IMDb > Save the Tiger (1973)
Save the Tiger
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Save the Tiger (1973) More at IMDbPro »

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Down 5% in popularity this week. See why on IMDbPro.
Steve Shagan (writer)
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Release Date:
21 July 1973 (Sweden) See more »
Jack Lemmon in his most important dramatic role since "The Days of Wine and Roses." See more »
A businessman's professional struggles begin to conflict with his personal life over the course of two days. Full summary » | Add synopsis »
Won Oscar. Another 1 win & 5 nominations See more »
User Reviews:
A Movie You Can Watch Many Times and Always Enjoy See more (49 total) »


  (in credits order) (verified as complete)

Jack Lemmon ... Harry Stoner

Jack Gilford ... Phil Greene
Laurie Heineman ... Myra
Norman Burton ... Fred Mirrell
Patricia Smith ... Janet Stoner

Thayer David ... Charlie Robbins
William Hansen ... Meyer
Harvey Jason ... Rico
Liv Lindeland ... Ula (as Liv Von Linden)

Lara Parker ... Margo
Eloise Hardt ... Jackie
Janina ... Dusty

Ned Glass ... Sid Fivush
Pearl Shear ... Cashier

Biff Elliot ... Tiger Petitioner (as Biff Elliott)
Ben Freedman ... Taxi Driver
Madeline Lee ... Receptionist
rest of cast listed alphabetically:

Barton MacLane ... (clips from 'High Sierra') (archive footage)
Tony Regan ... Man at Show (uncredited)
Leoda Richards ... Woman at Show (uncredited)
Jeffrey Sayre ... Man at Show (uncredited)
Ken Weiner ... Movie Patron (uncredited)
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Directed by
John G. Avildsen 
Writing credits
(in alphabetical order)
Steve Shagan  writer

Produced by
Edward S. Feldman .... executive producer
Martin Ransohoff .... producer
Steve Shagan .... producer
Jack Lemmon .... executive producer (uncredited)
Original Music by
Marvin Hamlisch 
Cinematography by
James Crabe  (as Jim Crabe)
Film Editing by
David Bretherton 
Casting by
Caro Jones 
Art Direction by
Jack T. Collis  (as Jack Collis)
Set Decoration by
Ray Molyneaux 
Makeup Department
Harry Ray .... makeup artist
Production Management
Frank Baur .... production manager
Second Unit Director or Assistant Director
Ronald L. Schwary .... second assistant director (as Ron Schwary)
Christopher N. Seiter .... assistant director (as Christopher Seiter)
Art Department
Donald B. Nunley .... property master (as Don Nunley)
Leamon Adams .... swing gang (uncredited)
Ron Chiniquy .... assistant property master (uncredited)
Robert Krume .... construction coordinator (uncredited)
Spencer Moore .... leadman (uncredited)
Sound Department
Bud Alper .... sound
Robert Knudson .... sound (as Robert I. Knudson)
Gene Ashbrook .... boom operator (uncredited)
Vincent Garcia .... sound cable (uncredited)
Camera and Electrical Department
Ross A. Maehl .... gaffer (as Ross Maehl)
John Murray .... key grip
Jack Willoughby .... camera operator
Gene Kearney .... grip (uncredited)
Calvin Maehl .... best boy electric (uncredited)
Mason Sperry .... grip (uncredited)
Robert M. Stevens .... assistant camera (uncredited)
Orlando Suero .... still photographer (uncredited)
Timothy E. Wade .... assistant camera (uncredited)
Bill Young .... grip (uncredited)
Costume and Wardrobe Department
John A. Anderson .... wardrobe
Joseph Magnin .... fashion show wardrobe
Editorial Department
David Ramirez .... assistant editor
Music Department
Marvin Hamlisch .... conductor
Jack Sheldon .... musician: trumpet (uncredited)
Transportation Department
Howard A. Small .... transportation captain (uncredited)
Other crew
Pat Quinn .... fashion show consultant
Ray Quiroz .... script supervisor
Alan DeWitt .... dialogue coach (uncredited)
Frank Friedrichsen .... unit publicist (uncredited)
Barbara Gallagher .... secretary to producer and director (uncredited)
Bridget O'Brien .... secretary to production manager (uncredited)
Carl Skelton .... auditor (uncredited)
Crew believed to be complete

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Additional Details

Also Known As:
100 min
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Argentina:13 | Australia:M | Canada:18A (Ontario) | Finland:K-16 | Sweden:15 | UK:AA (original rating) | UK:15 (re-rating) (2005) | USA:R

Did You Know?

