IMDb-BEWERTUNG
7,0/10
44.880
IHRE BEWERTUNG
Als seine Familie den Sommer über verreist ist, wird ein bislang treuer Ehemann von einer schönen Nachbarin in Versuchung geführt.Als seine Familie den Sommer über verreist ist, wird ein bislang treuer Ehemann von einer schönen Nachbarin in Versuchung geführt.Als seine Familie den Sommer über verreist ist, wird ein bislang treuer Ehemann von einer schönen Nachbarin in Versuchung geführt.
- Nominiert für 1 BAFTA Award
- 2 Gewinne & 3 Nominierungen insgesamt
Tom Ewell
- Richard Sherman
- (as Tommy Ewell)
Dolores Rosedale
- Elaine
- (as Roxanne)
Brandon Beach
- Commuter at Station
- (Nicht genannt)
Steven Benson
- Kid at Train Station
- (Nicht genannt)
George Bruggeman
- Commuter at Station
- (Nicht genannt)
George Chester
- Porter
- (Nicht genannt)
Noble 'Kid' Chissell
- Train Station Gateman
- (Nicht genannt)
Richard Elmore
- Commuter at Station
- (Nicht genannt)
Duke Fishman
- Commuter at Station
- (Nicht genannt)
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Poor Richard Sherman's got himself in such a state, he's been mesmerised and is starting to fixate, a screen goddess lives upstairs, summertime is for affairs, now he's drinking, smoking, getting quite irate; as his wife has left the city for the country, and middle age makes him behave, quite dumbly, it's the itch of seven years, that's interfering with his gears, but just a scratch will turn his world, fragile and crumbly.
Fair play to him though, as I suspect most men in his position wouldn't behave the same way when presented with a new neighbour who's innocent exhibition and confiding character (along with a number of other engaging attributes) are so overwhelmingly enticing, especially to the archetypal 1950s middle aged man.
Fair play to him though, as I suspect most men in his position wouldn't behave the same way when presented with a new neighbour who's innocent exhibition and confiding character (along with a number of other engaging attributes) are so overwhelmingly enticing, especially to the archetypal 1950s middle aged man.
Even after sixty years, THE SEVEN YEAR ITCH retains its freshness and bounce - a delightful testament both to the script (by Billy Wilder and playwright George Axelrod) and the quality of the performances.
The story is a simple one: left on his own during a hot New York summer, Richard Sherman (Tom Ewell) tries his best to avoid the temptations of drink, tobacco and an extra-marital affair. However his best intentions are frustrated by the presence of The Girl (Marilyn Monroe), who has moved into the apartment above him. Nothing actually happens, but the promise persists ...
Ewell gives a stellar performance, the best in his forty-five year acting career. In his rumpled gray suit, with tie askew, he embarks on a series of monologues where his better nature competes with his carnal desires. Most of them are shot in single takes in the Shermans' apartment: Ewell's India-rubber face changes rapidly as he debates the morality of inviting The Girl down for a drink. He walks from side to side of the frame, his shoulders hunched, almost as if he is bearing the cares of the world on his back.
The fantasy-sequences are extremely funny, with Ewell imagining himself as the protagonist in a comic reworking of FROM HERE TO ETERNITY, rolling about on the beach with a woman not his wife. Later on he casts himself as a Noel Coward-like figure speaking in a cod-British accent, as he plays Rachmaninov on the piano while trying to seduce The Girl (a reference to BRIEF ENCOUNTER).
When the latter scene is re-enacted for real, The Girl is completely uninterested in Rachmaninov. Sherman tries to embrace her, and the two of them end up falling off the piano bench in an ungainly heap. Although Sherman imagines himself as the Great Lover, he will never be able to fulfill his role.
Monroe is equally memorable in her role as the not-so-dumb blonde from Denver. It's clear she is attracted to Sherman - not because of his physical attributes, but because at heart he is an extremely sweet man. On the other hand she respects his love for his wife Helen (Evelyn Keyes), and thus refrains from making a pass at him. THE SEVEN YEAR ITCH contains the memorable sequence where she stands over a grille and lets the wind from a subway train beneath blow up her white dress. Wilder shoots this sequence very discreetly, leaving everything to the viewer's imagination. Monroe is far more seductive in an interior sequence, where she hides behind a chair and stretches out one leg, and then another. The janitor Mr. Kruhulik (Robert Strauss) witnesses what happens, and promises to leave Sherman alone.
Wilder's and Axelrod's script fairly crackles with one-liners, as well as a series of in-jokes referring to Charles Lederer (Wilder's fellow-scriptwriter), as well as a reference to Monroe herself.
THE SEVEN YEAR ITCH is one of those comedies that never loses its sparkle, even after repeated viewings.
