The Fortune Cookie 1966 123movies

Watch: The Fortune Cookie 1966 123movies, Full Movie Online – TV cameraman Harry Hinkle is injured while filming a football game. Seeing an opportunity for big, easy money, his unscrupulous ambulance-chasing lawyer brother-in-law, enters the picture. He gets Harry to overstate his injuries and claim $1 million in pain and suffering. Harry’s similarly-minded ex-wife suddenly reappear and tries to rekindle their relationship. Meanwhile, the football player who hit Harry struggles with the outcome of his actions..
Plot: A cameraman is knocked over during a football game. His brother-in-law, as the king of the ambulance-chasing lawyers, starts a suit while he’s still knocked out. The cameraman is against it until he hears that his ex-wife will be coming to see him. He pretends to be injured to get her back, but also sees what the strain is doing to the football player who injured him.
Smart Tags: #crooked_lawyer #brother_in_law_brother_in_law_relationship #lawyer #food_in_title #insurance_fraud #american_football #cleveland_municipal_stadium #football_game #reference_to_louis_’lou’_roy_groza #archive_footage #sports_announcer #marching_band #football_player_runs_into_camera_man #skateboarding_indoors #hospital_visit #babbling #compressed_vertebra #zippo_lighter #lighting_a_cigarette #bouquet #x_ray

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Ratings:

	7.3/10 Votes: 14,517
	96% | RottenTomatoes
	63/100 | MetaCritic
	N/A Votes: 254 Popularity: 10.335 | TMDB

Reviews:

The Better Mousetrap
Whereas these days a successful movie series means endless spin-offs and sequels, there was a time when there were brilliant creative teams who got together time and again, producing a kind of motion picture brand that you could trust. The series of comedies written by Billy Wilder and I.A.L. Diamond, directed by Wilder and (many of them) starring Jack Lemmon are such neat works of professionalism and congruent talent that during their heyday in the 1960s they provided a guarantee of smoothly intelligent yet undemanding entertainment.

Billy Wilder had one of the most apparently laid back directorial styles of his era. He barely moves the camera, and his shots tend last as long as is practical. But within this fixed frame he juggles everything with expertise. He uses the cinemascope ratio to keep various elements on the screen – for example the camera and microphones which keep stealing into shot as a reminder of the private eyes that are bugging the flat. This idea of keeping things in view without making them centre of attention also applies to Wilder’s presentation of comedy. There’s a great example where Walter Matthau is on the phone at one edge of the frame, while the rest of the screen reveals the interior of his home. His children skate around while his wife prepares dinner, which culminates in an incidental gag, punctuating the scene, while Matthau’s phone conversation remains what the scene is about. This is very much Wilder’s way – not to make the jokes leap out at you but to weave them into the background, noticeable but never forced.

Lead man Jack Lemmon was by now a familiar piece of Wilder furniture, and you can see why. He has a slightly exaggerated look, with a duck-like face and a manic way of moving, and yet he can also “do normal” and convince us that he is an everyman. Still, this time around he is upstaged by an exuberant Walter Matthau. There are many great facets to Matthau’s performance – his sudden overt gestures, his ability to move his hat as if it were part of his body, the way he paces around, managing to get closest to the camera as his voice reaches a bizarre crescendo or his facial expression is at its most absurdly comical. However I think what really makes him fit in here is the way, although he gets all the funniest lines, he doesn’t show them off, simply delivering them as if they were the natural thing for his character to say, which of course makes them all the funnier. It’s also a lot like Wilder’s style of weaving the comedy into the narrative material rather than hammering the jokes home.

But what about this narrative material, sharply scripted by Wilder and Diamond? The Fortune Cookie is ostensibly about an insurance scam, but gradually the friendship between Jack Lemmon and the football player who accidentally injured him emerges as the main story arc. It’s almost like a love story between two men. I’m not implying anything homoerotic here, simply that the story is structured like a romance with a friendship taking the place of the love angle. The fact that Boom Boom (played by the little-known Ron Rich) is black is not drawn attention to or made an issue of, and this is rather interesting. This picture was made at the height of the civil rights movement, but it is not making an overt point about race, nor is it even a political picture. But it works as a nicely harmonious accompaniment to what was going on in the streets at the time. Wilder comedies could calmly cover areas other pictures couldn’t even touch without making a mess.

One Bottom Feeding Lawyer
In The Fortune Cookie, Billy Wilder took on the great American legal system and twisted a lot of laughs out of it. It’s the underside of the great American dream, sue someone with deep pockets and you can be a millionaire. It’s why we have too many lawyers in our society, it’s what creates Willie Gingrich.

In three previous Wilder pictures folks like Fred MacMurray in Double Indemnity, William Holden in Sunset Boulevard, and Kirk Douglas in Ace in the Hole all had some similar notions about a get rich and/or famous quick scheme and they all ended in tragedy. Interesting that protagonist Jack Lemmon as TV cameraman Harry Hinkle has more strength of character than those three before him.

Not at first though. Jack Lemmon is a TV cameraman who is covering a Cleveland Browns football game in Municipal Stadium when running back Ron Rich takes him out when Rich goes out of bounds. That’s where attorney and brother-in-law of Lemmon, Walter Matthau hears about a previous spinal injury Lemmon sustained and he hatches a scheme involving Lemmon who is supposed to now act paralyzed so he can sue CBS, Municipal Stadium, and the Cleveland Browns for as much as he can wring out of them.

Matthau won his Oscar for Best Supporting Actor playing bottom feeding lawyer, Whiplash Willie Gingrich. With that kind of nickname in the profession it’s no wonder that the white shoe firm representing the defending parties goes all out to trip him up. They get private detective Cliff Osmond to shadow Lemmon night and day. The results he gets from his surveillance are not unexpected, but a lot of laughs come along with them.

Matthau is so good as Gingrich that you can literally see his mind at work as he hears about Lemmon’s childhood fractured vertebrae from his wife who is Lemmon’s sister. Watching his kids skateboarding in the hospital waiting room you kind of wonder what kind of ethics he’s been teaching them at home. Note that when you last see Willie Gingrich in the film, he’s down, but not yet out.

There’s a couple of other good performances here. Ron Rich as the Brown halfback who really is concerned that he permanently paralyzed Jack Lemmon. Also Judi West as Lemmon’s ex-wife who when she hears about Lemmon’s possible windfall, she’s ready to reconcile with him. Matthau is ready to use her of course, but even he gets kind of put off with her ethics. This is also the farewell performance of Sig Ruman, who Billy Wilder liked to use when he could, both of them being refugees from Hitler. Ruman is one of the specialists brought in and the only one who’s not fooled by Lemmon’s performance.

The Fortune Cookie even after 40 years still has plenty of laughs for this generation. That is sadly because this is part of the American legal system that if anything has increased exponentially since 1966.

Other Information:

Original Language en
Runtime 2 hr 5 min (125 min)
Budget 0
Revenue 0
Status Released
Rated Passed
Genre Comedy, Romance
Director Billy Wilder
Writer Billy Wilder, I.A.L. Diamond
Actors Jack Lemmon, Walter Matthau, Ron Rich
Country United States
Awards Won 1 Oscar. 3 wins & 5 nominations total
Production Company N/A
Website N/A

Technical Information:

Sound Mix Mono (Westrex Recording System)
Aspect Ratio 2.35 : 1
Camera N/A
Laboratory DeLuxe, Hollywood (CA), USA
Film Length N/A
Negative Format 35 mm
Cinematographic Process Panavision (anamorphic)
Printed Film Format 35 mm