter of German-American[6][7][8] parents Alma Sophia (née Welz; 1895–1976) and William Joseph Kappelhoff (1892–1967). She was named after actress Doris Kenyon.[9] Her mother was a homemaker, and her father was a music teacher and choirmaster.[10][11] Her paternal grandfather Franz Joseph Wilhelm Kappelhoff immigrated to the United States in 1875 and settled within the large German community in Cincinnati.[7][12] For most of her life, Day stated that she was born in 1924, but on the occasion of her 95th birthday, the Associated Press found her birth certificate that showed a 1922 year of birth.[5]

Day had two older brothers: Richard (1917–1919), who died before her birth, and Paul (1919–1957).[13] Her father's infidelity caused her parents to separate in 1932 when she was 10.[2][14] She developed an early interest in dance, and in the mid-1930s formed a dance duo with Jerry Doherty that performed in nationwide competitions.[15] She had signed a contract with a casting company to be a dancer and she was preparing to move to Los Angeles to pursue this opportunity. Family friends that lived just north of Cincinnati, in Hamilton, Ohio, planned a going-away party for her, but tragedy struck on her way to the party.[16] On October 13, 1937, while Day was riding with friends, their car collided with a freight train, and she broke her right leg, curtailing her prospects as a professional dancer.[17][18][19]

Career

[edit]

Early career (1938–1947)

[edit]
Day and Bob Crosby (1940)

While recovering from her car accident, Day sang along with the radio and discovered her singing talent. She later said: "During this long, boring period, I used to while away a lot of time listening to the radio, sometimes singing along with the likes of Benny Goodman, Duke Ellington, Tommy Dorsey, and Glenn Miller. But the one radio voice I listened to above others belonged to Ella Fitzgerald. There was a quality to her voice that fascinated me, and I'd sing along with her, trying to catch the subtle ways she shaded her voice, the casual yet clean way she sang the words."

Day's mother Alma arranged for Doris to receive singing lessons from Grace Raine.[20] After three lessons, Raine told Alma that Day had "tremendous potential" and gave her three lessons per week for the price of one. Years later, Day said that Raine had a greater effect on her singing style and career than had anyone else.[21]

Day at the Aquarium Jazz Club, New York (1946)

During the eight months when she was receiving singing lessons, Day secured her first professional jobs as a vocalist on the WLW radio program Carlin's Carnival and in a local restaurant, Charlie Yee's Shanghai Inn.[22] During her radio performances, she first caught the attention of Barney Rapp, who was seeking a female vocalist and asked her to audition for the job. According to Rapp, he had auditioned about 200 other singers.[23]

In 1939, Rapp suggested the stage name Doris Day[24] because the Kappelhoff surname was too long for marquees and he admired her rendition of the song "Day After Day".[25] While working with Rapp, she sang for his band, the New Englanders, and was paid $50 per day; her manager stole half.[26]

After working with Rapp, Day worked with bandleaders Jimmy James,[27] Bob Crosby[28] and Les Brown.[29] In 1941, Day appeared as a singer in three Soundies with the Les Brown band.[30]

While working with Brown, Day recorded her first hit recording, "Sentimental Journey", released in early 1945 and which went to #1 on the Billboard. It soon became an anthem for World War II servicemen.[31][32] The song continues to be associated with Day, and she rerecorded it on several occasions, including a version for her 1971 television special.[33] During 1945–46, Day (as vocalist with the Les Brown Band) had six other top ten hits on the Billboard chart: "My Dreams Are Getting Better All the Time", "'Tain't Me", "Till the End of Time", "You Won't Be Satisfied (Until You Break My Heart)", "The Whole World Is Singing My Song" and "I Got the Sun in the Mornin'".[34] Les Brown said, "As a singer Doris belongs in the company of Bing Crosby and Frank Sinatra."[4]

Early film career (1948–1954)

[edit]
Gordon MacRae and Day in Starlift (1951)

While singing with the Les Brown band and for nearly two years on Bob Hope's weekly radio program,[18] Day toured extensively across the United States as the era of big bands had given way to solo pop singers.

Her performance of the song "Embraceable You" impressed songwriter Jule Styne and his partner Sammy Cahn, and they recommended her for a role in Romance on the High Seas (1948). Day was cast for the role after auditioning for director Michael Curtiz.[35][36] She was shocked to receive the offer and admitted to Curtiz that she was a singer without acting experience but he appreciated her honesty and felt that "her freckles made her look like the All-American Girl."[37]

The film provided her with a No. 2 hit recording as a soloist, "It's Magic", which occurred two months after her hit "Love Somebody", a duet with Buddy Clark and they would have another hit shortly after that with a cover of Patti Page's "Confess."[38] Her first solo hit was "Sentimental Journey" in 1945. Day recorded "Someone Like You" before the film My Dream Is Yours (1949), which featured the song.[39] In 1950, she collaborated as a singer with the polka musician Frankie Yankovic,[40][41] and the U.S. servicemen in Korea voted her their favorite star.

Her heyday as a hitmaker was from 1948 to 1951 when she placed 15 songs on the Billboard Hot 30 list and was one of the top female pop vocalists, competing with rivals such as Dinah Shore, Jo Stafford, and Patti Page.

Day continued to appear in light musicals such as On Moonlight Bay (1951), By the Light of the Silvery Moon (1953) and Tea For Two (1950) for Warner Bros.[42][43]

Day with Howard Keel in Calamity Jane (1953)

Her most commercially successful film for Warner Bros. was I'll See You in My Dreams (1951), a musical biography of lyricist Gus Kahn that broke box-office records of 20 years. It was Day's fourth film directed by Curtiz.[44] She appeared as the title character in the comedic western-themed musical Calamity Jane (1953).[45] A song from the film, "Secret Love", won the Academy Award for Best Original Song and became Day's fourth No. 1 hit single in the United States.[46]

Between 1950 and 1953, the albums from six of her film musicals charted in the Top 10, including three that reached No. 1. After filming Lucky Me (1954) with Bob Cummings and Young at Heart (1955) with Frank Sinatra, Day elected to not renew her contract with Warner Brothers.[47]

During this period, Day also had her own radio program, The Doris Day Show. It was broadcast on CBS in 1952–1953.[48]

Breakthrough (1955–1958)

[edit]
Cameron Mitchell, Day and James Cagney in a publicity still for Love Me or Leave Me (1955)

Primarily recognized as a musical-comedy actress, Day began to accept more dramatic roles in order to broaden her range. Her dramatic star turn as singer Ruth Etting in Love Me or Leave Me (1955), with top billing above James Cagney, received critical and commercial success, becoming Day's greatest film success to that point.[49] Cagney said that she had "the ability to project the simple, direct statement of a simple, direct idea without cluttering it," comparing her performance to that of Laurette Taylor in the Broadway production The Glass Menagerie (1945).[50] Day felt that it was her best film performance. The film's producer Joe Pasternak said, "I was stunned that Doris did not get an Oscar nomination."[51] The film's soundtrack album became a No. 1 hit.[52][53]

Day starred in Alfred Hitchcock's suspense film The Man Who Knew Too Much (1956 film) opposite James Stewart. She sang two songs in the film, "Que Sera, Sera (Whatever Will Be, Will Be)", which won an Academy Award for Best Original Song,[54] and "We'll Love Again". The film was Day's 10th to reach the top 10 at the box office. She played the title role in the film noir thriller Julie (1956) with Louis Jourdan.[55]

After three successive dramatic films, Day returned to her musical/comedic roots in The Pajama Game (1957) with John Raitt, based on the Broadway play of the same name.[56] She appeared in the Paramount comedy Teacher's Pet (1958) alongside Clark Gable and Gig Young.[57] She costarred with Richard Widmark and Gig Young in the romantic comedy film The Tunnel of Love (1958)[58] and with Jack Lemmon in It Happened to Jane (1959).

