Film
That Funny Feeling
- Screwball comedy
- Romantic comedy
- Light-hearted
A 1965 romantic comedy built on mistaken identity: a working-class maid falls for a wealthy businessman, neither knowing the other's real circumstances, and both end up in his fancy penthouse. It's a glossy, breezy film about status anxiety and attraction, wrapped in mid-60s Manhattan sparkle. For anyone who enjoys the machinery of romantic confusion and period charm.
If you liked this
Roman Holiday1953
A princess meets an ordinary man and they spend a day together in Rome, neither quite revealing who they are. It shares that same giddy romance of people connecting across class lines, with real sweetness beneath the setup.
But The pacing is slower than modern films, and it trades on emotional restraint rather than laughs. Some will find it maudlin.

Breakfast at Tiffany's1961
Audrey Hepburn as a woman reinventing herself in New York, charming her way through high society while hiding her real past. Same era, same city, same theme of identity and romance among the wealthy.
But It's less plot-driven than character-driven, and the film's racial caricature in the supporting cast dates it badly.

Singin' in the Rain1952
A joyous Hollywood musical about performance and deception, with Gene Kelly at his peak. Both are films where characters aren't quite who they seem, but the tone is pure fun and the craftsmanship is flawless.
But It's a musical, which means extended dance numbers. If you're watching for plot, you'll be impatient.

Not sure tonight? Get a pick in a minute, starting from That Funny Feeling
The wildcard
Something you would not have found on your own.
Marty1955
Both centre on romance between people of different social standing, but *Marty* refuses the fantasy: it's what happens when you strip the lie away and ask if the connection survives reality.
A working-class butcher in the Bronx meets a working-class woman, and the film is entirely about them discovering each other as people. It strips away every artifice that *That Funny Feeling* builds on—no penthouse, no deception, no glamour—and finds romance in ordinariness.
But It's shot in stark black and white, moves slowly, and offers no plot turns or surprises. The entire film is two people talking.

More like this (8)
Designing Woman1957
Gregory Peck and Lauren Bacall as a couple getting to know each other through misunderstandings and witty sparring. Similar setup—attraction built on not-quite-truth—but with sharper, faster banter and genuine chemistry.
But The fashion-world subplot feels thin, and some of the comedy hinges on dated gender roles and assumptions.

It Happened One Night1934
Clark Gable and Claudette Colbert as a reporter and a runaway heiress who don't know each other's real identities. It's the template for romantic comedies built on concealment and class difference—and it's endlessly charming.
But Made in 1934, so the pacing is deliberate and the worldview very period-specific. Black and white, no colour gloss.

Barefoot in the Park1967
Robert Redford and Jane Fonda as newlyweds discovering each other and New York. Swinging 60s romance, urban setting, real chemistry between leads—a spiritual sibling to *That Funny Feeling* in tone and era.
But The plot is thin; it mostly watches two people flirt and bicker. Some will find it too slight.

The Philadelphia Story1940
Cary Grant, Katharine Hepburn, and James Stewart in a comedy of remarriage and mistaken identity. Crackling dialogue, real stakes beneath the romance, and a worldview where deception is the engine of truth.
But It's a play adapted to film, so it can feel stagey. And at over two hours, it asks patience.

Two for the Road1967
Audrey Hepburn and Albert Finney trace the arc of a relationship through time and misunderstanding. It's trickier and more adult than *That Funny Feeling*, but shares that sensibility about romance obscured by what we think we know.
But The non-linear structure can feel mannered, and the tone shifts from playful to melancholy in ways that don't always land.

Lover Come Back1961
Rock Hudson and Doris Day as advertising rivals who don't know they're sleeping with each other, complicated further by mistaken identity. A briskly paced sex-comedy that understands deception as romantic fuel.
But The humour is sometimes crude, the gender politics are strained, and Hudson's closeted reality adds a layer of sadness the film doesn't intend.

The Apartment1960
Both are 1960s urban romances where access to a fancy apartment is the machinery of the plot, but *The Apartment* asks what we owe each other when we're being lied to.
Jack Lemmon as a working stiff lending his apartment to his boss for affairs, only to fall for the woman his boss is using. It's a romantic comedy about deception and class anxiety, but darker and more morally complex, with a real edge beneath the charm.
But The humour sits uneasily beside the cruelty at its centre. You'll laugh and then feel uncomfortable about having laughed.

Camille 20001969
Like *That Funny Feeling*, it plays with class anxiety and romantic attraction obscured by false presentation, but inverts the power dynamic: here the woman has money and position, and the lie is about her past, not her present.
A updating of *La Dame aux Camélias* set in swinging Paris, built on gorgeous cinematography and the question of whether a woman selling her company can ever truly connect with someone. It's a romance made strange by what characters won't admit about themselves.
But It's sexually explicit for 1969, occasionally exploitative, and the plot dissolves into mood. Some will find it pretentious, others uncomfortable.

People
Cast
Sandra DeeJoan
Bobby DarinTom
Donald O'ConnorHarvey Granson
Nita TalbotAudrey
Larry StorchLuther
Leo G. CarrollO'Shea
James WesterfieldOfficer Brokaw
Robert StraussBartender
Ben LessyBartender
Reta ShawWoman at Phone Booth
Nora MarloweWoman at Phone Booth
Kathleen FreemanWoman at Phone Booth
Directing
- Joseph E. KenneyAssistant Director
- Richard ThorpeDirector
Writing
- David R. SchwartzScreenplay
- Carroll MooreStory
- Norman BaraschStory
Production
- Edward MuhlExecutive In Charge Of Production
- Harry KellerProducer
- Howard PineUnit Production Manager