Non per soldi... ma per denaro

"The Fortune Cookie" is a light, lovable con/slapstick film about Harry Hinkle (Jack Lemmon), a sports cameraman who is accidentally knocked down by NFL star Boom Boom Jackson (Ron Rich) at a football game. Hinkle suffers a minor concussion but his lawyer brother-in-law, Willie Gingrich (Walter Matthau) is immediately on the seen. Willie thinks that they can sue for millions of dollars if Harry plays that he's got a "compressed vertebrae", and Harry reluctantly agrees. Meanwhile Boom Boom is feeling desperately guilty and is taking care of Harry to make himself feel better.

This movie is labeled as a comedy but most of the humor is dry and subtle. I'd go as far as to call it out-dated, it was probably considered a lot funnier when it first came out.

Though I guess the only character that is supposed to be actually funny is Matthau's, and he is. Hilarious, in fact. He never misses a beat, every movement and line is delivered in perfect accordance to his character. And considering the guy had a heart attack while working on the film, his drive and proffesionalism is admirable.

Aside from Matthau the movie is a little bland, but not bad. The other performances, from Lemmon, Rich and Judi West as Hinkle's gold-digging ex-wife, are all well-played, Rich gives the most notable performance as the guilt-ridden Boom Boom.

The style, direction and other componets of the film are well too...but in the end Matthau's performance is the only real benefit of this film, but it's a big benefit, and gets a 7.5/10 from me.

Little-known, but has fine performances by Jack Lemmon and Walter Matthau. Lemmon is a not-too-bright sports cameraman who gets knocked over by a football player (Ron Rich) and is persuaded by his crooked, ambulance-chasing brother-in-law lawyer (Matthau) to fake an injury for the insurance money. Lemmon tries to go along with the scam, but is consumed by guilt because the guilt Rich feels for the "injury" is quickly wrecking his life. Added to this is the return of Lemmon's ex-wife (Judi West), with whom he is still obviously in love. He is completely oblivious to the fact she is a gold-digger--in his case, love truly is blind. Everything resolves itself as it should, but not as you might think. It's a funny, dramatic, and touching film.

A greedy lawyer convinces his cameraman brother-in-law to sue after the latter is inadvertently hit by a football player while filming an NFL game. In the first of several films to pair Lemmon and Mathau, the actors play roles typical of their collaborations, with the former a decent, neurotic fellow and the latter a shyster. After "The Apartment," Wilder never quite achieved the success he experienced earlier in his great career as he was churning out one classic after another. This is a product of his declining years - not bad but not very funny either and far too long for a comedy. Whatever happened to West, the attractive actress who plays Lemmon's ex-wife?

Whereas these days a successful movie series means endless spin-offs and sequels, there was a time when there were brilliant creative teams who got together time and again, producing a kind of motion picture brand that you could trust. The series of comedies written by Billy Wilder and I.A.L. Diamond, directed by Wilder and (many of them) starring Jack Lemmon are such neat works of professionalism and congruent talent that during their heyday in the 1960s they provided a guarantee of smoothly intelligent yet undemanding entertainment.

Billy Wilder had one of the most apparently laid back directorial styles of his era. He barely moves the camera, and his shots tend last as long as is practical. But within this fixed frame he juggles everything with expertise. He uses the cinemascope ratio to keep various elements on the screen – for example the camera and microphones which keep stealing into shot as a reminder of the private eyes that are bugging the flat. This idea of keeping things in view without making them centre of attention also applies to Wilder's presentation of comedy. There's a great example where Walter Matthau is on the phone at one edge of the frame, while the rest of the screen reveals the interior of his home. His children skate around while his wife prepares dinner, which culminates in an incidental gag, punctuating the scene, while Matthau's phone conversation remains what the scene is about. This is very much Wilder's way – not to make the jokes leap out at you but to weave them into the background, noticeable but never forced.

Lead man Jack Lemmon was by now a familiar piece of Wilder furniture, and you can see why. He has a slightly exaggerated look, with a duck-like face and a manic way of moving, and yet he can also "do normal" and convince us that he is an everyman. Still, this time around he is upstaged by an exuberant Walter Matthau. There are many great facets to Matthau's performance – his sudden overt gestures, his ability to move his hat as if it were part of his body, the way he paces around, managing to get closest to the camera as his voice reaches a bizarre crescendo or his facial expression is at its most absurdly comical. However I think what really makes him fit in here is the way, although he gets all the funniest lines, he doesn't show them off, simply delivering them as if they were the natural thing for his character to say, which of course makes them all the funnier. It's also a lot like Wilder's style of weaving the comedy into the narrative material rather than hammering the jokes home.

But what about this narrative material, sharply scripted by Wilder and Diamond? The Fortune Cookie is ostensibly about an insurance scam, but gradually the friendship between Jack Lemmon and the football player who accidentally injured him emerges as the main story arc. It's almost like a love story between two men. I'm not implying anything homoerotic here, simply that the story is structured like a romance with a friendship taking the place of the love angle. The fact that Boom Boom (played by the little-known Ron Rich) is black is not drawn attention to or made an issue of, and this is rather interesting. This picture was made at the height of the civil rights movement, but it is not making an overt point about race, nor is it even a political picture. But it works as a nicely harmonious accompaniment to what was going on in the streets at the time. Wilder comedies could calmly cover areas other pictures couldn't even touch without making a mess.

One of these days I am going to watch a bad Billy Wilder movie...so far I have not even come close. Each year we observe the passing of great talents (this year, 2003 has seen an extrordinary number of death), I begin to realize we will never again see the likes of Lemmon and Matthau who passed away in 2000 and 1999 respectively. These two are great actors in comedic or serious roles. Matthau's sleazy lawyer is played just right, not too over the top and Lemmon plays the victim in this movie who is basically going along for the ride. As the movie progresses Lemmon gets further disenchanted with the pending cash settlement for his fake injuries and in his own inimitable way blows the whistle on his brother-in-law, Whiplash Willie (Matthau.) I found Wilder's use of Cliff Ormond and Noam Pitlik as the bumbling private eye surveillance team to be reminiscent of Jackie Gleason and Art Carney on the Honeymooners, or even a latter day type of slapstick in the style of Abbot and Costello. Also, the supporting role of Boom Boom the Cleveland Browns running back who accidentally injures Lemmon on the sideline at a game was played with depth. All in all another wonderful treat this movie is to watch.