Billboard's annual nationwide poll of disc jockeys had ranked Day as the No. 1 female vocalist nine times in ten years (1949 through 1958), but her success and popularity as a singer was now being overshadowed by her box-office appeal. However, Day still had several more major hits over the '50s, including "Secret Love", "I'll Never Stop Loving You", and "Que Sera Sera (Whatever Will Be Will Be)" despite rock-and-roll reducing interest in older singers. The last charting single she had was "Lover Come Back" in 1962.[59]

Box-office success (1959–1968)

[edit]

In 1959, Day entered her most successful phase as a film actress with a series of romantic comedies[60][61] beginning with Pillow Talk (1959), costarring Rock Hudson, who became a lifelong friend, and Tony Randall. Day received a nomination for an Academy Award for Best Actress,[62] her only career Oscar nomination.[63] Day, Hudson and Randall appeared in two more films together, Lover Come Back (1961) and Send Me No Flowers (1964).[64]

Along with David Niven, Day starred in Please Don't Eat the Daisies (1960) and with Cary Grant in That Touch of Mink (1962).[65] From 1960-1964, she ranked No. 1 at the box office four times, an accomplishment equalled by no other actress except Shirley Temple.[66] Day also received the most Laurel Awards as the top female box-office star, winning seven consecutive awards. Two more than the leading male star, Rock Hudson.[67]

Day teamed with James Garner starting with The Thrill of It All, followed by Move Over, Darling (both 1963).[68] The film's theme song "Move Over Darling", cowritten by her son, hit No. 8 in the UK.[69] In addition to the comedies, Day costarred with Rex Harrison in the thriller Midnight Lace (1960), an update of the stage thriller Gaslight.[70]

Day's next film Do Not Disturb (1965) did fairly well at the box office, but not enough to recoup its costs, and her popularity started to wane. By the late 1960s, in the midst of the Sexual Revolution, critics and comics dubbed her The World's Oldest Virgin.[71][72] She slipped from the list of top box-office stars, last appearing in the top ten with The Glass Bottom Boat (1966). Among the roles she declined was that of Mrs. Robinson in The Graduate, a role that eventually went to Anne Bancroft.[73] In her memoirs, Day wrote that she rejected the part on moral grounds, finding the script "vulgar and offensive."[74]

In another sign of the times, Day was dropped from Columbia Records in 1965 when the label dismissed long-running pop division head Mitch Miller and hired new, young, rock-focused management, ending her active career as a recording artist.

Day starred in the Western The Ballad of Josie in 1967. That same year, she recorded The Love Album, which was not released until 1994.[75] In 1968, she starred in Where Were You When the Lights Went Out? about the Northeast blackout of November 9, 1965. Her final feature, With Six You Get Eggroll, also released in 1968.[76]

From 1959 to 1970, Day received nine Laurel Award nominations (and won four times) for best female performance in eight comedies and one drama. From 1959 through 1969, she received six Golden Globe nominations for best female performance in three comedies, one drama (Midnight Lace), one musical (Jumbo) and her television series.[77]

Bankruptcy and television career

[edit]
On the set of The Doris Day Show

After her third husband Martin Melcher died on April 20, 1968, Day was shocked to discover that Melcher and his business partner and advisor Jerome Bernard Rosenthal had squandered her earnings, leaving her deeply in debt.[78] Rosenthal had been her attorney since 1949 when he represented her in her uncontested divorce action against her second husband, George W. Weidler. Day filed suit against Rosenthal in 1969 and won in 1974, but did not receive compensation until a settlement was reached in 1979.[79]

Day also learned to her displeasure that Melcher had committed her to a television series that became The Doris Day Show.

It was awful. I was really, really not very well when Marty [Melcher] passed away, and the thought of going into TV was overpowering. But he'd signed me up for a series. And then my son Terry [Melcher] took me walking in Beverly Hills and explained that it wasn't nearly the end of it. I had also been signed up for a bunch of TV specials, all without anyone ever asking me.

— Doris Day, OK! magazine, 1996[80]

Day hated the idea of performing on television but felt obliged to forge ahead with the series.[76] The first episode of The Doris Day Show aired on September 24, 1968,[81] and featured a rerecorded version of "Que Sera, Sera" as its theme song. Day persevered with the show, needing to work to repay her debts, but only after CBS ceded creative control to her and her son. The show enjoyed a successful five-year run,[82] although it may be best remembered for its abrupt season-to-season changes in casting and premise.[83]

Day with John Denver on the TV special Doris Day Today
(CBS, February 19, 1975)[84]

Day also completed two television specials, The Doris Mary Anne Kappelhoff Special (1971)[85] and Doris Day Today (1975),[84] and guested on various shows in the 1970s. In 1985 she recorded new songs, which were released in 2011 as My Heart.

In the 1985–86 season, Day hosted her own television talk show, Doris Day's Best Friends, on the Christian Broadcasting Network (CBN).[82][86] The channel cancelled the show after 26 episodes despite the worldwide publicity that it had received due to an appearance by Rock Hudson, who was showing the first public symptoms of AIDS, including severe weight loss and fatigue. He died from the disease later that year.[87] Day later said, "He was very sick. But I just brushed that off and I came out and put my arms around him and said, 'Am I glad to see you'."[88]

1980s and 1990s

[edit]

In October 1985, the Supreme Court of California rejected Rosenthal's appeal of the multimillion-dollar judgment awarded to Day in her suit against him for legal malpractice and upheld the conclusions of a trial court and an appeals court[89] that Rosenthal had acted improperly.[90] In April 1986, the U.S. Supreme Court refused to review the lower court's judgment. In June 1987, Rosenthal filed a $30 million lawsuit against lawyers who he claimed cheated him out of millions of dollars in real-estate investments. He named Day as a codefendant, describing her as an "unwilling, involuntary plaintiff whose consent cannot be obtained." Rosenthal claimed that much of the money that Day lost was the result of unwise advice of other attorneys who suggested she sell three hotels at a loss, as well as oil leases in Kentucky and Ohio.[91] He claimed to have made the investments under a long-term plan and did not intend to sell until they appreciated in value. Two of the hotels sold in 1970 for $7 million, and their estimated worth by 1986 was $50 million.[92]

Terry Melcher stated that his father's premature death saved Day from financial ruin. It was not known whether Martin Melcher was duped by Rosenthal,[93] and Day stated publicly that she believed him innocent of any deliberate wrongdoing, in that he "simply trusted the wrong person."[94] According to author David Kaufman, Day's former costar Louis Jourdan maintained that Day disliked her husband,[95] although Day's public statements suggest otherwise.[96]

Day was scheduled to present, along with Patrick Swayze and Marvin Hamlisch, the award for Best Original Score Oscar at the 61st Academy Awards in March 1989, but suffered a deep leg cut from a sprinkler and was unable to attend.[97]

Day was inducted into the Ohio Women's Hall of Fame in 1981 and received the Cecil B. DeMille Award for career achievement in 1989.[98] In 1994, Day's Greatest Hits album entered the British charts.[75] Her cover of "Perhaps, Perhaps, Perhaps" was included in the soundtrack of Strictly Ballroom.[99]

2000s

[edit]

Day participated in celebrations of her birthday with an annual Doris Day music marathon.[100]

She declined tribute offers from the American Film Institute and the Kennedy Center Honors because they both require that recipients attend in person. In 2004, she was awarded the Presidential Medal of Freedom by President George W. Bush for her achievements in the entertainment industry and for her work on behalf of animals.[101] President Bush stated:

In the years since, she has kept her fans and shown the breadth of her talent in television and the movies. She starred on screen with leading men from Jimmy Stewart to Ronald Reagan, from Rock Hudson to James Garner. It was a good day for America when Doris Marianne von Kappelhoff (sic) of Evanston, Ohio decided to become an entertainer. It was a good day for our fellow creatures when she gave her good heart to the cause of animal welfare. Doris Day is one of the greats, and America will always love its sweetheart.[101]

Columnist Liz Smith and film critic Rex Reed mounted vigorous campaigns to gather support for an Academy Honorary Award for Day.[102] According to The Hollywood Reporter, the academy had offered her the honorary Oscar multiple times, but she declined as she saw the film industry as a part of her past life.[103] Day received a Grammy for Lifetime Achievement in Music in 2008, albeit again in absentia.[104]

