Category Archives: Jack Lemmon

1993 Films, Andie MacDowell, Anne Archer, Best Feature- Independent Spirit Award Winners, Drama, Frances McDormand, Fred Ward, Independent, Independent Drama, Jack Lemmon, Jeff Goldblum, Jennifer Jason Leigh, Julianne Moore, Lili Taylor, Lily Tomlin, Lyle Lovett, Madeleine Stowe, Matthew Modine, Robert Altman, Robert Downey Jr., Tim Robbins

Short Cuts-1993

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Short Cuts-1993

Director Robert Altman

Starring Tim Robbins, Julianne Moore, Lily Tomlin

Scott’s Review #1,400

Reviewed September 20, 2023

Grade: A

I am such a fan of acclaimed director Robert Altman because he typically features an enormous cast with richly composed characters all serving a story purpose. Frequently, with much character development and investment.

Short Cuts (1993) is a latter-day Altman offering set in Los Angeles, California, the City of Angels that is nearly as good as my all-time favorite of his, Nashville made in 1975.

Similarities burst to the screen with twenty-two principal characters to Nashville’s twenty-four. Their lives frequently intersect and the fun is peeling back the layers of their lives and discovering who is connected to whom.

Comparisons to 1992’s The Player (also Altman) and 1999’s Magnolia, directed by Paul Thomas Anderson can also be made for obvious Los Angeles setting reasons.

But, Magnolia is much weirder than Short Cuts.

The irony is that most characters are anything but angels as they suffer from insecurities, deaths, infidelity, and various shenanigans as they attempt to get through California life amid an earthquake and a fleet of helicopters spraying for medflies.

Altman based the film on the nine short stories and a poem by Raymond Carver.

Some of the tales include a waitress Doreen (Lily) who is married to an alcoholic limo driver (Tom Waits) who accidentally runs into a boy with her car. Soon after walking away, the child lapses into a coma. While at the hospital, the boy’s grandfather (Jack Lemmon) tells his son, Howard (Bruce Davison), about his past affairs.

Meanwhile, a baker (Lyle Lovett) starts harassing the family when they fail to pick up the boy’s birthday cake.

Dr. Ralph Wyman (Matthew Modine) and his wife, Marian (Moore), meet Stuart Kane (Fred Ward), an unemployed salesman, and Claire Kane (Anne Archer), a party clown, at a cello concert.

They impulsively decide to have a Sunday dinner date. seemingly having nothing in common.

Meanwhile, Marian’s sister, Sherri (Madeleine Stowe), is married to a cheating cop named Gene (Tim Robbins), who is having an affair with Betty Weathers (Frances McDormand), while Betty is divorcing one of the helicopter pilots, Stormy (Peter Gallagher).

There are other stories and connections to round out the fabulous cast.

The juicy and dramatic storylines play out like a terrific story arc on Days of Our Lives or As the World Turns with some needed comedic elements to balance things out.

Anyone who knows Altman will salivate with the name recognition among the cast most notably Tomlin and Robbins. Actors frequently chomped at the bit to appear knowing that he was an actor’s director.

This means he allowed his cast open range to create dialogue appropriate for their characters.

There’s no better example than when Jack Lemmon tells a story in the film. His improv and free dialogue are a dream to watch and a lesson in good and natural acting.

Despite the enormous cast everyone has something of quality to do. Nobody is languishing on the back burner with throwaway scenes or unimportant activities. All characters connect to others in some way.

Fans who fancy Los Angeles both in film and in real life with its bursting sunshine and cheery perception will revel in the down and dirty sub texture of Short Cuts.

The fun is getting there.

Some characters are wealthy but most struggle with day-to-day routine so the film contains a harsh realism. They try to find some shreds of happiness wherever they can get them.

Like real life which is part of the mastery of Short Cuts. The audience can relate to the characters because we all know people like them which makes the film a beautiful and treasured experience.

Or some may even be like us. The writing is brilliant and the characters are true to form.

