600:, with much of it scenes between Walter and me." Lemmon later said he sensed a change in the director's approach to filmmaking. "Billy seemed more tense. He seemed to be pushing harder, forcing it ... It was something I couldn't put my finger on exactly. He had always been open to suggestions I had for my part ... but this time, I didn't feel as welcome with my ideas, so I didn't say anything. Who am I to tell Billy Wilder what he should do?" Matthau was injured on a laundry chute while filming. Wilder said, "If you are an experienced director today, you are old-fashioned. If you don't know where to put the camera, you are a revolutionary nouvelle vague cinematic genius. The only things that seem to do well today are garbage. You pile up cars in a wreck. However, as those pictures are keeping the companies alive and permitting them to subsidize our pictures, I suppose I shouldn't complain. But I complain." Wilder added during filming, "This is my 53rd year in the industry and in that time I've seen a lot of ebb and flow - lately there's been an inordinate amount of ebb. But to paraphrase a line of
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Aubrey was hired to supervise the graves here. In the mid-Thirties, studios had a personality. You could recognize an MGM movie from a
Paramount movie from a Warner's movie. That's gone ... Every time you saw white living rooms, white beds, white décor, you knew it was an MGM movie. It's like the hotels now. It doesn't matter whether you're in Paris or Istanbul, you're in the same place. Pride is gone, confusion is rampant. People who are in power today and make the decisions couldn't be my second assistant. On the plus side, there is a push to come back. It's not all mercenary. There is enough confidence from Begelman and Frank Rosenfelt to leave us alone and not breathe down our backs.
295:, who is trying to reconcile with his estranged wife Celia. Trabucco takes a room in the Ramona Hotel in Riverside, across the street from the courthouse where Gambola is to arrive soon. As ill chance would have it, Victor moves into the neighboring room at the same hotel, and after he calls Celia and she turns him down, he tries to kill himself. His clumsy first attempt alerts Trabucco, and fearing the unwelcome attention of the nearby police guarding the courthouse, he decides to accompany Victor in order to quietly eliminate him, but his attempts are repeatedly foiled by inconvenient happenstances.
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you see a comedy after you've put somebody to rest or watched the
Neptune Society blow his ashes into the Pacific Ocean ... Sometimes I feel the way you feel when you find yourself at a dinner party with an uncongenial group of people and you say, 'I've got a great story, but I'm not going to tell it to them tonight. I'm not interested in entertaining them.' A lot of energy goes into it, and sometimes it doesn't seem as if it's worth the trouble. I've been doing it now for over 50 years."
469:"I couldn't say no to Billy," Matthau said later, "and I didn't want to say no to being in a Billy Wilder picture. But this wasn't a Billy Wilder picture." "Iz Diamond and I were working on another project," said Wilder, "when William Morris came to us with this one. We looked at the French movie and saw possibilities in it. I would prefer doing an original story or screenplay. The most fun is working on a movie like
316:. After seeing him preparing his rifle and learning about Trabucco's true nature, Victor volunteers to take out Gambola in order to help his new "best friend". Victor succeeds, and the two escape the police after Trabucco, posing as a priest, has made sure that Gambola is dead, but he refuses Victor's company and heads off alone.
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That's the only way I know how to operate. The audience senses when you're doing something without any conviction ... To keep your sanity and your self-respect, you must believe that there will be an audience for what you want to do. It may not be the blockbuster of all time, but what is wrong with a
481:, where you start from scratch. Here I found myself with a ready-made thing, but there are certain advantages to that. I didn't have to audition for the studios and pass through Checkpoint Charlie before they would approve the project. We knew we had a starting date, which is rare enough these days."
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Wilder later reflected, "In this Donner Pass expedition known as
Hollywood, many fall by the wayside. People eat people. Very few make it. Lately I've been going to more funerals than openings of pictures. Sometimes you have a funeral and an opening on the same day, and you don't feel very good when
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said, "Wilder helming the classic comic pairing of
Matthau and Lemmon is always going to be difficult to dismiss, but it has to be said that all involved had seen better days at the time this got made ... There's the recognizable chemistry between the two leads, but little else here to recommend. It
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is very bad. It is a comedy without any laughs. (And, yes, I mean literally that it contains no laughs.) But it is worse than that. It succeeds in reducing two of the most charming actors in
American motion picture history to unlikable ciphers. Can you imagine a film that co-stars Walter Matthau and
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They've been renting out so much of their studio space to outside people that now they have to find studio space outside for their own pictures. But there seems to be a drive toward it becoming a full studio again. I just regret how the whole thing dissolved by selling off the props and art when Jim
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Wilder said, "I hadn't been working enough, and I was anxious to get back on the horse and do what I do – write, direct. This wasn't a picture I would have chosen." Wilder and
Diamond wrote the script in three months - "a record for us" said Wilder - but then they "sat on it" waiting for the Actors
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was that not very many people saw it," Wilder said: "It hurts to strike out on your last picture." Anxious to bounce back from the unhappy experience, he and
Diamond immediately went to work writing what they hoped would be their next project. "Iz and I had so many ideas, we'd work on one for four
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travels light, unencumbered by expensive special effects, fueled only by the talents of its actors and its director's irrepressible sense of the ridiculous." He said of Lemmon, "Not in a long time has been more appealing," and he described
Matthau as "extremely comic – perhaps our best farceur."