Day received Grammy Hall of Fame Awards in 1998, 1999 and 2012 for her recordings of "Sentimental Journey", "Secret Love" and "Que Sera, Sera", respectively.[105] She was inducted into the Hit Parade Hall of Fame in 2007,[106] and in 2010 received the first Legend Award presented by the Society of Singers.[75]

2010s

[edit]

At the age of 89, Day released My Heart in 2011, her first new album since the 1994 release of The Love Album, which was recorded in 1967.[107] The album is a compilation of previously unreleased recordings produced by Day's son Terry Melcher. Tracks include the 1970s Joe Cocker hit "You Are So Beautiful", the Beach Boys' "Disney Girls" and jazz standards such as "My Buddy", which Day originally sang in the film I'll See You in My Dreams (1951).[108][109]

In the U.S., the album reached No. 12 on Amazon's bestseller list and helped raise funds for the Doris Day Animal League.[110] Day became the oldest artist to score a UK Top 10 with an album featuring new material.[111]

In January 2012, the Los Angeles Film Critics Association presented Day with a Lifetime Achievement Award.[112][113]

In April 2014, Day made an unexpected public appearance to attend the annual Doris Day Animal Foundation benefit.[114]

Clint Eastwood offered Day a role in a film that he was planning to direct in 2015,[115] but she eventually declined.[116]

Day granted ABC a telephone interview on her birthday in 2016 that was accompanied by photos of her life and career.[117]

Activism and charity work

[edit]

During the filming of The Man Who Knew Too Much, Day observed the mistreatment of animals in a marketplace scene and was inspired to act against animal abuse. She was so appalled at the conditions with which the animals used in filming were kept that she refused to work unless they received sufficient food and proper care. The production company erected feeding stations for the animals and fed them every day before Day would agree to return to work.

In 1971, she cofounded Actors and Others for Animals and appeared in a series of newspaper advertisements denouncing the wearing of fur along with Mary Tyler Moore, Angie Dickinson and Jayne Meadows.[118]

In 1978, Day founded the Doris Day Pet Foundation, now the Doris Day Animal Foundation (DDAF).[119] An independent nonprofit 501(c)(3) grant-giving public charity, DDAF funds other nonprofit causes that promote animal welfare.[120]

To complement the Doris Day Animal Foundation, Day formed the Doris Day Animal League (DDAL) in 1987, a national nonprofit citizens' lobbying organization on behalf of animals.[121] Day actively lobbied the United States Congress in support of legislation designed to safeguard animal welfare on a number of occasions, and in 1995 she originated the annual World Spay Day.[122] The DDAL merged into the Humane Society of the United States (HSUS) in 2006.[123]

The Doris Day Horse Rescue and Adoption Center, which helps abused and neglected horses, opened in 2011 in Murchison, Texas on the grounds of an animal sanctuary started by Day's late friend, author Cleveland Amory.[124] Day contributed $250,000 toward the founding of the center.[125]

A posthumous auction of 1,100 of Day's possessions in April 2020 generated $3 million for the Doris Day Animal Foundation.[126]

Day actively engaged in HIV/AIDS awareness for many years.[127] Her commitment was primarily focused on raising awareness and fundraising for HIV/AIDS research. She co-organized several fundraising events for HIV/AIDS-related charities and provided financial contributions to research and support programs for individuals affected by the disease. In 2011, the Canadian magazine Gay Globe paid tribute to Day by featuring her on the cover of their #79 edition.[128]

Personal life

[edit]

Day's only child was music producer and songwriter Terry Melcher, who had a hit in the 1960s with "Hey Little Cobra" under the name the Rip Chords before becoming a successful producer whose acts included the Byrds, Paul Revere & the Raiders and the Beach Boys. In the late 1960s, Melcher became acquainted with Charles Manson and nearly signed him to a record deal. In August 1969, the Tate murders, orchestrated by Manson, were committed at the Benedict Canyon house that Melcher had formerly occupied. Melcher died of melanoma in November 2004.[129]

From the 1980s, Day owned a hotel in Carmel-by-the-Sea called the Cypress Inn,[130] an early pet–friendly hotel that was featured in Architectural Digest in 1999.[131]

Marriages

[edit]

Day was married four times.[3] From April 1941 to February 1943, she was married to trombonist Al Jorden (1917–1967), whom she met in Barney Rapp's band.[132] Jorden was violent, had schizophrenia, and died by suicide years after their divorce. When Day became pregnant and refused to have an abortion, he beat her in an attempt to force a miscarriage. Their son was born Terrence Paul Jorden in 1942, and he adopted the surname of Melcher when he was adopted by Day's third husband.

Her second marriage was to George William Weidler (1926–1989), a saxophonist and brother of actress Virginia Weidler, from March 30, 1946, to May 31, 1949.[132] Weidler and Day met again several years later during a brief reconciliation and he introduced her to Christian Science.[133]

Day married American film producer Martin Melcher (1915–1968), who produced many of her films, on April 3, 1951, her 29th birthday, and the marriage lasted until he died in April 1968.[132] Melcher adopted Day's son Terry.[134] As Day and Melcher were both Christian Scientists, she refused to visit a doctor for some time after experiencing symptoms that might have suggested cancer.[135] Following Melcher's death, Day separated from the Church of Christ, Scientist and grew close to charismatic Protestants such as Kathryn Kuhlman, although she never lost interest in Christian Science teaching and practice.[136]

Day's fourth marriage was to Barry Comden (1935–2009) from April 14, 1976, until April 2, 1982.[137] He was the maître d'hôtel at one of Day's favorite restaurants. He knew of her great love of dogs and endeared himself to her by giving her a bag of meat scraps and bones as she left the restaurant. He later complained that Day cared more for her "animal friends" than for him.[137]

Later life

[edit]

After her retirement from films, Day lived in Carmel-by-the-Sea, California. She had many pets and adopted stray animals.[138] She was a lifelong Republican.[139][140]

In a rare interview with The Hollywood Reporter on April 4, 2019, the day after her 97th birthday, Day talked about her work on the Doris Day Animal Foundation, founded in 1978. Asked to name the favorite of her films, she answered with Calamity Jane: "I was such a tomboy growing up, and she was such a fun character to play. Of course, the music was wonderful, too—'Secret Love,' especially, is such a beautiful song."[141]

To commemorate her birthday, Day's fans gathered in late March each year for a three-day party in Carmel-by-the-Sea, California. The event was also a fundraiser for her animal foundation. During the 2019 event, there was a special screening of her film Pillow Talk (1959) to celebrate its 60th anniversary. Speaking about the film, Day stated that she "had such fun working with my pal, Rock. We laughed our way through three films we made together and remained great friends. I miss him."[141]

Death

[edit]

Day died of pneumonia at her home in Carmel Valley, California, on May 13, 2019, at the age of 97. Her death was announced by the Doris Day Animal Foundation.[142][143][144] As requested by Day, the foundation announced that there would be no funeral services, grave marker or other public memorials.[145][146][147]

Filmography

[edit]
Main article: Doris Day filmography

Notable films

[edit]

Discography

[edit]
Main article: Doris Day discography

Studio albums

[edit]

See also

[edit]

References

[edit]

Sources

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Doris Day

View on Grokipedia
from Grokipedia

Doris Day (born Doris Mary Ann von Kappelhoff; April 3, 1922 – May 13, 2019) was an American singer, actress, television personality, and activist. Rising from local performances in her native , she adopted her while singing with Barney Rapp's band and gained prominence as a vocalist with and Les Brown's orchestras, highlighted by the 1945 recording "Sentimental Journey," which sold over two million copies. Day transitioned to motion pictures with her debut in (1948), evolving into one of Hollywood's most successful performers through a series of musicals and comedies, including (1953), featuring the enduring song "Secret Love," and (1959), which earned her an Academy Award nomination for . Her films often showcased her voice and wholesome persona, contributing to her status as the top box-office female star for four consecutive years in the early 1960s. From 1968 to 1973, she starred in the sitcom , which became a ratings success and garnered her a Golden Globe Award for in a Television Series Musical or Comedy. In parallel with her entertainment career, Day emerged as a dedicated for animal protection starting in the 1950s, founding Actors and Others for Animals and later the Doris Day Animal Foundation in 1978 and the Doris Day Animal League in 1987. These organizations advanced initiatives such as "Spay Day USA," which facilitated the sterilization of over 1.5 million animals, and lobbied for addressing pet overpopulation, , and cruelty prevention, earning her the in 2004 for her contributions.

