To help his divorced neighbor claim a substantial inheritance, a family man poses as her husband. The ruse spills over into his career in advertising, and his recent promotion relies on his wholesome and moral appearance.
Jane Osgood runs a lobster business, which supports her two young children. Railroad staff inattention ruins her shipment, so with her lawyer George, Jane sues Harry Foster Malone, director of the line and the "meanest man in the world".
2 quirky Manhattanites crash into each other cute at an ophthalmologist's office. Peter is a grouchy cartoonist/author whose vision is failing, divorced mother Theresa is also reluctant to ... See full summary »
After eight years of marriage, Robert and Nina divorce. He takes up with his womanising Navy buddy Charlie Nelson while she looks to her interfering mother for guidance. Both start dating ... See full summary »
Stanley Ford leads an idyllic bachelor life. He is a nationally syndicated cartoonist whose Bash Brannigan series provides him with a luxury townhouse and a full-time valet, Charles. When he wakes up the morning after the night before - he had attended a friend's stag party - he finds that he is married to the very beautiful woman who popped out of the cake - and who doesn't speak a word of English. Despite his initial protestations, he comes to like married life and even changes his cartoon character from a super spy to a somewhat harried husband. When after several months he decides to kill off Bash's wife in the cartoon, his wife misinterprets his intentions and disappears. Which leads the police to charge him with murder. Written by
There are at least two art pieces in Ford's apartment that are drawn/painted in the style of "Big Eyes" artist Margaret Keane, who was extremely popular at the time. (It's not known whether these are authentic Keanes used for the movie or just look-alikes from the production department.) See more »
In the comic strip detailing the way in which he murdered his wife, Stanley includes a panel showing the purchase of a mannequin. The mannequin, however, is only used to represent his wife for the purpose of taking photos used in the drawing of his strip; it would obviously not be involved in an actual murder plot. See more »
Stan, Stan, uh, I wanna' remind you, lad, that you're now 37 years old. And quite frankly, it's time that you settled down. Now, Edna and I were discussing it last night, and Edna feels - and frankly I agree with her - that there is something almost immoral about a man of your age who isn't married. Doesn't go to an office, sits around drawing an infantile comic strip, that appeals only to morons, Stanley... Stanley? Stanley? Are you listening?
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At first, it only says How to Your Wife on the screen, in white letters. Then, the word Murder shows up in red letters in the space between the two rows of text. See more »
This was the last of the three comedies that Jack Lemmon made in the middle 1960s that he hated. Like GOOD NEIGHBOR SAM (and not like the abysmal UNDER THE YUM YUM TREE) HOW TO MURDER YOUR WIFE had a clever script and good production. Lemmon played a successful cartoonist who carefully scripts and photos the scenes he will use in his detective adventure strip. He lives in a townhouse, complete with top rate valet (Terry-Thomas) and has a wonderful life as a bachelor. But while attending a stag party, he meets Virna Lisi, and takes her home. Apparently he has married her (the groom at the stag party had broken up with his fiancé before the party, and throws the wedding ring out - and Lemmon uses it). As a result Lisi starts domesticating him, and Terry Thomas walks out. Lemmon uses the changes in his lifestyle in the comic strip, but finally he revolts and kills off the comic strip version of Lisi. When Lisi sees this she walks out, but everyone thinks that Lemmon killed her. So the scene is set for a murder trial.
This is not a film for feminists. It takes a dim view at the effect of domestication on Lemmon (and his lawyer, a hysterically funny Eddie Mayehoff). But I point out that before the end Lemmon does admit he misses the domestication. Even Terry-Thomas gives into it at the conclusion. It still a good comedy, a worthy minor work if not one of the high points in Lemmon's acting career.
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