Film
Bedtime Story
- Comedy
- Light-hearted
Two con men compete to fleece wealthy women on the French Riviera in this 1964 comedy where charm and elaborate deception are the only weapons. Brando and Niven are magnetic opposites—one plays instinct, the other plays theater—locked in a escalating game of one-upmanship that's as much about ego as profit. It's light, fast, and built entirely on the pleasure of watching two masters improvise their way through increasingly preposterous schemes.
Should you watch it?
Watch it if you enjoy two smooth con men trading barbs and one-upping each other, with the sly, pastel-bright timing of an old-fashioned sex farce that trusts its cast to carry every silly beat.
Skip it if you want fast, modern gags or a story that keeps raising the stakes; this one is leisurely, talky and stays inside its comic set-ups rather than surprising you with new ones.
What it asks of you: Settle in for about an hour and a half of unhurried banter, where the pleasure lies in watching well-drawn rivals spar rather than in following a tightly plotted chase.
Not sure? Find tonight's pick in a minute.
If you liked this
The Sting1973
Two cons pulling off an elaborate revenge scheme with the same anarchic energy and rhythm as Bedtime Story, but with higher stakes and a narrative that rewards your investment in the characters' brilliance.
But The scale and complexity can feel more serious than fun; it's tightly plotted rather than improvisational, which shifts the tone from light romp to crafted heist.
Breakfast at Tiffany's1961
Audrey Hepburn as a woman running her own sophisticated con on Manhattan society, chasing wealth through charm rather than deception. Same era, same urbane wit, same pleasure in watching someone charm their way through the world.
But It's quieter and more romantic than comedic; if you're here for the con-artist energy, this will feel like a bait-and-switch into sentiment.
Ocean's Eleven1960
The original Rat Pack heist film has that same glossy Riviera energy and the same 'watch these charismatic men outthink everyone' appeal. Looser and less plotted than you'd expect, which is exactly right.
But It sprawls—there are too many characters, not enough plot, and long stretches where nothing much happens. Some find it charming. Others find it slack.
Not sure tonight? Get a pick in a minute, starting from Bedtime Story
The wildcard
Something you would not have found on your own.
Dirty Rotten Scoundrels1988
Direct remake of Bedtime Story itself, but reconfiguring the moral and romantic equations by making the woman the true schemer.
Steve Martin and Michael Caine as competing con men on the French Riviera—this is literally a remake of Bedtime Story's premise, but updated with 80s energy and the addition of a woman who outplays them both. Same game, sharper stakes.
But As a remake, it inevitably invites comparison to the original; some will find it redundant, others will prefer the original's style. And it does tip the gender balance in a way that changes the whole flavor.
More like this (6)
Charade1963
Audrey Hepburn and Cary Grant in a French romantic-thriller that has the same sophisticated playfulness, the same assumption that wit and style matter more than plausibility, and the same visual elegance.
But It pivots toward real danger and emotional stakes in the third act; it's not as breezy or consistently comedic as Bedtime Story, and that shift won't work for everyone.
The Pink Panther1963
Peter Sellers' fumbling inspector trying to navigate a world of charm and deception. Same year, same sensibility about style and surface, same confidence that the joke can carry you through scenes that don't quite make sense.
But Sellers dominates so completely that the supporting characters dissolve; the plot is almost decorative. If you want ensemble chemistry like Brando and Niven have, you won't find it here.
It Takes a Thief1968
Robert Wagner as a reformed cat burglar conning his way across Europe for a government agency. It's the TV version of this exact impulse—beautiful locations, impeccable suits, elaborate schemes that prioritize style over logic.
But It's episodic rather than cumulative, so the stakes never build. Each con resets the board, which is fun but can feel repetitive across a season.
Singin' in the Rain1952
Gene Kelly and Donald O'Connor as performers who con and manipulate their way through old Hollywood with charm and physical genius. Same playful amorality, same confidence in style and performance over substance.
But It's a musical, and heavily choreographed; if you come for con-artist comedy, the dancing will either delight you or feel like padding.
The Producers1968
Two hustlers conning Broadway investors with increasingly outlandish schemes. Mel Brooks has the same anarchic confidence in his characters' ability to charm and improvise, the same pleasure in watching con artists exposed but unbowed.
But Brooks' humor is broader and sometimes meaner; the con is less about seduction and more about exploitation, so the moral tone is darker than Bedtime Story's lightness.
The Lavender Hill Mob1951
Alec Guinness leading a group of befuddled men through an elaborate gold heist with the same dry British humor and confidence that style and charm can carry an implausible scheme.
But It's much gentler and more low-key; if you want Brando and Niven's magnetic showmanship, this will feel quaint and small by comparison.
People
Cast
Marlon BrandoFreddy Benson
David NivenLawrence Jameson
Shirley JonesJanet Walker
Dody GoodmanFanny Eubank
Aram StephanAndre
Parley BaerCol. Williams
Marie WindsorMrs. Sutton
Rebecca SandMiss Trumble
Frances RobinsonMiss Harrington
Henry SlateSattler
Norman AldenDubin- Susanne CramerAnna
Directing
- Ralph LevyDirector
Writing
- Paul HenningWriter
- Stanley ShapiroWriter
Production
- Stanley ShapiroProducer