Early Life

Birth and Family Background

Doris Day was born Doris Mary Ann Kappelhoff on April 3, 1922, in the Evanston neighborhood of , , at 3475 Greenlawn Avenue. She was the youngest of three children of William Joseph Kappelhoff, a music , choir master, and organist at St. Mark's , and Alma Sophia Welz, a . Her older brothers were , who died in infancy in 1919 before her birth, and Paul, born in 1919. The Kappelhoff family was of descent, with all four grandparents having immigrated from ; her parents were first-generation Americans.

Childhood and Initial Influences

Doris Mary Ann Kappelhoff was born on April 3, 1922, in , , the youngest of three children to William Kappelhoff, a music teacher and conductor of singing societies, and Alma Sophia Welz, a , both of German descent. The family resided at 3475 Greenlawn Avenue in the Evanston neighborhood. Her brothers were Richard, who died in infancy before her birth, and Paul, several years her senior. From an early age, Kappelhoff displayed a strong interest in , beginning lessons at age seven and training at Hessler's in 's Mount Adams area. Her parents' marriage dissolved through divorce when she was around six years old, after which she lived primarily with her mother; the separation stemmed from her father's infidelity, which she witnessed as a child. By age fourteen, she had formed a dance duo, aspiring to a professional career in performance. However, on October 13, 1937, at age fifteen, a car accident severely injured her legs, derailing her dancing ambitions and confining her to months of recovery. During her , Kappelhoff turned to along with radio broadcasts, revealing a natural vocal talent that shifted her focus from . Her mother enrolled her in lessons with local Grace Raine, who recognized her potential and provided instruction—sometimes without charge—emphasizing breath control and phrasing influenced by styles prevalent on the airwaves. This period marked her initial influences in music, drawing from radio performers and the swing era's rhythmic phrasing, setting the foundation for her later professional career.

Entry into Performing

Doris Day's entry into performing was precipitated by a 1937 car accident at age 15 that crushed her right leg, derailing her ambitions as a professional dancer after months of competitive performances in a local duo. During her extended recovery, she sang along to radio broadcasts, uncovering her vocal aptitude, and received singing instruction from her mother, a teacher. By late 1937, Day commenced local performances in , securing her initial professional vocal role at age 16 on the radio broadcast Carlin's Carnival. She soon joined bandleader Barney Rapp's orchestra, where Rapp coined her stage name "Doris Day" following her rendition of "Day After Day," marking her transition to singing. This engagement honed her skills amid Rapp's ensemble, which toured regionally and emphasized vocalist spotlighting. Day's tenure with Rapp lasted approximately one year, after which she briefly aligned with Bob Crosby's band in 1940, broadening her exposure before her pivotal 1940 integration into Les Brown's orchestra, where "Doris Day and Her Lucky Nine" subgroup propelled her prominence. These formative band affiliations, rooted in Midwestern circuits, established her as a swing-era vocalist by emphasizing clear and emotive phrasing over dance routines.

Professional Career

Musical Beginnings and Big Band Era (1937–1945)


Following a severe car accident in 1937 that fractured her leg and curtailed her dancing ambitions, Doris Day, then Doris Kappelhoff, pivoted to singing professionally in her native . At age 15, she commenced local performances and joined bandleader Barney Rapp's ensemble, where Rapp recommended the stage surname "Day" derived from the tune "Day After Day." With Rapp's , she made her earliest recordings on , 1939, featuring tracks such as "I'm Happy About the Whole Thing" and participated in nationwide broadcasts including "Little Sir Echo." In May 1940, Day auditioned successfully for Bob Crosby's orchestra, assuming the vocalist role at Chicago's Blackhawk Restaurant and supplanting Marion Mann for a brief tenure amid Crosby's status as a premier swing band. She transitioned swiftly in August 1940 to Les Brown's Band of Renown, debuting commercially three months later with Okeh recordings like "(I Ain't Hep to That Step But I'll) Dig It" and "Let's Be Buddies." Throughout the early 1940s, Day's tenure with Brown encompassed radio broadcasts, live engagements, and three 1941 Soundies short films showcasing the band's repertoire. Day's vocal contributions propelled Brown's popularity during , yielding hits including the November 1944 release "Sentimental Journey," which ascended to number one on in 1945, alongside "My Dreams Are Getting Better All the Time" that March. These recordings, characterized by Day's clear, emotive , marked her emergence as a prominent big band vocalist, with the band touring extensively to entertain troops and audiences amid wartime demands. By 1945, her association with Brown had solidified her reputation, setting the stage for postwar solo endeavors while she remained intermittently affiliated with the orchestra.

Post-War Singing Success and Radio Work (1945–1948)

Following , Doris Day remained with Les Brown's Band of Renown, where her vocal performances drove major commercial hits. The band's recording of "Sentimental Journey," released on March 29, 1945, topped the and became a defining anthem, capturing themes of homecoming and that resonated widely with audiences. This success was followed by another number-one hit, "My Dreams Are Getting Better All the Time," later in 1945, which further elevated Day's profile as a band vocalist amid the big band era's transition to solo acts. These recordings, backed by Brown's orchestra, sold millions and established Day's clear, emotive style as a staple in . By 1947, Day departed Les Brown to launch a solo career, signing a with that year. Her initial solo efforts under the label, beginning with sessions in February 1947, capitalized on her band-era momentum, producing tracks that charted strongly. In 1948, she achieved her first solo number-one hit with "Love Somebody," which dominated play charts for five weeks starting May 29. Another key release that year, "It's Magic," tied to her film debut but rooted in her singing trajectory, reinforced her rising solo stature. Day's radio work during this period complemented her recording success, featuring guest spots and regular roles that showcased her versatility. She performed on programs such as The Jack Kirkwood Show and Rudy Vallée's show, building live broadcast experience. In 1948, she joined Bob Hope's radio program as resident singer and straight woman, a role that lasted through 1950 and highlighted her comedic timing alongside musical talent. Additional appearances, including on Al Jolson's Kraft Music Hall on December 30, 1948, and with , expanded her exposure to national audiences via airwaves. These engagements, often live and unscripted, demonstrated her adaptability from band settings to solo broadcasting, paving the way for broader fame.

Film Debut and Early Roles (1948–1954)

