Walter Matthau plays a professional killer going by the name of Trabucco, who is on his way to rub out gangster Rudy “Disco” Gambola, set to testify against the mob. As Trabucco heads off to a hotel across the street from the courthouse where he plans to set his hit, he runs into the depressed Victor Clooney, who laments the fact that his wife has left him for the head of a weird Californian sex clinic. Trabucco keeps walking and sets up his rifle in a hotel room. He is disturbed by Victor trying to hang himself in the adjoining hotel room and tries to prevent him from killing himself by restraining him, but Victor breaks loose and climbs onto the ledge of the hotel window. To get Victor to come back in, he agrees to drive him to the clinic to see his wife. The two go to the clinic where Victor’s wife Celia informs Victor that she is in love in the head of the clinic, quack Dr. Zuckerbrot…
Originally planning to become a lawyer, Billy Wilder abandoned that career in favor of working as a reporter for a Viennese newspaper, using this experience to move to Berlin, where he worked for the city’s largest tabloid. He broke into films as a screenwriter in 1929, and wrote scripts for many German films until Adolf Hitler came to power in 1933. Wilder immediately realized his Jewish ancestry would cause problems, so he emigrated to Paris, then the US. Although he spoke no English when he arrived in Hollywood, Wilder was a fast learner, and thanks to contacts such as Peter Lorre (with whom he shared an apartment), he was able to break into American films. His partnership with Charles Brackett started in 1938 and the team was responsible for writing some of Hollywood’s classic comedies, including Ninotchka (1939) and Ball of Fire (1941). The partnership expanded into a producer-director one in 1942, with Brackett producing, and the two turned out such classics… read more
Is it as good as SUNSET BLVD, SOME LIKE IT HOT or THE APARTMENT? no, but it's also not as dull as THE FRONT PAGE. In fact there are laughs to be sure simply by watching Walter Matthau and listening to his dem, dese, dose accent. Paula Prentiss is charming and, while woefully out of place, the presence of Klaus Kinski is really intriguing.
Such a shame that this was the last movie directed by the almighty Billy Wilder. After such a brilliant career, this movie doesn't seem to belong to his filmography. I must repeat myself, but it's such a shame that, even when he wanted to, nobody counted on him to direct ay nother movie in his last years.