One day I’ll create a list of my Top Ten Robert Altman films and I bet Short Cuts (1993) lands in the Top Five.

Oscar Nominations: Best Director-Robert Altman

Independent Spirit Award Nominations: 3 wins-Best Feature (won), Best Director-Robert Altman (won), Best Screenplay (won), Best Supporting Actress-Julianne Moore

1962 Films, Comedy, Fred Astaire, Jack Lemmon, Kim Novak, Richard Quine, Thriller

The Notorious Landlady-1962

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The Notorious Landlady-1962

Director Richard Quine

Starring Kim Novak, Jack Lemmon, Fred Astaire

Scott’s Review #1,390

Reviewed August 16, 2023

Grade: B+

If viewers can look past the messy nature of The Notorious Landlady (1962) and the schizophrenic pacing that appears intermittently then the film is enjoyable.

It’s not platinum status but a decent enough flick, especially for Kim Novak and Jack Lemmon fans, who were big stars. This is the third and final film that the duo starred in.

Like the film, their chemistry goes in and out but appealing is to see Novak in a comic role whereas the genre is familiar territory for the funny Lemmon.

After her husband mysteriously disappears, Carly Hardwicke (Novak) finds it impossible to rent a room in her lovely London apartment, because everyone assumes she’s responsible.

American diplomat William Gridley (Jack Lemmon), is new to the city and desires a residence with her. It doesn’t hurt matters that Carly is easy on the eyes. William becomes smitten with her unaware of her troubles.

When his boss, Franklyn Ambruster (Fred Astaire), learns what Gridley has stumbled into, the two men try to clear her name. A series of lies and misunderstandings catapult events into a compelling mystery.

Even though neither William nor Carly are British the foggy locale works well and provides foreign mystery. They reside in a courtyard type of home where neighbors can see in or they can see out to other apartments. This comes into greater play towards the end of the film.

This is just one example of an Alfred Hitchcock influence from 1954’s Rear Window which director Richard Quine heftily borrows from. He’s wise to do so since he secured Novak, fresh from her role in Vertigo (1958) two years earlier.

Shit, even the title ‘The Notorious Landlady’ borrows the title of the 1946 Hitchcock masterpiece, ‘Notorious’.

There’s also a secret locked door that Carly references and forbids anyone from entering adding suspense and foreboding.

Despite tepid chemistry between the stars I ultimately enjoy their romance. It’s a hard sell that the gorgeous Carly would fall head over heels for the everyman William but she does.

They win me over during a dramatic scene where an attempted romantic dinner of steaks goes awry and instead, a massive fire erupts. The burgeoning lovers cling together in a sweet embrace that cements their appeal.

The tension is supposed to be about whether Carly murdered her husband and has designs on William. Red herrings like kitchen poisons and the like make an appearance but I was more interested in the impending mystery of said husband than really believing she’d want to kill William.

The last act brings the reemergence of a threatening character, an unexpected villain, and a race to save another character in dangerous peril.

A courtroom scene also adds to the tension.

The central storyline is satisfying, edge of your seat, and suspenseful. I assume Quine was going for it.

Within the story, The Notorious Landlady shifts genres a whopping three times! The tone is all over the place, first romantic comedy, then suspense and drama, and finally slapstick.

During the finale when Carly and William race to a retirement community and scramble to stop an out-of-control wheelchair, I half expected Laurel & Hardy or The Little Rascals to make a cameo.

Poor Fred Astaire has little to do and struggles for relevance as measured against Novak and Lemmon’s characters. At times I’d even forgotten he was still in the film.

The Notorious Landlady (1962) is an entertaining vehicle and a must-see for fans of Novak or Lemmon eager to see a largely forgotten film that offers something fun.