Day transitioned from radio and recording success to motion pictures with her screen debut in the Warner Bros. musical , released on June 25, 1948. She portrayed Georgia Garrett, a nightclub singer recruited by a suspicious wife to impersonate her on a South American cruise, allowing the wife to monitor her husband's fidelity. Directed by , the film paired Day with as the husband and featured songs like "It's Magic" and "Put 'Em in a Box, Tie 'Em with a Ribbon," which highlighted her and contributed to its commercial viability as a light . The production grossed sufficiently to affirm ' decision to cast her after Betty Hutton's withdrawal due to , marking Day's entry into Hollywood as a singer-first performer rather than a trained actress. Subsequent roles reinforced her specialization in musicals, often emphasizing her singing amid formulaic plots. In (1949), she played Martha Gibson, a talent scout's protégé groomed for alongside Carson's character, incorporating variety-style performances that echoed her big-band background. (1949) cast her as a fictionalized version of herself in a meta-comedy about a film production, with cameos from stars underscoring studio promotion of her rising profile. By 1950, Day diversified slightly in Young Man with a Horn, portraying Jo Jordan, a supportive vocalist and romantic interest to a troubled trumpeter played by ; the drama allowed dramatic tension beyond song numbers, though her contributions remained tied to musical interludes. Further vehicles solidified her appeal in escapist fare. Tea for Two (1950) featured her as Nanette Carter in a adaptation of the stage hit, betting on a 24-hour windfall to fund a Broadway show, with as co-lead in duet-heavy sequences. The West Point Story (1950) had her as Jan Wilson, aiding a Broadway director (James Cagney) in staging a cadet revue, blending military themes with her effervescent persona. A rare non-musical departure came in Storm Warning (1951), where she enacted Marsha Mitchell, a journalist's sister-in-law entangled in a labor-racketeering murder plot with and , testing her in noir suspense but yielding mixed results due to her limited acting experience at the time. Day's mid-period output leaned into family-oriented musicals, pairing her with MacRae in On Moonlight Bay (1951) as wholesome daughter Sonjie Winfield navigating courtship in 1910s , which spawned a profitable . By the Light of the Silvery Moon (1953) reprised the role amid wartime homefront antics, grossing approximately $4.25 million domestically and reinforcing her box-office reliability in nostalgic Americana. Biographical nods appeared in I'll See You in My Dreams (1951), as songwriter Grace LeBoy Kahn opposite , and The Winning Team (1952), supporting Reagan's in a biopic focused on perseverance through illness. The pinnacle of this phase arrived with Calamity Jane (1953), where Day embodied the titular frontierswoman—a rough-hewn sharpshooter and scout in Deadwood, South Dakota—transforming historical figure Martha Jane Cannary into a comedic tomboy who befriends a performer and woos Wild Bill Hickok (Howard Keel). Directed by David Butler, the Technicolor Western musical grossed $5 million in the U.S., buoyed by Day's athletic physicality in action scenes and the Oscar-winning song "Secret Love," which topped charts and amplified her stardom. Her portrayal, emphasizing unpolished vigor over glamour, demonstrated range within musical constraints while cementing audience affinity for her spirited, all-American archetype. Lucky Me (1954), her final Warner Bros. lead as aspiring entertainer Candy Williams entangled with a composer (Phil Silvers) in Florida, closed the era on a lighter note, transitioning her toward MGM and more mature comedies. These years yielded consistent studio output, prioritizing vocal showcases and light drama over deep characterization, which propelled Day to top-tier popularity without yet exploring dramatic depths.

Breakthrough in Romantic Comedies (1955–1959)

Day's transition into romantic comedies solidified her status as a leading actress, beginning with in , where she portrayed Erica Stone, an idealistic journalism professor who clashes with and eventually falls for a pragmatic editor played by , who enrolls in her class incognito. Directed by and released on April 1, , the film blended screwball elements with professional rivalry, earning positive reviews for Day's spirited performance and contributing to her growing box-office appeal, though it did not match the financial heights of her later pairings. In 1959, Day starred in , a release directed by , in which she played Jane Osgood, a widowed battling a negligent railroad company, with as a aiding her publicity campaign against the corporation led by . The film, emphasizing themes of small-business resilience and budding romance amid comedic corporate satire, premiered in May 1959 and proved modestly profitable, showcasing Day's versatility in lighter, issue-driven comedies while reinforcing her wholesome yet determined screen persona. The pinnacle of this period arrived with , a Universal-International production directed by Michael Gordon and released in October 1959, pairing Day as interior designer Jan Morrow with as the philandering songwriter , whose shared party telephone line sparks conflict and deception-fueled courtship. Nominated for five —including for Day, for Hudson, and wins for Original Screenplay and Thelma Ritter's Supporting Actress role—the film grossed over $18 million domestically against a $1.5 million budget, marking a commercial breakthrough and launching Day's signature "sex comedy" formula of veiled innuendo within constraints. This success, attributed to the chemistry between Day and Hudson, elevated her to top box-office status and defined her 1960s output, though critics noted the genre's reliance on contrived plots over dramatic depth.

Box-Office Dominance and Formula Films (1959–1966)

Following the critical and commercial success of Pillow Talk (1959), which grossed $18.75 million domestically and marked Doris Day's transition to sophisticated romantic comedy, she entered a phase of sustained box-office supremacy. In the Quigley Poll of theater exhibitors, Day ranked as the top star overall in 1960 and again from 1962 to 1964, a feat achieved by few performers and underscoring her appeal to mass audiences amid the studio system's waning influence. This dominance reflected exhibitors' reports of ticket sales driven by her films' reliable profitability, with Day often the sole woman in the top ranks. Day's output during this era largely adhered to a formulaic template in romantic comedies produced by at Universal-International, often in association with her husband Marty Melcher's Arwin Productions. These vehicles cast her as a self-reliant professional woman—such as an advertising executive or socialite—initially repelled by a charming but irresponsible male suitor, typically portrayed by or , whose pursuit involved deception, banter, and escalating romantic tension resolved by marriage. The narratives balanced innuendo with Day's virginal image, avoiding explicit content while exploiting post- censorship relaxations under the Production Code's final years. Key entries included Lover Come Back (1961), reuniting Day with Hudson as competing ad executives in a battle of wits that earned $16.94 million; (1962), where Grant's millionaire woos Day's unemployed artist amid comedic mishaps, grossing $14.63 million; and (1964), the third Hudson pairing, featuring a hypochondriac misunderstanding a terminal diagnosis, which took in $9.13 million. Other formula adherents like The Thrill of It All (1963), with as a turned TV pitchwoman, and (1963), a remake of opposite Hudson, further capitalized on this blueprint, yielding $11.78 million and $12.71 million respectively. Interspersed were deviations, such as the suspense thriller (1960), where Day played a stalked alongside and , grossing $7.4 million, and the family comedy (1960) with , which earned $11.1 million by softening the formula into domestic humor. Musical spectacle (1962), co-starring Hudson in a circus tale, underperformed at $5.8 million despite spectacle, signaling limits to extensions. By mid-decade, audience fatigue with the repetitive structure emerged, evident in declining rankings: third in 1965's Quigley Poll for Do Not Disturb ($8 million), a marital with , and eighth in 1966 for The Glass Bottom Boat ($9.99 million), a spy with that attempted modernization but failed to reverse the trend. These later entries grossed less relative to earlier hits, correlating with broader shifts toward edgier youth-oriented cinema, yet Day's earlier streak had cemented her as Hollywood's highest-paid , with earnings reportedly exceeding $1 million per by 1960.

Television Transition and Final Projects (1966–1973)

Day's final films from 1966 to 1968 included (1966), a with elements co-starring , followed by Caprice (1967), (1967), Where Were You When the Lights Went Out? (1968), and (1968), her last cinematic role. These productions received critical panning and underperformed commercially, signaling the decline of her formulaic film appeal amid shifting audience tastes toward edgier content. In 1968, Day pivoted to television, launching on , which premiered on September 24, 1968, and ran for five seasons until its finale on March 12, 1973, totaling 128 half-hour episodes. The series initially portrayed Day as Doris Martin, a widowed mother managing a ranch with her young sons Billy (Philip Brown) and Toby (Tod Starke), assisted by ranch foreman Buck Webb (). This setup emphasized wholesome family dynamics and rural simplicity, aligning with Day's established public image. Significant format alterations occurred across seasons, driven by production changes and efforts to refresh the narrative. Season 2 retained the ranch premise but introduced minor tweaks; by season 3, Martin and her sons relocated to a apartment, reducing Webb to recurring status while adding urban elements like journalism work. Seasons 4 and 5 eliminated the sons entirely, repositioning Martin as a single associate editor at Today's World magazine, with supporting cast including editor Cy Bennett (Larry Mathews in season 4, replaced by as Harrison Cabot in season 5) and secretary Myrna Gibbons (). These shifts, including multiple title sequence overhauls and producer turnovers, reflected attempts to modernize the show amid declining ratings post-season 3, though it maintained sufficient viewership to conclude on Day's terms rather than cancellation. The program's success provided financial stability amid Day's personal fiscal recovery, grossing high ratings in early seasons and leveraging her star power for guest appearances by figures like . Upon its 1973 conclusion, Day withdrew from on-screen entertainment, citing exhaustion and a preference for , thereafter channeling efforts into initiatives rather than further projects.