Jack Lemmon admitted to having had a serious drinking problem at one time, which is one reason he looks back on his Oscar-winning role as Harry Stoner in Save the Tiger (1973) as perhaps the most gratifying, emotionally fulfilling performance of his career.See more »
Continuity: At 1:37:40, more of the red lining of Harry's coat is visible than it was previously.See more »
Harry Stoner:How old are you?
Harry Stoner:Nobody's twenty.
See more »
Movie Connections:
Featured in Paramount Presents (1974) (TV)See more »
Air Mail SpecialSee more »


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16 out of 17 people found the following review useful.
A Movie You Can Watch Many Times and Always Enjoy, 16 January 2007
Author: writerasfilmcritic from western US

"Save the Tiger" is a great movie, perhaps because its strongest moments come in rather conventional situations where the believable characters are realistically profane but never gratuitously vulgar, which is a common failing in today's films. Some might call this unpretentious realism "slow pacing," but I don't think there's anything "slow" about it unless your attention wavers with anything less engaging than several gruesome deaths or graphic sex scenes per hour. On the contrary, I find this interesting flick to be sophisticated and entertaining. Having seen it at a theater when it first came out, and then having watched a heavily censored TV version on numerous occasions since that time, I rented the new DVD and was once again blown away by the original, uncensored script.

The often biting interplay between pragmatic businessman, Harry Stoner (played by Jack Lemmon), and his more idealistic partner, Phil Greene (played by Jack Gilford) supplies among the film's most dramatic moments as they wrestle with a rather drastic solution designed to keep "Capri Casuals" afloat for another season. Equally effective is the gritty exchange between Stoner and a kinky Midwestern buyer who becomes adamant that he be supplied with a favored prostitute as a precondition for placing his usual generous order. Stoner's attempts to discourage him prove fruitless and only make him more determined to get what he wants. Facing this unexpected resistance, the client pleads, "I need these little diversions," explaining that his wife is, "a sick woman all scarred up from all those damn operations."

But the callgirl is all booked up for the day. "That's a very popular lady," Stoner explains. "Why didn't you call me from Cleveland?" "Harry," the client responds, beginning to lose his cool, "I don't make calls like that from Cleveland." When Stoner makes one last attempt to weasel out of pimp duty by bringing up the expense involved, the client finally blows his stack. "You rotten son of a bitch," he cries. "The whole goddamn thing is a write off! I throw my heart across your desk and you're giving me cost!" Suddenly, Phil pops into the office and things cool down immediately. This is good stuff.

As well, the tension boiling over between the old Jewish cutter and the pompous gay designer provide grist for some brief fireworks. Another high point is Stoner's interaction with a naive young hippie girl named Myra who hitches a ride with him down Sunset Blvd. She at first comes off as rather superficially and stereotypically drawn, but in time becomes more appealing, offering Harry non-judgmental affection with no strings attached and a temporary refuge from the pressures and stresses that are edging him ever closer to a nervous breakdown. In contrast, while he's obviously cracking up, the only attention he gets from his concerned yet emotionally distant wife is, "Go see Dr. Frankfurter." A guy in a white coat named "hotdog" is supposed to fix him right up? Gee, I don't think so. Why doesn't she try putting out a little more?

The scenes in the porno theater with the cool and efficient arsonist are also good, as is the one in which Stoner's bitter memories from WWII surface rather inconveniently while he's onstage, attempting to address the assembled buyers at the all-important fashion show. There, he suffers a disturbing hallucination in which audience members are suddenly replaced by his fallen comrades in Charlie Company who died at Anzio. His grip on "reality" takes a serious nosedive right in front of his potential clients. I suspect that scene is considered the best one by professional critics and members of the Academy, but ironically, it is my least favorite moment. In any case, Jack Lemmon has so many good scenes in this movie that it is difficult to single out any one of them as the best. In my most recent viewing, I got the biggest kick out of one of the early scenes, in which Lemmon imitates the windup and delivery of a great pitcher from the good old days, his fond memories of baseball and jazz being all that inspire him anymore.

When you want to see a good movie from the past, cue this one up. It never gets old.

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