the audience applauded

Beautiful, moving film.

Absolutely Brilliant!

It is encouraging that the film ends so strongly.Otherwise, it wouldn't have been a particularly memorable film

Stumbled across this one evening on TV and as a romantic comedy it doesn't delivery any real laughs with a production value not much better than your average Brady Bunch episode. The theme has been done many times, the blending of two families and of course they children are at odds with that until some extremely contrived event pulls them together, with the standard misunderstandings due to poor/no communication thrown in.I've read other reviews and am surprised how may folks enjoyed this move, but if you're a Doris Day fan, choose something from the 50s.Initially I was going to give this 3 stars but bumped it to 4 as it was fun seeing William Christopher and Jamie Farr together prior to the M*A*S*H days, with Herb Voland as well who had a recurring role in some early M*A*S*H episodes. There is also George Carlin and a few other familiar character actors you will certainly recognize not to mention a very young (and pretty) Barbara Hershey.

Doris Day's last feature film is a pleasant success, although it somehow isn't recalled as a such. Backtracking for a moment… Ms. Day's 1960s "sex comedies" were very big at the box office. The best of these films were critically acclaimed at the time, and are fondly remembered today. But, by 1967, Day began receiving scripts that lacked the wit (and hit potential) of earlier films. Day knew this, but found herself committed to a few unworthy movies, by manager/husband Martin Melcher. They weren't the first "bad" movies Day did, but they did come at a time when she was a "superstar". Day was able to make these bad movies better through her presence; as usual, she put a good effort into each assignment.By 1966, Day was firmly entrenched in the "Quigley Top 10" poll of box office stars, and had become a very dependable, consistent attraction. The films she didn't care for were responsible for Day falling out of the "Ten Best" list, in 1967. She saw "With Six You Get Eggroll" as an improvement. And, it was. Day's last films heralded a return to form; and, she appeared at a very respectable #14 in her final 1968 "Quigley Poll" appearance. It was a CBS-TV series deal that prevented Day from continuing her film career. She was in demand, and would have had to continue in films (she needed the money). But, Day was committed to work on the television series, against her wishes, by the now deceased Mr. Melcher.Seeing the success of the earlier released Lucille Ball comedy "Yours, Mine and Ours" (1968), the studio promoted "With Six You Get Eggroll" as similar fare. Actually, this film is a little better, overall (both are good movies). Herein, lumber yard owner "Abby McClure" (Day) is resigned to being single, after being left with her deceased husband's business, and three sons. But, she is "lonely" (a euphemism), as director Howard Morris clearly highlights with the overhead shots of Day on her bed. Day reluctantly accepts self-professed sex-minded sister Pat Carroll's arrangement of a date with widow Brian Keith (as Jake Iverson). Their courtship is marvelously depicted, thanks to fine scripting and performances.Some have debated whether or not the characters played by Day and Keith have pre-marital sex. Everything about in the characters' behavior suggests that they do. If fact, the biggest reason for the marriage is that they find it increasingly frustrating to "sneak around" and be "alone" (more euphemisms). The rest of the film deals with the inevitable problems the marriage causes in their living arrangements. Now, considering Day's business (which she's good at), you've got to wonder they didn't just build another bedroom for one of the children. Unfortunately, the business sense of Day's character is left standing at the alter. The plot question becomes: Will the children learn to get along, or break up the newlyweds? Representing the opposing fronts are her son John Findlater (as Flip) and his daughter Barbara Hershey (as Stacy). Youngsters Jimmy Bracken and Richard Steele handle their roles (and surprising bathtub scene) very well. Sounding like a cross between "Under My Thumb" and The Zombies, The Grass Roots do an original, exceptional, and very sixties-sounding song called "Feelings"; listen to them as Day visits a youth nightclub. Stand-up George Carlin turns up as fast-food patron. Two future "M*A*S*H" regulars lead a mob of tripping hippies. And, you can have a lot of fun picking out sit-com favorites. By the third act, the film has become more unfocused and ordinary, but it never really obliterates its appeal.******* With Six You Get Eggroll (8/7/68) Howard Morris ~ Doris Day, Brian Keith, John Findlater, Barbara Hershey

It's another variation on the oft-told tale of two people getting married and having to share their brood of kids. WITH SIX YOU GET EGG ROLL is directed by Howard Morris (from television) and it shows, because it's the kind of tale that plays like a half-hour situation comedy padded out to feature film length--but with a scarcity of laughs, or to put it differently, only the number of laughs that would have been possible within the half-hour limits of a TV show.DORIS DAY decided to call it quits after this film--and it's rather easy to see why. Even the presence of some fairly reliable actors in the cast doesn't help. BRIAN KEITH, BARBARA HERSHEY, PAT CARROLL and ALICE GHOSTLEY do their best, but the script is the real problem and should have been left untouched for the big screen.Nothing much can be said in favor of it. Skip it and see Miss Day in any number of her more worthwhile films.

Along with "Yours, Mine and Ours" (Lucille Ball, Henry Fonda) this film marked the start of the "let's-create-a-family-by combining-each-of-ours" genre and soon several variations of the theme plowed their ways into theaters (including the much forgotten "Mulligan's Stew" where childless parents adopt a variety of ethnic representatives). It was a way to have "modern" family dramas survive in the ever changing marketplace. Looking like situation comedies found on television it was no surprise that they influenced what TV families of the 70's would look like. There was a chance to examine the ever increasing reality of divorce (disguised as widowship), yet still have a complete family unit. Of those that survived on television, "The Brady Bunch" and "Eight is Enough" are perhaps the most well known. No wonder abortion became popular! Soon these shows would be replaced by the examination of same sex parents (disguised as "good heterosexual friends") in such shows as "My Two Dads," and "Kate and Allie." Shows such as "The Cosby Show," "Home Improvement," and "Family Matters" brought television full circle so perhaps the 21st Century will see more single parent television and in another ten years a remake of "With Six You Get Eggroll." Of course the title would have to change for political correctness. How about "With Sex You Get Kids?" No wait, the pro-life groups won't like that. Ahhh, the sixties.