Public Image and Reception

Construction of the Wholesome Persona

Doris Day's wholesome persona, often characterized as the "" with an aura of innocence and optimism, was primarily constructed through strategic studio casting and promotion during her film career. Warner Bros., her primary studio in the late 1940s and , emphasized her vivacious blonde appearance and cheerful demeanor in musicals and comedies, positioning her as a symbol of postwar American prosperity and straightforward patriotism devoid of irony. This image originated from her big band singing roots, where hits like "Sentimental Journey" (1945) established her as an accessible, upbeat performer, which transitioned seamlessly to screen roles highlighting freckled accessibility and reliability. Key films reinforced this persona by casting Day in light-hearted, chaste narratives that contrasted with sex symbols like . In (1953), she portrayed a plucky, tomboyish frontierswoman, blending wholesomeness with , while (1959) and subsequent romantic comedies with depicted her as a virginal yet feisty career woman navigating domestic bliss without overt sexuality. These roles, produced under her husband and manager , prioritized formulaic appeal for commercial dominance, earning her top box-office female star rankings from theater owners in 1960 and 1962–1964. Day herself acknowledged the fabricated nature of this image in her 1975 autobiography, stating, "My public image is unshakably that of America’s wholesome virgin, the , carefree and brimming with happiness... An image, I can assure you, more make-believe than any part I ever played." While her natural talent for one-take performances and resilient personal traits contributed to its authenticity, the persona was deliberately amplified by Hollywood's focus on sexless comedies and songs like "Que Sera, Sera" (1956), aligning with audience desires for escapist positivity amid cultural shifts. This construction, though commercially successful, often overshadowed her dramatic capabilities, as seen in acclaimed turns like Love Me or Leave Me (1955).

Commercial Achievements and Box-Office Records

Doris Day emerged as a major box-office force in the , with her films consistently ranking among the industry's top earners due to her appeal in musicals and comedies. Her commercial viability was affirmed through exhibitor polls, such as the annual Quigley Poll conducted by Motion Picture Herald, which gauged theater owners' assessments of star drawing power based on ticket sales. Day's rankings reflected direct revenue impact, as her vehicles drew audiences seeking escapist entertainment amid post-war economic recovery and rising cinema attendance. She achieved the number one position in the Quigley Poll multiple times, tying for sixth place among stars with the most top rankings historically. Confirmed top placements include 1962, when she led ahead of Rock Hudson and Cary Grant, driven by hits like That Touch of Mink. In 1964, theater owners again voted her the top money-making star, capping a streak of dominance in the early 1960s. These polls, reliant on empirical data from bookings and grosses, underscored her reliability for studios like Warner Bros. and Universal, where her films recouped investments through high attendance. Individual films exemplified her earnings potential. (1959) grossed $18 million domestically, securing fifth place among the year's highest-grossing releases and launching her formulaic phase. Tea for Two (1950) earned $4.8 million in the U.S., marking an early Warner Bros. success. (1953) similarly profited from her musical-comedy hybrid, contributing to sustained popularity. Adjusted for inflation, many of her titles, including Lover Come Back (1961) at approximately $385.6 million domestic equivalent, highlight the scale of her audience pull relative to era averages.
FilmRelease YearU.S. Gross (Unadjusted, in millions)Notes on Performance
Pillow Talk1959$18.0Fifth highest-grossing film of 1959; key to Academy recognition for screenplay.
Tea for Two1950$4.8Early musical hit boosting her studio value.
The Winning Team1952$3.4Solid baseball biopic earnings amid rising stardom.
Across 39 features from 1948 to 1968, Day's output averaged strong returns, with over two dozen exceeding $100 million in inflation-adjusted domestic terms, positioning her as Hollywood's preeminent female earner during her peak. This record stemmed from repeatable formulas—lighthearted pairings with leads like —rather than innovation, yet delivered verifiable profitability amid declining studio attendance post-1950s.

Critical Assessments and Artistic Versatility

Doris Day's critical reception highlighted her innate talent across and , with reviewers frequently praising the effortless naturalism that defined her performances. Her voice was acclaimed for its technical excellence, including perfect , fresh tone, and ability to infuse songs with intimacy and drama, as evidenced in her big-band era work and film musicals like (1953). Acting critiques similarly emphasized her believability and emotional authenticity, though her wholesome persona sometimes overshadowed recognition of deeper range, leading to in lighter fare despite commercial triumphs. Day's artistic versatility manifested in her navigation of multiple genres, from musicals and romantic comedies to biopics, suspense thrillers, and Hitchcockian dramas. In the biopic Love Me or Leave Me (1955), she portrayed jazz singer Ruth Etting in a turbulent relationship with a possessive manager, delivering a performance noted for its dramatic depth and departure from her typical roles, with contemporary reviews commending the chemistry with James Cagney and her handling of heavier emotional material. Her role in Alfred Hitchcock's The Man Who Knew Too Much (1956) combined maternal distress with vocal highlights, including "Que Sera, Sera," while Midnight Lace (1960) required her to convey paranoia and vulnerability as a stalked woman, showcasing proficiency in psychological tension. Romantic comedies further illustrated her comic timing and appeal, as in Pillow Talk (1959), where she earned an Academy Award nomination for for her portrayal of an interior decorator clashing with a playboy songwriter, a role that blended wit, independence, and subtle sensuality. Later assessments affirmed this breadth, with critics crediting her for embodying strong, career-oriented women across genres, countering earlier dismissals tied to her optimistic image. Her television work in (1968–1973) extended this adaptability, incorporating humor and everyday scenarios into scripted formats.

Personal Challenges and Controversies

Abusive First Marriage and Domestic Abuse

Doris Day married trombonist Al Jorden on April 17, 1941, shortly after meeting him while performing in Barney Rapp's band in . The union, marked from the outset by Jorden's possessive jealousy toward Day's burgeoning musical career, rapidly escalated into physical violence. Day detailed in her 1975 autobiography, Doris Day: Her Own Story, that Jorden's abuse intensified after she informed him of her pregnancy later that year; he struck her repeatedly in the face and stomach in an apparent attempt to induce a , leaving her fearing for her life. The couple's son, Terrence Paul Jorden (later ), was born on February 8, 1942, in , despite the ongoing brutality Day endured during gestation. Postpartum, the beatings persisted unpredictably, triggered by Jorden's unfounded suspicions of , such as an instance where he assaulted her for kissing a bandmate on the cheek. Day described the constant tension of anticipating violence, noting she never knew what might provoke him, and at one point locked him out of their home to protect herself and the infant. Jorden's episodes included threats with a , compounding the terror of what Day later characterized as marriage to a "psychopathic sadist." By 1943, Day had separated from Jorden and secured a , citing amid the documented . Jorden, plagued by mental instability later attributed to , continued a downward spiral and died by self-inflicted on July 5, 1967, in . Day's account, corroborated across multiple retrospectives, underscores the severe she survived at age 19, which she rarely discussed publicly until her , prioritizing her escape and focus on raising her son and advancing her career thereafter.

Financial Exploitation and Bankruptcy

Doris Day's third husband, , whom she married in 1951, served as her manager from the early 1950s until his death on April 20, 1968. Under Melcher's oversight, Day's substantial earnings from films, recordings, and endorsements—estimated at tens of millions over two decades—were funneled through investments and business ventures that ultimately depleted her wealth. Melcher collaborated closely with Beverly Hills attorney Jerome B. Rosenthal, who managed Day's financial affairs starting around 1956, often prioritizing high-risk deals including and entertainment projects that yielded kickbacks disguised as fees. Following Melcher's death from heart disease, Day learned she had been left effectively bankrupt, with nearly $20 million in career earnings squandered and approximately $500,000 in personal debt, including over $3 million owed to the in back taxes. The mismanagement involved unauthorized borrowing against future projects and diversion of funds into failing enterprises, leaving Day without liquid assets despite her box-office success. To address the crisis, Day reluctantly returned to work with (1968–1973), which generated income to settle debts, though she later described the period as one of profound betrayal and financial desperation. In , Day filed a and against Rosenthal, alleging he exploited his role by accepting undisclosed rebates and steering investments for personal gain, often without her . On September 18, 1974, a awarded her $22.8 million in , including compensatory and punitive amounts, marking one of the largest legal judgments against an attorney at the time. Rosenthal appealed unsuccessfully, and in 1987, the State Bar disbarred him for misconduct in the case, citing breaches of during his representation of Day and Melcher. Although the award provided partial recovery, Day's finances remained strained for years, underscoring the long-term consequences of unchecked managerial control in Hollywood.