1977 Films, Adventure, Christopher Lee, Disaster, George Kennedy, Jack Lemmon, James Stewart, Joseph Cotten, Lee Grant, Maidie Norman, Olivia de Havilland, Rickie Sorensen

Airport ’77-1977

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Airport ’77-1977

Director Jerry Jameson

Starring Jack Lemmon, James Stewart, Olivia de Havilland

Scott’s Review #1,072

Reviewed October 20, 2020

Grade: B+

The word that springs to mind following a viewing of the disaster flick Airport ’77 (1977) is entertaining. Whether this is positive or negative depends on the viewer and what that viewer wants out of a film.

As a huge fan of the disaster genre, I was one satisfied customer though there is little to distinguish the film from other efforts. It is a more cohesive and professional-feeling effort than its predecessor, Airport ’75.

The fun is watching the cast, the grandiose list of who’s who of Hollywood heavyweights gracing the opening credits.

We wonder who will survive and who will not.

The star is the airplane. Showcased by way of both interiors and exteriors, the luxurious privately-owned Boeing 747-100 is a great highlight of the picture.

Owned by wealthy philanthropist Philip Stevens (James Stewart), the plane is packed with VIPs and priceless art traveling to his Florida estate for a party.

The wealthy travelers are drugged, and the aircraft is subsequently hijacked before crashing into the ocean in the Bermuda Triangle and sinking 100 feet, prompting the survivors to undertake a desperate struggle to live.

The airplane set is a feast for the eyes. A double-deck plane (naturally!) the plush green carpets and the spiral staircase complete with a robust bar stocked with every type of liquor imaginable are wonderful trimming.

It allows the viewer to forget all about the typical in-flight treats like their seat being kicked, a screaming baby, or a fat man snoring, and escape to the pleasures of champagne, caviar, and slippers.

Seriously, the sets are tremendous and worthy of their accolades.

Jerry Jameson, primarily a television director, sticks to a formulaic approach that makes the film look like a long television series. Think Murder, She Wrote, Dallas, or Dynasty at 30,000 feet.

I say this because the melodrama is sky-high (no pun intended) and situations arise between flight crew and passengers to create more tension than the crash itself.

The juiciest drama exists between husband and wife Martin (Christopher Lee) and Karen Wallace (Lee Grant). He flirts with women at the bar, drinks too much, and gets jealous. They squabble. You get the idea.

What a joy it is to see some of the stars on-screen together, specifically Stewart, Olivia de Havilland, and Joseph Cotten. As Nicholas, Cotten is a romantic match for de Havilland’s Emily Livingston, and they appear to be old friends.

Fans of classic cinema will undoubtedly associate him with Shadow of a Doubt (1943) and her with Gone with the Wind (1939) and to see the legendary stars side by side is darling, nearly worth the price of admission.

Stewart is perfectly cast as the rich and distinguished man eager to see the impending arrival of his estranged daughter and her son, hopeful of a happy reunion.

These delights are why I love this genre.

The actors teeter back and forth between phoning in their lines and enthusiastically having a ball with their respective roles. Sometimes it’s hard to tell which is which. I’ll bet the set was tension-free as everyone was earning a bundle of cash.

And why not? The budget is plentiful and filled with overabundance.

The plot is generally ludicrous as is to be expected. The thought that anyone, let alone nearly everyone, could survive a crash into the ocean and remain unscathed as it sinks to the depths of the water is beyond silly.

Suddenly, when all passengers conveniently emerge from their drug-induced stupor simultaneously, hysterics erupt which is quite humorous. As the water slowly begins to seep into the plane a frenzied effort to find a way out commences.

The last portion of the film involving a rescue crew coming to save the passengers is a disappointment, lacking much captivation.

Airport ’77 (1977) has all the elements its target viewer expects it to have. If the well-known cast were instead unknowns the crash peril and its following adventure were not danger personified, and the dramatic and romantic tensions left out, the film would be a disappointment.

The film is like sinking your teeth into a fattening, highly caloric Whopper from your favorite Burger King. It’s a guilty pleasure that you wouldn’t necessarily tell your health-conscious friends you get so much enjoyment from.

But, it’s fun, so why not indulge from time to time?

