An ambulance-chasing lawyer (Walter Matthau) convinces his cameraman
brother-in-law (Jack Lemmon) to pretend he has suffered
severe injuries
at a football game in order to win a major damage suit. Sounds
like a promising premise for a Billy Wilder comedy, but in
truth, the first film featuring the teaming of Jack Lemmon
and Walter Matthau isn't one of Wilder's better films.
Wilder attempts to recreate the magic of THE APARTMENT,
with Lemmon cast as a nice but weak-willed guy who gets caught up in a
scheme he disapproves of, but in THE FORTUNE COOKIE, as opposed to THE
APARTMENT. there is little sweetness to balance the bitterness.
Lemmon agrees to his brother-in-law's plan only when he thinks it
will win him back his ex-wife, but, in a fatal error that hangs
over the whole film, we are shown ahead of time that his ex is
interested in nothing but the money. So instead of the
bittersweet love story of C.C. Baxter and Miss Kubelik, the key to
what made THE APARTMENT such a wonderful film, we have the story of a
poor schnook who is duping everybody
because
he wants his wife back, unaware that his wife is duping him. We
are even told, rather obliquely, that Lemmon's brother-in-law and his
ex-wife probably had a fling Lemmon is unaware of. There is so
much cynicism
flying everywhere, it's nearly impossible to find any of the supposedly
comic
situations funny. What's left is some individual lines - and
since this is a Billy Wilder film, some are quite good - and a host of
excellent performances. Not only do Lemmon and Matthau show the
instant chemistry that would make them one of the most popular screen
teams of the next few decades, but Ron Richards as the football
player who
accidentally laid Lemmon out flat and Judi West as the opportunistic
ex-wife both shine in their roles. Cliff Osmond as a detective
trying to uncover the ruse is also a great asset to the film.
But THE FORTUNE COOKIE has no heart. Miss Kubelik, where are you when we need you?
½ - JB
AND DON'T POINT THAT BEARD AT ME, IT MIGHT GO OFF!
In one of his final roles, the great German character actor Sig
Ruman, a favorite of both director Wilder and Ernst Lubitsch, appears
as - what else? - a German doctor. He died one year later in 1967.