The story is a simple one: left on his own during a hot New York summer, Richard Sherman (Tom Ewell) tries his best to avoid the temptations of drink, tobacco and an extra-marital affair. However his best intentions are frustrated by the presence of The Girl (Marilyn Monroe), who has moved into the apartment above him. Nothing actually happens, but the promise persists ...
Ewell gives a stellar performance, the best in his forty-five year acting career. In his rumpled gray suit, with tie askew, he embarks on a series of monologues where his better nature competes with his carnal desires. Most of them are shot in single takes in the Shermans' apartment: Ewell's India-rubber face changes rapidly as he debates the morality of inviting The Girl down for a drink. He walks from side to side of the frame, his shoulders hunched, almost as if he is bearing the cares of the world on his back.
The fantasy-sequences are extremely funny, with Ewell imagining himself as the protagonist in a comic reworking of FROM HERE TO ETERNITY, rolling about on the beach with a woman not his wife. Later on he casts himself as a Noel Coward-like figure speaking in a cod-British accent, as he plays Rachmaninov on the piano while trying to seduce The Girl (a reference to BRIEF ENCOUNTER).
When the latter scene is re-enacted for real, The Girl is completely uninterested in Rachmaninov. Sherman tries to embrace her, and the two of them end up falling off the piano bench in an ungainly heap. Although Sherman imagines himself as the Great Lover, he will never be able to fulfill his role.
Monroe is equally memorable in her role as the not-so-dumb blonde from Denver. It's clear she is attracted to Sherman - not because of his physical attributes, but because at heart he is an extremely sweet man. On the other hand she respects his love for his wife Helen (Evelyn Keyes), and thus refrains from making a pass at him. THE SEVEN YEAR ITCH contains the memorable sequence where she stands over a grille and lets the wind from a subway train beneath blow up her white dress. Wilder shoots this sequence very discreetly, leaving everything to the viewer's imagination. Monroe is far more seductive in an interior sequence, where she hides behind a chair and stretches out one leg, and then another. The janitor Mr. Kruhulik (Robert Strauss) witnesses what happens, and promises to leave Sherman alone.
Wilder's and Axelrod's script fairly crackles with one-liners, as well as a series of in-jokes referring to Charles Lederer (Wilder's fellow-scriptwriter), as well as a reference to Monroe herself.
THE SEVEN YEAR ITCH is one of those comedies that never loses its sparkle, even after repeated viewings.
Something that irritates me about the IMBD is that if you criticise a movie that was made before 1980, a truckload of idiots send you messages telling you how much you hate old movies. Let me say right away, I don't. I like films from pretty much every era of cinema that I've had the chance to see, but, having had common sense recently installed, I've come to realise that age doesn't automatically make a movie great, just as modernity doesn't automatically make a movie bad.
So bearing in mind that I'm talking about this one movie, and not every movie made in the 1950s, The Seven Year Itch is as average as they come. The minimal plot sees Tom Ewell's `summer bachelor' trying to resist the charms of neighbour Marilyn Monroe while his wife and son are shipped off for the season. Very obviously adapted from a play, there are few characters, few sets, and even fewer laughs. That it succeeds at all is due to the charm of the leads and the occasional good joke that sneaks its way into the script.
The film's main problem comes in how it tells its story. First, it depends on Ewell constantly talking to himself, babbling on endlessly about what he's doing, what he might do, what he's never done, and what other people will think he's doing, done and about to do. Secondly, he is constantly daydreaming, the film constantly dissolving into one of his fantasies that are unfortunately no funnier than reality. If you find this storytelling approach irritating, as I did, the film's potential is lost immediately.
You'll no doubt be shocked to learn that in this film Marilyn Monroe is cast as a dumb blonde. Most people in the world seem to immediately pitch a trouser tent at the thought of Norma Jean, but I can't say I count myself among them. The problem with a dumb blonde is that she's dumb, so to find her attractive, you have to be attracted to stupidity. I'm not, so it doesn't matter how much she pouts, or how often we're treated to shots of her hourglass figure; she's as thick as a lobotomised footballer and therefore unattractive. She's basically got the personality and intelligence of a six year old, and, not being Gary Glitter, I can't say that appeals to me.
A comedy with few laughs, a sex symbol who doesn't float my boat, and a classic that just doesn't do it for me. I guess there's another bunch of snide messages coming my way.
So bearing in mind that I'm talking about this one movie, and not every movie made in the 1950s, The Seven Year Itch is as average as they come. The minimal plot sees Tom Ewell's `summer bachelor' trying to resist the charms of neighbour Marilyn Monroe while his wife and son are shipped off for the season. Very obviously adapted from a play, there are few characters, few sets, and even fewer laughs. That it succeeds at all is due to the charm of the leads and the occasional good joke that sneaks its way into the script.
