Having recently realised that
I’ve loved almost every Billy Wilder film I’ve seen, I’ve been seeking out more
of his work. It suddenly dawned on me earlier today that I owned one of his
films which I hadn’t seen for a few years but remembered fondly. That film was The Seven Year Itch. I first saw the
romantic comedy about five years ago and it had been on my shelf ever since.
Unfortunately for my memory and for my love of the film’s director, I’d
remembered it as a better film than I actually think it is.
The Seven Year Itch is based on the Broadway play of the same name
and stars Tom Ewell as Richard Sherman, a slightly awkward man on the cusp of
middle age. An abject worrier and daydreamer with an overactive imagination, Sherman sends his wife and young son off to Maine for the summer in order to escape the New York heat. When
returning from work that night he meets a beautiful young woman (Marilyn
Monroe) in the hallway of his building and begins to have thoughts that belie
his faithful and honest nature.
Although not without its charms, The Seven Year Itch lacks the humour of The Apartment and the cheek of Some Like It Hot. It treads a careful
line, seemingly afraid of the censor’s scissors and fizzles without a spark of
chemistry between the two leads. I wasn’t particularly keen on Richard
Sherman’s frequent external monologue. I appreciate how necessary it was to
promote his thoughts and feelings but wonder if an overdubbed internal
monologue might have better suited. This would have allowed him to continue
when his co-star was on screen with him and perhaps inject a few laughs into
the proceedings. As it was, I found the film quite dry. The idea behind the
film is a sound one and there can be few capable of testing the seven year itch
more than Marilyn Monroe but the outcome lacks élan.
Tom Ewell appears to be an
accomplished actor and played the role on stage for many years but against Monroe he lacks edginess.
He’s a little too calm and introverted and I couldn’t help but wonder how Jack
Lemmon would have performed in the role. Although not a huge fan, he was more
than solid and was especially strong in the numerous daydream sequences.
Marilyn Monroe equally struggles at times and as an actor, this is not her
strongest role but she plays her dumb blonde character well. What’s charming is
how she carries off being unaware of the male attention she attracts. In one
scene Sherman
literally attempts to mount her while both fall off a piano stool. He
apologises telling her “This has never happened before” to which she replies,
nonplussed, “Funny. It happens to me all the time” and carries on with her
evening. Monroe
seems more at home as the film progresses and suits her character to a tee.
The film is perhaps most famous
for one of the defining images of the twentieth century, the famous dress
billowing over a subway gate. Shot both on the New York streets at 52nd Street and Lexington Avenue
and then on a soundstage, the scene is enshrined in the minds of our species.
The full length shot of Monroe
isn’t actually used in the finished film but rather two floor to thigh shots
are used instead. Even so, the image is alluring even now, nearly sixty years
on. Monroe’s
sexuality plays a large part in her role, as it did with many she played. Her
character’s lack of shame and embarrassment only adds to that of Sherman’s and she displays
her body in a number of seat squirming outfits and poses.
Billy Wilder’s direction is
competent but not his most stylish. His camera moves about Sherman’s small apartment with ease, thus
giving a sense of space when in fact there is little. He also manages to
manoeuvre in such a way as to not make the room feel cavernous but rather
maintains a hot, sticky, hemmed in environment that’s crucial to the plot. There
are a couple of instances of double exposure which aid the daydream scenes and
both work excellently. He’s also of course responsible for the bellowing dress
scene and deserves credit for helping to create an image which helped to define
a woman and perhaps an era. Wilder’s script is functional but not as witty as
his best. There are some good lines but I’ve come to expect more from him as a
screenwriter.
Overall the film doesn’t really
do anything wrong, it’s just a little safe. I never laughed but watched early
scenes with a smile. By the climax though, the smile had turned to a look of
stern boredom. I wasn’t charmed by the movie and I wanted to be. I enjoyed the
set up and some of the delivery but will have to look elsewhere for my next
great Billy Wilder movie.
6/10
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