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on
February 4, 1981. From the beginning, Wilder had problems with the script. "Wilder the writer let Wilder the director down," he stated. "We had to write too fast. The script was done in three months. We always took much longer, but the wheels were rolling, and we had to go forward." Two weeks
654:, which launched Mr. Lemmon and Mr. Matthau as a team, but it is the lightest, breeziest comedy any one of them has been associated with in years." He added, "There's something most appealing about the simplicity of the physical production and the small cast. I suspect that one of the reasons
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Jack Lemmon and yet contains no charm, ebullience, wit, charisma – even friendliness? This whole movie is like one of those pathetic
Hollywood monsters drained of its life fluids ... Basically, we are invited to watch two drudges meander through a witless, pointless exercise in farce ...
564:. Wilder gave him a copy of the script and Veber said "I thought then that I saw flaws in it and wanted to tell him about them but I didn't dare. I have too much respect for that man. And who was I, a little Frenchman, to say anything? So I just said 'Very good' and left it at that."
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as the hit man instead of a comedian like Matthau." Veber agreed saying Wilder "made the same mistake I made when I wrote the story as a play in Paris. It was not a great success because I did not make the killer tough enough. I changed that when I wrote the film.
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Months later, Trabucco enjoys his tropical island retreat until he is unexpectedly joined by Victor. Victor explains that he is wanted by the police after blowing up Zuckerbrot's clinic, and Celia has run off with the doctor's female receptionist to become a
526:." Matthau said: "in farce, the object of the film is to be very funny - not just funny, but very funny. So it's easy. You either are funny, or you're not. The audience has to suspend disbelief totally, and presumably they get some pleasure in return."
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modest success? Once you lose the belief that quality will pay off, you are lost. The next thing you know, you're doing a 'Tuesday the 11th' horror story. I could do that if I wanted to. After all, there are still about 360 days left in the calendar.
594:." Lemmon on set told a reporter that making the film was "a dream ... Not only do Walter and I know what each of us is going to do. We also had the advantage of three days of rehearsal, something Billy hasn't done before. This movie is like
308:. While moving to stop him, Trabucco accidentally knocks himself out, and Victor, having a change of heart, brings him back inside and tries to take care of him. However, Zuckerbrot, sent by Celia to have Victor confined in a
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is so congenial, even when a gag doesn't build to the anticipated boff, is because you never feel intimidated by it. It doesn't attempt to overwhelm you with the kind of gigantic sets, props and crowd scenes that made
617:, and we didn't want to make another mistake. We'd had some failures, so our confidence wasn't as good." Although Wilder and Diamond had developed several ideas for another film, none of them came to fruition, leaving
304:, has enlisted because she has become enthralled with the clinic's director, Dr. Zuckerbrot. After Celia spurns him again, they return to the hotel, where Victor attempts to leap off the building after
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played the part as a really hard killer. Billy Wilder cast Matthau in the part and that was a mistake. You cannot be frightened by him. He would have been better off with someone like
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couple. Desperate to see the irritating Victor off, Trabucco suggests to his native servant the possibility of reviving the old custom of sacrificing humans in the local volcano.
604:'s, 'A movie maker who does not believe in miracles is not a realist.' All I know is it's nice to be working." The film was a critical and commercial failure, and in later years
312:, arrives and injects Trabucco, whom he mistakes for Victor, with a tranquilizer. With Gambola's arrival imminent, Trabucco tries to fulfill his contract but is too groggy to
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Wilder said of the film: "If I met all my old pictures in a crowd, personified, there are some that would make me happy and proud, and I would embrace them ... but
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Guild strike to end, and for Lemmon and Matthau to become available. The film roughly followed the original, although the ending was changed.
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named it as the worst film of 1981 (Roger Ebert disliked the film as much as Siskel did, but his pick for 1981's worst film was
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The film was budgeted at $ 10 million which Wilder said was "less than the average advertising campaign". He gave a key role to
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calling him "an extraordinary actor ... a funny Nosferatau. There hasn't been a face like his since
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Leo Roars Again Drew, Bernard. Film Comment; New York Vol. 17, Iss. 5, (Sep/Oct 1981): 34-40,80.
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WALTER MATTHAU: 'I'M SERIOUS WHEN I DO COMEDY' Farber, Stephen. New York Times16 Aug 1981: A.1.
