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Mike Nichols' last good film that I'm sure bombed at the time. Stockard Channing almost steals the show as the young heiress, Warren Beatty is perfectly cast, and Nicholson is hilarious without doing much (great hair). There were a lot of good films in the 70's and this should have been included on most lists.

A 7 out of 10. Best performance = Jack Nicholson. There are scenes that fall flat, but the ones that work make it worthwhile. Great costumes and art-set direction as well. It's hard to imagine these two actors (Beatty & Nicholson) playing the characters they did in REDS six years later after playing these buffoons. Give it a shot.

When I read about "Silkwood" in a movie encyclopedia, the caption said that Mike Nichols's career had come to a halt eight years earlier with "The Fortune". Watching the latter, I laughed but also felt like the movie was a little bit low for the director of "The Graduate" and "Catch-22". Portraying uptight Warren Beatty and over-conspicuous Jack Nicholson transporting Stockard Channing to California for what were deemed immoral purposes by the Mann Act in the 1920s, it seems like much of the flick consists of Beatty getting angry at Nicholson for not taking their predicament too seriously. But the last twenty minutes were a hoot, I will say that.

So, this may be Mike Nichols's only movie that you sit around in your underwear and watch. I gotta pity the characters for having a landlady like the one portrayed in the movie. Also starring Scatman Crothers (that's right, the cook from "The Shining") and a very young Christopher Guest.

A box office failure upon release, it just seems impossible to believe this genuinely hilarious film did not hit with audiences then and now is not the iconic cast and title it deserves to be. Columbia must have been aghast when it didn't set the box office on fire especially given what major stars Nicholson and Beatty were in '75. It is hard to find this film and if you have the time and luck to find a copy, try and also get THE FRONT and THE CHEAP DETECTIVE two other Columbia films around the same time that were reasonable successes and deserve to be major titles in anyone's home library.In Australia each of these films + HIGH ANXIETY suffered from the intro of colour TV and the cinemas all took a nosedive for 4 years 74-78. Very few films in thie period were big hits and cinemas closed in dozens. Pity as so many great films were made then and this comedy genuinely is one.

Ramshackle farce with a few funny moments, mainly thanks to Nicholson's largely inspired comedic work, but little else. Mike Nichols is adept at coasting along on clever scripts,but he's clearly unable to salvage wayward material like this. In particular, the running gag which comprises the last half hour or so of the film wears incredibly thin. Beatty and Channing seem to be trying,to little avail, while Nicholson walks away with the film. He's particularly adroit in the first 20 minutes,before the film gets lost in it's own series of ambling vignettes. Still can't hold a candle to the old W.C. Fields or Laurel & Hardy films. Watch one of those instead.

Boasting two of the biggest male superstars (Jack Nicholson, Warren Beatty) in their prime along with a major director (Mike Nichols) The Fortune isn't worth a plug nickel. Smug, abrasive, shrill it attempts to bowl you over with its heavyweight roster but instead trips over itself and falls flat on its face with one forced routine after the next.

Nicky (Beatty) runs off with sanitary napkin heiress Freddie (Stockard Channing)but in order to do so must employ the dim witted Oscar to tag along in order to get around The Mann Act and the fact Nicky is still married. Acting as a stand in until Nicky gets his divorce Oscar marries Freddie and the trio head for sunny California. When the living situation causes a schism between Nicky and Oscar the boys agree to off Freddie to get at the fortune.

There is hardly a laugh to go around in Fortune as Beatty looking like a slick gigolo and Nicholson a cross between Larry Fine and Professor Irwin Cory show a complete lack of comic timing or any chemistry between each other even though Nichols intention seems to be an attempt at a homicidal Laurel and Hardy. Channing starts out promising enough but even she catches what the boys have (crass comic timing) by pictures end.

Nichols who up until this point had directed some seminal 70s performances allows his stars to lurch in every direction as he places more emphasis on camera movement and toying with ellipsis including not one but two long runway takes that remind us how well he did it in Catch 22 but not here.

John Alonso lenses capably while Richard Sylbert's production design applies a thick coat of lipstick to this pig but the end result is an arrogant display of contemporary might who felt reputation alone would carry this turkey. Instead it chops its head off.