The film's main problem comes in how it tells its story. First, it depends on Ewell constantly talking to himself, babbling on endlessly about what he's doing, what he might do, what he's never done, and what other people will think he's doing, done and about to do. Secondly, he is constantly daydreaming, the film constantly dissolving into one of his fantasies that are unfortunately no funnier than reality. If you find this storytelling approach irritating, as I did, the film's potential is lost immediately.
You'll no doubt be shocked to learn that in this film Marilyn Monroe is cast as a dumb blonde. Most people in the world seem to immediately pitch a trouser tent at the thought of Norma Jean, but I can't say I count myself among them. The problem with a dumb blonde is that she's dumb, so to find her attractive, you have to be attracted to stupidity. I'm not, so it doesn't matter how much she pouts, or how often we're treated to shots of her hourglass figure; she's as thick as a lobotomised footballer and therefore unattractive. She's basically got the personality and intelligence of a six year old, and, not being Gary Glitter, I can't say that appeals to me.
A comedy with few laughs, a sex symbol who doesn't float my boat, and a classic that just doesn't do it for me. I guess there's another bunch of snide messages coming my way.
In Some Like it Hot, Marilyn was the hottest she ever was. In Gentlemen Prefer Blondes, she's the Woman of all Women. But in The Seven Year Itch, Marilyn is the prize of all treasures. She is timeless in every frame of the film. Coming across as this unique, cute, and innocent little woman, Marilyn makes your mind race, your heart thump, and your youth return.
No one else but Marilyn Monroe could play "The Girl" in the movie. She is just that, a girl, but much much more. Most of the physical comedy in the film is executed by Monroe herself. A lot of us don't realize this as we expect most of the comedy to come from the comedian in the film, Tom Ewell. A must see if you are a fan of America's first Dream Girl, the amazing Marilyn Monroe.
No one else but Marilyn Monroe could play "The Girl" in the movie. She is just that, a girl, but much much more. Most of the physical comedy in the film is executed by Monroe herself. A lot of us don't realize this as we expect most of the comedy to come from the comedian in the film, Tom Ewell. A must see if you are a fan of America's first Dream Girl, the amazing Marilyn Monroe.
Peak Marilyn. She's funny, sexy, and absolutely charming, and it's also of course got that iconic moment over the subway grate. I've also always liked Tom Ewell in this. As silly as his character is and as stagey as his monologues are, I think he's funny and satirizes married men with wandering eyes pretty well. He has ridiculous fantasies, clumsily tries to put the moves on a younger woman, and is wracked by guilt. I absolutely love the scene where he plays Rachmaninoff's Piano Concerto #2 to set the mood (both in fantasy and reality), and how it was incorporated into the soundtrack. Another nice little moment is when he's fixing a couple of Tom Collins for the two of them, going on about how it couldn't have been chance for them to have met, while she's talking to herself about needing to return a fan to a store. I like how spare the story is, and the various one-liners in the script. Director Billy Wilder lamented making the film under the Production Code, and it is a shame that some things were censored, but Monroe's appeal can't be denied. I like it for what it is, a product of its time for sure, and a harmless sex comedy.
Favorite line: "Miss Morris, I'm perfectly capable of fixing my own breakfast. As a matter of fact, I had a peanut butter sandwich and two whiskey sours."
Favorite line: "Miss Morris, I'm perfectly capable of fixing my own breakfast. As a matter of fact, I had a peanut butter sandwich and two whiskey sours."
Wusstest du schon
- WissenswertesBilly Wilder preferred shooting in black and white, but Marilyn Monroe's contract with Fox called for all of her movies to be shot in color. Monroe always thought that she looked far more attractive and glamorous in color than in black and white.
- PatzerBoth Richard and his boss, who are in the book publishing industry, refer to "The Portrait of Dorian Gray". The actual title of the Oscar Wilde novel is "The Picture of Dorian Gray".
- Crazy CreditsWhen the title appears, one arm of the T in ITCH reaches down and scratches the stem of the letter.
- Alternative VersionenVersion released in then West Germany contains some profanity.
- VerbindungenFeatured in Die Welt der Marilyn Monroe (1963)
- SoundtracksPiano Concerto #2
Composed by Sergei Rachmaninoff (as S. Rachmaninoff)
Played on a record and often in the score
Top-Auswahl
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Details
- Erscheinungsdatum
- Herkunftsland
- Sprache
- Auch bekannt als
- La comezón del séptimo año
- Drehorte
- 164 East 61st Street, Manhattan, New York City, New York, USA(exterior of Richard's apartment)
- Produktionsfirmen
- Weitere beteiligte Unternehmen bei IMDbPro anzeigen
Box Office
- Budget
- 1.800.000 $ (geschätzt)
- Weltweiter Bruttoertrag
- 22.277 $
- Laufzeit1 Stunde 45 Minuten
- Farbe
- Seitenverhältnis
- 2.55 : 1
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