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WILDER: A CYNIC AHEAD OF HIS TIME; LOS ANGELES: Farber, Stephen. New York Times6 Dec 1981: A.1.
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were mixed to negative, with only a few mainstream critics liking the film, one of them being
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this is a commercial movie - nothing arty in it, nothing very serious, somewhere in between
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Garner takes a shot at solving J. R. mystery Daly, Maggie. Chicago Tribune 6 Nov 1980: b18.
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is incompetent. And that is the saddest word I can think of to describe it."
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weeks, and then we'd start another. We'd been burned; we chose wrong with
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Boyer, Peter; Pollock, Dale (28 March 1982). "MGM-UA AND THE BIG DEBT".
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as their last collaboration and Wilder's final directorial effort.
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Tempo: Tower Ticker Gold, Aaron. Chicago Tribune 1 Jan 1981: a8.
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BILLY WILDER Mann, Roderick. Los Angeles Times 27 Nov 1981: h1.
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had begun to expand the film production under new studio head
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even denied being in it. "The best thing for me about
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Walk on the Wilder side The Guardian 15 Apr 1981: 10.
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The film opened in 700 theaters, the same weekend as
503:," said Lemmon. "It has no message - it's just fun."
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Nobody's Perfect: Billy Wilder, A Personal Biography
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283:Trabucco eliminates several witnesses against the
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780:Final Cuts: The Last Films of 50 Great Directors
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234:$ 7,258,543 (US/Canada)
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1024:Daily Variety
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877:, pp. 299–304
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875:0-743-21709-8
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831:"Buddy Buddy"
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1138:Billy Wilder
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838:. Retrieved
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606:Klaus Kinski
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588:Lino Ventura
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535:Conrad Veidt
531:Klaus Kinski
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377:Joan Shawlee
365:Miles Chapin
353:Klaus Kinski
318:
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278:
269:Billy Wilder
262:
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226:$ 10 million
198:Running time
175:Release date
107:Klaus Kinski
70:
64:
52:Billy Wilder
43:Billy Wilder
1420:Buddy Buddy
1210:Death Mills
1147:Filmography
1087:Buddy Buddy
1065:Buddy Buddy
1054:Buddy Buddy
1043:Buddy Buddy
706:Gene Siskel
700:Buddy Buddy
695:Buddy Buddy
685:Roger Ebert
677:Buddy Buddy
656:Buddy Buddy
636:Buddy Buddy
634:Reviews of
619:Buddy Buddy
615:Buddy Buddy
610:Buddy Buddy
578:Culver City
574:Buddy Buddy
464:Buddy Buddy
444:L'emmerdeur
438:Development
343:as Trabucco
335:Jack Lemmon
264:L'emmerdeur
247:comedy film
242:Buddy Buddy
95:Jack Lemmon
81:Produced by
66:L'emmerdeur
39:Directed by
22:Buddy Buddy
1444:1981 films
1438:Categories
766:References
759:Buddy film
739:Box office
519:Stir Crazy
453:Jay Weston
449:art houses
433:Production
427:as Cashier
425:Myrna Dell
359:Dana Elcar
301:60 Minutes
255:Le contrat
231:Box office
202:96 minutes
186:1981-12-11
142:Production
85:Jay Weston
71:Le contrat
1260:Stalag 17
716:Channel 4
625:Reception
548:Ninotchka
383:Ben Lessy
249:based on
123:Edited by
1070:AllMovie
753:See also
746:Rollover
568:Shooting
562:Partners
261:'s film
253:'s play
215:Language
131:Music by
91:Starring
61:Based on
1390:Avanti!
1270:Sabrina
840:May 13,
687:of the
322:lesbian
218:English
207:Country
184: (
144:company
1423:(1981)
1413:(1978)
1410:Fedora
1403:(1974)
1393:(1972)
1383:(1970)
1373:(1966)
1363:(1964)
1353:(1963)
1343:(1961)
1333:(1960)
1323:(1959)
1313:(1957)
1303:(1957)
1293:(1957)
1283:(1955)
1273:(1954)
1263:(1953)
1253:(1951)
1243:(1950)
1233:(1948)
1223:(1948)
1203:(1945)
1193:(1944)
1183:(1943)
1173:(1942)
1163:(1934)
999:review
985:review
873:
661:farces
281:hitman
223:Budget
1092:TCMDB
1048:IMDb
871:ISBN
842:2020
669:and
666:1941
522:and
328:Cast
275:Plot
257:and
1099:at
1090:at
1077:at
1068:at
1057:at
1046:at
725:or
714:).
642:of
475:or
455:of
285:mob
73:by
1440::
938:^
926:^
914:^
882:^
850:^
833:.
822:^
787:^
271:.
1129:e
1122:t
1115:v
844:.
188:)
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