Oscar Nominations: Best Art Direction, Best Costume Design

1991 Films, Donald Sutherland, Drama, Ed Asner, Epic, Gary Oldman, Jack Lemmon, Joe Pesci, John Candy, Kevin Bacon, Kevin Costner, Laurie Metcalf, Martin Sheen, Oliver Stone, Political Drama, Political Thriller, Sally Kirkland, Sissy Spacek, Thriller, Tommy Lee Jones, Vincent D'Onofrio, Walter Matthau, Wayne Knight

JFK-1991

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JFK-1991

Director Oliver Stone

Starring Kevin Costner, Tommy Lee Jones

Scott’s Review #536

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Reviewed December 4, 2016

Grade: B+

JFK (1991) is a very well-made film but must be taken with a grain of salt, as reportedly many liberties were taken by the director, Oliver Stone, and the film can be open to interpretation as to what is true and what is embellished.

At three hours and twenty-six minutes, the film is of epic proportions.

The film recounts the events leading up to the assassination of President John F. Kennedy through the eyes of a former District Attorney from New Orleans, James Garrison, played by Kevin Costner.

Garrison filed charges against New Orleans businessman, Clay Shaw (Tommy Lee Jones), and in his view, was in cahoots with Lee Harvey Oswald to kill the president.

Stone suggested that President Lyndon B. Johnson was involved in the coup, which led to much controversy indeed.

The plot is quite intricate and, at times, tough to follow, but the editing techniques alone are impressive. I loved the authentic, real-life, footage that Stone immerses throughout the film.

As we know, the assassination, in 1963, was tragic and fraught with controversy that still abounds today.

Stone was wise to make a film of this caliber despite the lack of clarity of what is true and not true. I guess we may never know.

Oscar Nominations: 2 wins-Best Picture, Best Director-Oliver Stone, Best Supporting Actor-Tommy Lee Jones, Best Screenplay Based on Material Previously Produced or Published, Best Original Score, Best Sound, Best Cinematography (won), Best Film Editing (won)

1959 Films, Billy Wilder, Comedy, Jack Lemmon, Joe E. Brown, Marilyn Monroe, Tony Curtis

Some Like It Hot-1959

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Some Like It Hot-1959

Director Billy Wilder

Starring Marilyn Monroe, Jack Lemmon, Tony Curtis

Scott’s Review #388

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Reviewed March 26, 2016

Grade: A

Considered to be one of the best comedies ever made, Some Like It Hot is a funny, outlandish, yet controlled film, that never teeters too over the top or dives into outrageous camp, but rather is well written, well-acted, and contains great chemistry between the stars.

In a nutshell, it is a film where all elements come together just right. In film comedy, this is an infrequent event to happen. Rather, typically we are treated to formulas or retreads of past successes.

Some Like It Hot feels refreshing and brilliant.

The film was also monumental in paving the way to the eventual elimination of the hated Hays Code, which imposed many restrictions on American cinema from 1930 to 1968.

Some Like It Hot pushed the envelope in important ways, leading to a spike in creativity and art within the film industry that lasted mainly throughout the 1960s and 1970s.

For that, it is a masterpiece.

Down on their luck, broke, and needing work, Jerry and Joe (Jack Lemmon and Tony Curtis) are struggling jazz musicians seeking a meager existence in snowy Chicago. Having witnessed the St. Valentine’s Day massacre, they go on the run from the assailants, who have seen them, and pose as Josephine and Daphne, dressed in drag.

This leads to one humorous situation after another as they take the bus from Chicago to Miami with an all-girl musical band, a slumber party of sorts, led by boozy starlet Sugar Kane (played by Marilyn Monroe), who serves as the band’s vocalist and ukulele player.

Once arriving in sunny Miami “the girls” both find romantic entanglements, with Sugar and rich millionaire, Osgood Fielding III, with obvious comic antics ensuing. Josephine poses as a male Shell Oil Junior attempting to woo Sugar with his assumed riches in the oil business.

