The first thing I want to say is that this is a Billy Wilder/I.A.L. Diamond script collaboration. They were famous in their time, though many will recognise Wilder?s name primarily. I just finished reading a ?memoir? by Wilder where he talks about the MANY, MANY famous Hollywood films he worked on as both scriptwriter and/or director. This prolific and talented Hollywood figure brought us such great and entertaining films as ?Double Indemnity?, ?The Lost Weekend?, ?Sunset Boulevard?, ?Sabrina?, ?The Seven Year Itch?, ?Witness for the Prosecution?, ?Some Like It Hot? and ?The Apartment? just to name a few. This example features Wilder as co-writer as well as producer and director. The two reasons why I wanted to review this film are that Wilder was involved, and that Shirley MacLaine is one of the stars. Three reasons, come to think of it, as I am going through a phase that sees me wanting to fill a ?gap? in my knowledge of a certain style of film prevalent in the 60?s. I haven?t quite decided what, if any, category this type of film would fall into, but easiest to call them romantic comedies with a subtle edge of menace. More sophisticated and complex than a screwball comedy. Lemmon seemed to feature in many of these, and has worked for Wilder more than once, as has MacLaine. They were also paired in ?The Apartment?, which I liked.

There is a definite undertone of bleakness in this example that belies Wilder?s penchant for the seedier aspects of human experience, even when directing comedy, as most of the films I have mentioned above also touch upon. Yet this film is NOT a part of Wilder?s wonderful film-noir period, but a more comedic twist on this formula, which I can only assume fitted with the studio?s perception of what audiences wanted for their light entertainment in 1963. Suffice to say I liked it, and it?s a good example of its? kind, but just a tad too cute for my taste. I can?t imagine I?d want to watch this film very often. Maybe once every 10 years?! Bear in mind, ?The Sound of Music? was still two years away when this was released! So a certain cheesiness was still high on the Hollywood agenda. However, the plot is meaty, with a few twists and turns that reveal themselves even in the last few moments of the film. It?s certainly a stylish approach to film-making. Perhaps this is ?the Wilder touch? that people refer to? There is a certain innocent charm that weaves its? way into the action. I think most people would either love or hate it. As for me, I much prefer the film-noir Wilder. So ?LIKE? is the best I can muster.

The central action here revolves around a relationship between a prostitute, Irma (MacLaine) and a Good Cop (Lemmon) who is converted to the ?dark side?. Yet the playing out of all this is tinged with the overall ?look? of a musical, and a clear optimism, despite moments of ?prettied up? ugliness. There are one or two musical interludes too, which fit with the action, but could seem odd on reflection. Probably just used as an opportunity for MacLaine to showcase her dancing talent?! It?s a bit of a weird combo when you look at a film like this in the context of modern films.

The upshot: Irma La Douche (MacLaine) works the streets of Paris as a prostitute with her mean pimp taking all of the proceeds of her hard work. The status-quo is upheld until a na?ve cop (Lemmon), fresh from a stint at a children?s playground, appears on the beat and decides to stir up trouble with the locals thanks to his moral conviction. After single-handedly orchestrating a raid on a seedy, rooms-by-the-hour hotel and ruffling a few high-level cop feathers in the process, he is permanently relieved of his duties. Finding himself in the district seeking accommodation, he befriends the owner of a caf? frequented by pimps and pros, including the charming Irma La Douce. They fall for each other. Before long, he is shacking up with Irma, and promising her that she no longer needs to work the streets as he is going to get a job to support her, much to her horror, as SHE is used to supporting ?her man? with the proceeds of her nightly escapades. Soon jealous of her liaisons with other men, he naively hatches a plan with the help of the worldy-wise local caf? owner to pretend to be a rich English lord who pays her a king?s ransom weekly to spend time with her, no sex involved. Great idea, but the sums don?t add up. Where does ?Lord X? get 1000 francs a week to pay her? So, on the sly, he ends up working several bone-crushing shifts at the Paris fresh produce markets in order to finance this scheme, and keep her virtuous.

I?m not spoiling the rest of the story, but it does get quite complicated as he slowly digs himself into the ground, and arouses the suspicions of Irma at the same time.

Overall, it?s a ?cool? film ? stylish and entertaining, if a little cheesy. I should also say that Lemmon is a talented boy ? perhaps one of the few US actors of the time that could ?do? a stuffy English accent without appearing to struggle. Lord X is amusing in his stereotyped mannerisms.

THE EXTRAS

A little better than basic, due purely to language options. In addition to English, you can choose German, French, Italian and Spanish. Basics are scene select and original theatrical trailer.

CONCLUSION

Whilst I would not call this film one of my favourites, I wanted to review this because the legendary scriptwriter and director Billy Wilder was involved, and Shirley MacLaine and Jack Lemmon star, and they usually make a cute pair. Irma (MacLaine) is a good-hearted prostitute who falls in love with an ex-cop (Lemmon) down on his luck. For a romantic comedy made in 1963, it?s stylish and quirky with an edge of bleakness. Casting, script and set are of good quality, if a little cheesy. It certainly looks good, although sound is a tad disappointing. There are a few language options that make it better than basic. Lighthearted overall, and almost verging on the musical in style and plot. I can?t deny the simple entertainment value of this film. If you don?t know anything of Wilder?s comedic work, this is a reasonable place to start. I still prefer his film-noir period, however?..