Family Connections to Cultural Turmoil

Doris Day's only child, Terrence Paul "Terry" Melcher, born on February 8, 1942, to her first husband Al Jorden, immersed himself in the rock music scene as a producer, helming hits such as The Byrds' "" in 1965 and collaborating with . His ties to the deepened in mid-1968 when Beach Boys drummer introduced him to , a fringe figure seeking a amid the era's psychedelic and communal experimentation. Manson, leveraging Wilson's Malibu connections, auditioned repeatedly at Melcher's rented home at in , performing songs that Melcher found unremarkable despite initial curiosity; no deal materialized, leading to Manson's growing frustration and erratic visits marked by threats and cult-like behavior. Day, informed by her son of Manson's menacing presence—including brandishing knives and ominous predictions—instinctively distrusted the cult leader and pressed Melcher to sever ties, evict associated squatters from the property, and relocate for safety. Melcher heeded her advice, vacating the Cielo Drive address in early 1969, after which director Roman Polanski and actress Sharon Tate rented the house. On August 9, 1969, Manson's followers carried out the brutal Tate murders there, killing Tate (who was eight months pregnant), Jay Sebring, Abigail Folger, Wojciech Frykowski, and Steven Parent; Melcher later expressed conviction that he had been the primary target, interpreting the violence as retribution for rejecting Manson's musical ambitions amid the counterculture's descent into apocalyptic paranoia. This episode underscored the stark contrast between Day's wholesome public image—rooted in conservatism—and her son's entanglement in the era's darker undercurrents, where idealism curdled into Manson's "Helter Skelter" race-war fantasy inspired by lyrics and racial tensions. Day's maternal intervention, detailed in accounts from Melcher's associates and Beach Boys member Mike Love's 2016 memoir Good Vibrations: My Life as a Beach Boy, is credited with averting potential tragedy, as Manson had fixated on the address even after Melcher's departure. Melcher, who died of on November 19, 2004, maintained lifelong security concerns stemming from the incident, reflecting how familial bonds inadvertently bridged Hollywood's establishment with the ' volatile fringes.

Activism and Beliefs

Animal Welfare Campaigns and Foundations

Day's commitment to animal welfare intensified in the 1970s, beginning with her co-founding of Actors and Others for Animals in 1971 alongside actor and his wife Diana, as well as other celebrities including and . The organization focused on promoting humane treatment of animals used in entertainment, fundraising for rescues, and advocating against abusive practices such as decompression chambers in shelters, which Day campaigned against starting in 1972; her efforts contributed to bans in jurisdictions like . In 1971, she also participated in an anti-fur advertisement with fellow actresses, highlighting early opposition to the fur industry. In 1978, Day established the Doris Day Pet Foundation, later renamed the Doris Day Animal Foundation (DDAF), a 501(c)(3) nonprofit dedicated to granting funds for animal rescue, , spay/neuter programs, veterinary care, and emergency support such as pet food pantries and wildlife rehabilitation. The foundation, which Day co-founded with her son , emphasized reducing shelter through adoption incentives and subsidies for senior citizens adopting older pets, while also funding veterinary scholarships via the Doris Day/Terry Melcher Scholarship Fund. By prioritizing direct aid to nonprofits, DDAF has supported initiatives for dogs, cats, horses, sea lions, raptors, and other , with Day personally rescuing hundreds of animals over her lifetime. Complementing the foundation's grant-making, Day founded the Doris Day Animal League (DDAL) in 1987 as a arm to advance animal protection , including efforts to end and strengthen anti-cruelty laws. A landmark initiative was Spay Day , launched by DDAL in 1995 and now known globally as World Spay Day—held annually on the last in —which has facilitated the spaying and of millions of animals across more than 70 countries to curb . DDAL merged with the of the in 2006, amplifying its policy influence, while DDAF remained independent; subsequent projects included the Doris Day Equine Center, opened in 2011 at the Black Beauty to aid rescued horses, and a 2009 grant of $250,000 for neglected equine cases. Day's advocacy, primarily through fundraising and targeted grants rather than public protests, centered on practical interventions grounded in reducing animal suffering via and welfare support.

Political Conservatism and Republican Affiliation

Doris Day maintained a lifelong affiliation with the Republican Party, consistently aligning with its principles amid Hollywood's predominantly liberal milieu. Registered as a Republican, she embodied conservative ideals through her advocacy for traditional and personal responsibility, which contrasted sharply with the era's rising countercultural movements. Day's conservatism extended to social issues, exemplified by her decision in 1942 to carry her to term despite physicians' recommendations for due to risks from a prior injury; she later credited this choice with preserving her son's life, reflecting a pro-life stance rooted in her ethical convictions rather than external pressures. This episode, detailed in biographical accounts of her early career struggles, underscored her prioritization of unborn life over professional expediency at a time when such options were increasingly normalized in entertainment circles. She expressed public admiration for Republican presidents, including during his White House tenure, viewing his leadership as emblematic of the stability she valued. In recognition of her cultural impact and Republican loyalty, Day received the from on June 14, 2004, an honor Bush described as affirming her status as an enduring symbol of American optimism. Her political leanings, while understated compared to her animal welfare activism, positioned her as a conservative whose unyielding resisted the progressive shifts of mid-20th-century media narratives.

Religious Faith as Christian Scientist

Doris Day was born into a Catholic family in Cincinnati, Ohio, on April 3, 1922, but maintained only nominal ties to Catholicism after her early years. Prior to her marriage to Martin Melcher on April 14, 1951, Melcher—a committed Christian Scientist—introduced her to the religion's teachings, which emphasize healing through prayer and denial of material ailments in favor of spiritual reality. Day adopted Christian Science as her faith, becoming a lifelong practitioner who credited it with providing inner peace amid personal and professional upheavals, including her abusive first marriage and career transitions. The religion's principles shaped Day's approach to health and adversity; she rejected conventional medical interventions, relying instead on for conditions such as severe during her big-band days and later ailments. In her 1975 as-told-to autobiography Doris Day: Her Own Story, co-authored with based on extensive interviews, she detailed how offered a framework for resilience, though she addressed common misconceptions by noting the faith permits medical aid in dire circumstances rather than prohibiting it outright. This reliance on spiritual healing extended to her family, though she did not impose it coercively on her son, , who pursued medical treatment independently. Following Melcher's sudden death from a heart attack on April 20, 1968—which exposed financial betrayals and prompted her proceedings—Day disaffiliated from organized activities around that year. She described evolving toward a personalized , retaining core tenets like in divine order and rejection of fear-based , but without formal church involvement. This shift aligned with her broader life , evident in her and conservative values, where spiritual self-reliance supplanted institutional religion. Day's Christian Science background informed her posthumous instructions, issued upon her death on May 13, 2019, at age 97: no , memorial service, or grave marker, reflecting the denomination's focus on eternal spiritual existence over physical rites. Her accounts in interviews and writings portray the faith not as rigid dogma but as a practical tool for emotional fortitude, though critics of have questioned its efficacy in forgoing empirical medical care, a tension Day navigated through personal testimony rather than doctrinal absolutism.