What makes Some Like It Hot work so well is that it does not go too far over the edge to make it seem campy, nor does it play it too straight. The balance is perfect, making the film rich with natural, fresh comedy.

Director Billy Wilder chose to film in black and white, avoiding Lemmon and Curtis looking ridiculous with colorful, bright makeup. This was toned down and muted so that it allowed for more believability.

Additionally, the subtle edginess of the film impresses me with each passing watch.  Some Like It Hot got away with a lot in 1959, keeping in mind the restrictions,  and that knowledge gives it a groundbreaking quality.

There is an air of homosexuality throughout and the final line is my favorite allowing for a thought-provoking interpretation.

When Daphne reaches her breaking point with Osgood’s romancing and yanks off his wig professing in a state of exasperation, “I am a man!!” only to hear Osgood’s startling reply of “Well, nobody’s perfect”, is clever dialogue.

Did Osgood know all along that Daphne was male? Will he marry ‘her’ anyway?

Who wouldn’t have blushed gazing at Monroe’s skin-colored and quite revealing outfit? It gave the impression that she was nude, and how funny is the physical comic timing of Lemmon and Curtis together.

Bumbling around in stockings, heels, and dresses, attempting to be feminine, but never really succeeding, making all the other characters think they truly were women is great.

Curtis was reportedly quite uncomfortable in drag and it shows on camera, but this works out well as it gives Josephine a natural awkwardness.

Lemmon went all out in his costumes and his energy comes across.

In my opinion not looking her best, slightly plump and tired looking, Marilyn Monroe still gives the film added life and charm, and who is not mesmerized viewing her on stage singing “I Wanna Be Loved By You”?

To think that Monroe died only three short years later is sad and an appreciation of her career in the final stages.

A risqué, laugh-out-loud, funny treat, Some Like It Hot resonates with me and did so with audiences upon release in 1959.

Comical, smart, and highly influential, the film is a must-see for fans of film comedy done honestly and free of standard cliché.

A blueprint for all smart comedies to follow.

Oscar Nominations: 1 win-Best Director-Billy Wilder, Best Actor-Jack Lemmon, Best Screenplay Based on Material from Another Medium, Best Art Direction, Black-and-White, Best Cinematography, Black-and-White, Best Costume Design, Black-and-White (won)

1960 Films, Best Picture Oscar Winners, Billy Wilder, Comedy, Drama, Fred MacMurray, Jack Kruschen, Jack Lemmon, Paul Picerni, Ray Walston, Romantic Comedy, Romantic Drama, Shirley MacLaine

The Apartment-1960

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The Apartment-1960

Director Billy Wilder

Starring Jack Lemmon, Shirley MacLaine

Scott’s Review #7

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Reviewed June 17, 2014

Grade: A-

The Apartment (1960) is another gem by Billy Wilder (Sunset Boulevard, The Lost Weekend), this one is set in 1959 New York City, a setting and period I adore.

The black and white are highly effective as they portray the loneliness and bleakness of the characters who are all friendless, sad, and starved for love.

It questions social morality and getting ahead in the corporate world, but goes from drama to romantic comedy, with no sappiness.

Quite the contrary, as the film has dark moments of despair and angst.

The film influenced the television series “Mad Men”. As with most Billy Wilder films, there is a darkness of humanity, which is fascinating to watch.

Jack Lemmon and Shirley MacLaine are terrific but knocked down a notch as I didn’t exactly see the chemistry between them, but is still an excellent film.

The Apartment (1960) won the Best Picture Oscar.

Oscar Nominations: 5 wins-Best Motion Picture (won), Best Director-Billy Wilder (won), Best Actor-Jack Lemmon, Best Actress-Shirley MacLaine, Best Supporting Actor-Jack Kruschen, Best Story and Screenplay Written Directly for the Screen (won), Best Sound, Best Art Direction, Black-and-White (won), Best Cinematography, Black-and-White, Best Film Editing (won)