The movie opens with Tony Curtis as Pete Hammond Jr. boarding a bus in Milwaukee, headed for New York with his musical instruments, flutes and saxophones. Even though Curtis was 34 when this film was made, his dad is sending him off, telling him to let him know if he needs any money. The bus ride is interesting, it shows it entering Cleveland, Philadelphia, and finally New York, pulling into the Port Authority terminal just a good walk from Times Square, places I was familiar with in the 1980s. It was nice seeing them in an earlier time.Once in New York we see Pete is definitely a fish out of water, too trusting and several times getting taken by scams. In fact that is the genesis of the title, "Rat Race", people go to New York and seem to turn into "rats", doing what they need to do to survive.But Pete meets Debbie Reynolds as struggling model Peggy Brown, working at a club where travelers, usually service men and traveling business men, want some place to go to dance with a pretty girl. But Peggy is not only broke, she owes her uncaring boss (Don Rickles in a good role) several hundred dollars in advances. In fact she is being evicted from the daily rate ($3 per night) hotel room as Pete is moving into it. Feeling compassion for her, he suggests that she just share his room, which has two beds and a curtain for privacy, for a few days until Peggy finds a place to go.I like this movie for several reasons, the 1960s was my time, I was growing up, graduating from high school, going to college, and starting my own career and family. I like both Tony Curtis and Debbie Reynolds and it was fun to see them together. New York is one of my favorite cities to visit, it was nice to see it back before it developed into what we know it as today. The movie doesn't get into what might have happened down the road, it just shows us how Pete eventually gets work as a musician, and he and Peggy, after becoming friends sharing a room, fall in love with each other. Debbie Reynolds is maybe more known for her comedic roles, but here her Peggy Brown is completely serious, and she shows what a fine actress she is. Not long ago I saw her in "Mother" (1996) playing Albert Brooks' mother, and now I see she is still in movies here and there. She has come a long way since "Singing in the Rain" (1953) made when she was still a teenager.

Why the producers decided to cast New Yorker Tony Curtis in the film, I just can't understand. Why would they cast him of all people considering he is supposed to be playing a guy from Milwaukee who gets lost in the big bad city of New York? With his very strong New York accent, it just didn't make sense. Listening to him, he sounded like he should have been perfectly at home in the Bronx or Brooklyn! Fortunately, the rest of the movie is so good that I really didn't mind the odd casting. In fact, Tony Curtis and Debbie Reynolds were excellent in the film--with acting and dialog that seemed pretty realistic. They both play "starving artists" who come to New York but find success is somehow always out of sight. I teach at an art school and would like to show this to my students so they can, perhaps, see what it usually is like on the slow road to making a living.I also appreciated how the writers didn't allow the film to slide too far into sentimentality even though this was a romantic-comedy of sorts. That means when there can be a magical scene where things all work out perfectly, the writers chose instead to allow for a more realistic moment where things worked out,...somewhat. My favorite example was near the end when it appeared that Curtis' musical instruments unexpectedly re-appeared. This LOOKS like a "happily ever after moment" but there is a great twist--a twist that reminds us that in this film, just like in real life, Murphy's Law so often applies. To me, the real magic in the film is how despite all these setbacks and problems, the couple STILL manage to find each other and some shred of happiness. And, if you think about it, this is a great lesson for everyone.A nice, romantic, funny but occasionally sad and cynical little film about life and little people.By the way, look for Don Rickles in one of his earliest roles. He plays a guy who is amazingly creepy and cruel--quite a change from his later comedic roles. Also, the sweet guy behind the bar is Jack Oakie in one of his later roles

One of the better Debbie Reynolds vehicles of the 60s, but still not particularly good. Reynolds plays a NYC dance hall girl living on the skids in Kay Medford's seedy apartment house. Through a depressing series of misfortunes, she ends up with struggling musician Tony Curtis as a roommate. Every crisis imaginable befalls the couple as they try to "make it" in the big city. Despite the presence of comics Medford and Jack Oakie (who together act as a sort of skid row Greek chorus), THE RAT RACE is pretty bleak. Director Robert Mulligan makes a point of avoiding any humor (except for the many verbal jabs Reynolds lobs at nice guy Curtis) and the lack of levity leaves the film dead. Norman Fell appears in a brief and very uncomfortable scene as a telephone repairman whom Reynolds convinces not to shut off her phone. In a very rare straight role, Don Rickles plays Reynold's sleazy boss.

DEBBIE REYNOLDS and TONY CURTIS are excellent as two young people in 60's-era New York City facing adversity with street smart skills developed after abuse from thugs like DON RICKLES (a savage performance), and other so-called big shots.Curtis takes pity on Reynolds and invites her to share his flat--but his luck fades when his musical instrument is stolen. True love blossoms as Reynolds tries to help him with lots of obstacles thrown in their way by assorted no-gooders.Garson Kanin directed from his play and he keeps the action moving and the stylish backgrounds show New York City scenes that would make any New Yorker nostalgic for "the way it was".A downbeat, sometimes bitter dose of comedy/drama that has so much energy and such appealing performances from Reynolds and Curtis, that you'll be drawn into it from the start. Well worthwhile.