Word: axelrod
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...principal, cavort seductively with her father, bury her mother, marry too soon, dispose of her young husband and become a beachnik movie star. All the nonsense strives to spoof the ethos of American youth, but the film's real message-which obviously appeals to Producer-Director-Writer George Axelrod-is delivered by Roddy, who ends up in a psychiatric ward extolling the bounties of "a dirty mind in a sound body...
...when she left their shores. And even after 25 European films, she was best known to them as "La Bocca della Veritd" (The Mouth of Truth), not for her Cassandra-like utterances, but for her TV toothpaste commercials. None of this influenced How to Murder's author, George Axelrod, who wanted some Continental dish for the part and took one look at Virna in a "screen test, a bedroom scene with Lemmon, and cancelled any further auditions...
...murder plot itself, and the mock trial that follows it, Writer George Axelrod (The Seven Year Itch) and Director Richard Quine make the mistake of thinking that the muse of comedy is a rubber-limbed contortionist, and sometimes stretch the fun to the breaking point. Luckily, the supporting cast shows such spirit that Lemmon has to work hard for his share of the laughs. As the gentlemen's gentleman who would not hesitate one moment to help rub out a superfluous lady, Terry-Thomas hyphenates the movie with tomfoolery, holding whole scenes together by letting his face fall apart...
Transmigration of souls is not the ideal raw material for a titillating comedy, and after the unsettling revelation of Debbie's manhood, there are few surprises and even fewer laughs in this sex scramble based on George Axelrod's Broadway flop. Charlie is a rakish Hollywood screenwriter who has a way with other men's wives. Shot by a jealous husband (Walter Matthau), the roue returns to life in flesh-toned Reynolds wrap, presumably to see how the other half lives. "It's the Old Testament!" shouts Curtis as the miracle dawns. "The tables have turned...
...Hepburn and Holden imagine themselves to be the hero and heroine of a movie within a movie: a master criminal steals the print of a film called The Girl Who Stole the Eiffel Tower and holds it for ransom. Got it? Forget it. Lacking inspiration, Writer George Axelrod (The Seven Year Itch) and Director Richard Quine should have taken a hint from Holden, who writes his movie, takes a long sober look at what he has wrought, and burns...