Later Life and Legacy

Retirement, Health Decline, and Isolation

Following the cancellation of her CBS sitcom in 1973, Day, then aged 50, effectively retired from on-camera performing and public entertainment commitments, marking the end of a career spanning films, recordings, and television. She shifted focus to private pursuits, including advocacy through the Doris Day Animal Foundation, established in 1978, and co-ownership of the pet-friendly Cypress Inn in , where she relocated permanently around 1981 after purchasing a hilltop property in the late 1970s. Day's later years were marked by deepening isolation, exacerbated by profound personal grief. The death of her only child, record producer , from on November 19, 2004, at age 62, triggered a marked withdrawal; close associates noted a "downward spiral" in her engagement with the outside world, as she retreated further into her Carmel home filled with dozens of adopted dogs and other animals. Her routine became confined largely to the bedroom and kitchen, with minimal use of other areas, reflecting a preference for amid her pets over public or social interactions. Public sightings dwindled after Melcher's passing, with Day's final verified appearance occurring at a event honoring her animal foundation; thereafter, she avoided media and gatherings entirely, embodying a reclusive existence in rural Carmel Valley that locals described as eccentric yet self-chosen. This seclusion contrasted with her earlier but aligned with her stated emphasis on and positivity in rare interviews, where she credited daily walks with her dogs for maintaining emotional resilience. Physically robust into her mid-90s—eschewing major chronic illnesses beyond age-related frailty—Day's health deteriorated acutely in early from severe , which her foundation attributed to a sudden complication despite prior stability. Emotional strains from losses, including the 2009 death of her fourth husband, Barry Comden (from whom she had divorced in 1981), compounded this phase, though she relied on a small circle of caregivers and foundation staff rather than extended family, amid reported estrangements such as with grandson Ryan Melcher.

Death and Immediate Aftermath

Doris Day died on May 13, 2019, at age 97 from complications of at her home in . The Doris Day Animal Foundation announced her passing that day, noting she had maintained excellent physical health for her age until recently contracting the serious respiratory illness, and that she died peacefully surrounded by close loved ones. Per Day's explicit instructions in her will, no , service, or marker took place or was established following her . Her longtime manager and friend, Bob Bashara, attributed this to Day's longstanding aversion to and her shy nature, which made public observances unappealing to her. Day's estate, including personal property and effects, was bequeathed to charitable causes aligned with her animal welfare priorities, with select items auctioned publicly in 2020 by Julien's Auctions to benefit those organizations. Immediate public response included widespread tributes from figures and fans, emphasizing her wholesome screen persona and advocacy work, though her private final years limited any formal commemorative events.

Enduring Cultural Influence and Reappraisals

Doris Day's films grossed over $100 million each in adjusted domestic box office for 23 of her major releases, reflecting sustained commercial appeal that positioned her as one of Hollywood's top box-office draws from the 1950s through the 1960s. Her recording career, spanning more than 650 songs between 1947 and 1967, included hits like "Sentimental Journey," which sold over 5 million copies, and solo album sales exceeding 16 million units by the mid-1950s. In contemporary metrics, her catalog maintains relevance with 1.1 million monthly listeners and 9.3 million scrobbles on streaming platforms as of recent data. Day's on-screen persona as a capable, independent working woman in films such as (1959) and Lover Come Back (1961) influenced depictions of female professionalism in mid-century cinema, portraying characters who balanced career ambition with personal relationships without compromising relational outcomes. This contributed to her status as a symbol of postwar American optimism, rivaling the crossover success of contemporaries like in blending musical and acting prowess. Reappraisals of Day's legacy have highlighted her as a conservative figure amid the countercultural shifts, embodying mid-century ideals of that prioritized traditional values alongside professional autonomy, rather than aligning with emerging radical feminist narratives. Some analyses credit her roles with prefiguring modern working women by showcasing stylish, assertive professionals whose wardrobes emphasized polished over minimalism, influencing perceptions of ambition in entertainment. Critics in the dismissed her characters as reinforcing domesticity, yet later scholarship has reexamined this as a realistic portrayal of women's era-specific choices, attributing any dismissal to ideological biases against non-confrontational agency. Her enduring appeal persists in fan communities and tributes, where admirers cite lifelong admiration stemming from her multifaceted career, underscoring a cultural that transcends generational divides without reliance on revisionist reinterpretations.

Works

Key Films and Performances

Doris Day starred in 39 feature films between 1948 and 1968, transitioning from musicals at to dramatic roles and sophisticated romantic comedies at Universal and , leveraging her singing voice and girl-next-door appeal for broad commercial success. She topped the Motion Picture Herald's Quigley Poll of box-office stars in 1960, 1962, 1963, and 1964, becoming one of Hollywood's highest-earning female performers of the era, with her films averaging strong returns adjusted for inflation. Her early musical Calamity Jane (1953), co-starring Howard Keel, cast Day as the titular tomboyish sharpshooter in a Western setting filled with song-and-dance sequences; the production yielded the hit "Secret Love," which secured the Academy Award for Best Original Song in 1954 and topped U.S. charts for nine weeks. In a shift to biography, Love Me or Leave Me (1955) depicted Day as torch singer Ruth Etting in a volatile marriage to gangster Moe Snyder, played by James Cagney; the film's dramatic intensity earned Day critical recognition for portraying vulnerability and resilience, contributing to its profitability despite modest initial grosses. Alfred Hitchcock's The Man Who Knew Too Much (1956) provided Day's sole collaboration with the director, where she played a mother entangled in an assassination plot; her rendition of "Que Sera, Sera (Whatever Will Be, Will Be)" won the Academy Award for Best Original Song and became a perennial standard, enhancing the thriller's box-office draw through reissues. Pillow Talk (1959), opposite , marked Day's pinnacle in as an interior designer sharing a party line with a philandering songwriter; the role garnered her only Oscar nomination for , alongside a Golden Globe win, and propelled the film to $18.75 million in U.S. grosses, her career high. Subsequent comedies reinforced her formulaic appeal: Lover Come Back (1961), another Hudson pairing, satirized corporate rivalry and grossed $16.94 million domestically; That Touch of Mink (1962) with explored class clashes in romance, earning $14.63 million. These vehicles, emphasizing witty banter and Day's comedic timing, sustained her status amid shifting industry trends, though later efforts like The Thrill of It All (1963) signaled audience fatigue with repetitive tropes.

Discography Highlights

Doris Day's recording career commenced in the late as a vocalist, initially with Barney Rapp's and later with Bob Crosby's group, before achieving major success with Les Brown's Band of Renown starting in 1941. Her first major hit, "Sentimental Journey" (1945), topped the for nine weeks, sold over five million copies worldwide, and became a cultural staple associated with World War II-era . That same year, "My Dreams Are Getting Better All the Time" also reached number one on , marking her as a leading postwar vocalist. Transitioning to solo recordings under from 1947, Day scored consistent hits through the 1950s, blending pop standards, film soundtracks, and novelty tunes. "A Guy Is a Guy" (1952), adapted from a folk song, held the number-one spot for two weeks and exemplified her lighthearted, accessible style. The pinnacle came with "Secret Love" (1954), from the film , which dominated for nine weeks at number one, sold millions, and later earned status in 1999 for its enduring popularity.
Song TitleRelease YearBillboard PeakNotable Achievements
Sentimental Journey1945#1 (9 weeks)Over 5 million sales; recorded with Les Brown
My Dreams Are Getting Better All the Time1945#1Backed by Les Brown; million-seller
A Guy Is a Guy1952#1 (2 weeks)Solo hit adapting "The Auld Triangle" folk tune
Secret Love1954#1 (9 weeks)From Calamity Jane; inductee
Que Sera, Sera (Whatever Will Be, Will Be)1956#2Academy Award for Best Original Song; from The Man Who Knew Too Much
Day's album output peaked in the and early , with over 20 releases on Columbia, including Day by Day (1957), which featured orchestral arrangements of standards and reached number 12 on Billboard's album chart, and Cuttin' Capers (1959), emphasizing upbeat jazz-inflected tracks. Later efforts like Bright and Shiny (1961) incorporated Latin rhythms but saw diminishing commercial returns as her focus shifted to film and television. By the , new recordings ceased, though archival compilations sustained interest; a 2011 release, My Heart, unexpectedly charted in the UK top 10, highlighting her timeless appeal at age 89.

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