With his family away for their annual summer holiday, New Yorker Richard Sherman decides he has the opportunity to live a bachelor's life - to eat and drink what he wants and basically to enjoy life without wife and son. The beautiful but ditsy blond from the apartment above his catches his eye and they soon start spending time together. It's all innocent though there is little doubt that Sherman is attracted to her. Any lust he may be feeling is played out in his own imagination however. Written by
After seeing Walter Matthau's screen-test performance in the part of Richard Sherman, Billy Wilder believed he had found his lead man. However, 20th Century-Fox was unwilling to take the risk on a newcomer. That's when Wilder next turned his sights on the actor who had originated the role on Broadway, Tom Ewell. See more »
The second time Richard trips over the roller-skate, it bends, but when he picks it up again, it appears unbent. See more »
'What happened at the office? Well, I shot Mr. Brady in the head, made violent love to Miss Morris and set fire to three hundred thousand copies of Little Women. That's what happened at the office.' What *can* happen at the office?
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When the title appears, one arm of the T in ITCH reaches down and scratches the stem of the letter. See more »
Funny Monroe but unfunny Ewell...Jack Lemmon would have been better...
Whatever fun and spontaneity THE SEVEN YEAR ITCH has as a movie is due entirely to the lines and situations given to MARILYN MONROE. Only when she is on the screen, does the story go into full spin with double-entendre remarks and visual gags. Monroe is at her peachiest as the girl who's seemingly unaware of the raging hormones going on right under her nose by her neurotic neighbor.
As the neighbor, TOM EWELL is given entirely too much footage and becomes downright obnoxious and annoying with his monologues long before the finale. It's obvious that he lacked the chemistry for the part (a role he originated on stage), and someone like JACK LEMMON would have been a much better choice as the man downstairs.
For Monroe's fans, this is one of her best performances coming at a time when she was doing some great work at The Actor's Studio in NYC.
SONNY TUFTS and EVELYN KEYES have roles that don't amount to much and drift in and out of the story with very little effect. Billy Wilder's direction is hampered by his casting choice of Ewell to repeat his stage role with less than satisfying results.
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