Um Estranho Casal

Often laugh out loud, sometimes sad story of 2 working divorced guys -- Lemmon a neurotic clean "house husband" and Matthau a slob sportswriter -- who decide to live together to cut down on expenses.

Nicely photographed and directed. The script is very barbed -- that is, there's always more than one side to almost every line. Particularly funny scene involves 2 british sisters (Evans and Shelley) who seem amused by everything anyone says, but when Lemmon busts out his photos of kids and, yes, ex-wife-to-be, he has the girls sobbing along with him before Matthau can show up with the promised drinks!

Very entertaining.

Neil Simon's play was successfully transferred to the big screen in this hilarious film with stars Jack Lemmon and Walter Matthau as Felix Unger(Super neat but depressed) & Oscar Madison(Super slob but happy). After Felix's wife leaves him, friend Oscar invites him to move in with him for a while(concerned he might kill himself) not counting on the disruption of his life this will cause.

Both Lemmon & Matthau are superb, perfectly cast and bring both unique characters to memorable life. Viewer will most likely identify with one character over the over, but that's to be expected. So many funny scenes and supporting characters, though does tip a bit too much in sympathy with Oscar, Lemmon is so appealing that story doesn't feel lopsided.

This inspired the famous sitcom with Tony Randall & Jack Klugman.

I don't think I've really ever given Walter Matthau his due as a comedic performer. He's certainly been wonderful in plenty of lighthearted roles, but I guess I always put his success down to his characters' grumpiness and ruthlessness, a gruff contrast to the flamboyant personality of his frequent co-star Jack Lemmon, and, I suppose, a natural extension of his earlier work in dramatic pictures. Watching Gene Saks' 'The Odd Couple (1968),' adapted from a popular Neil Simon play, the realisation suddenly clicked: Matthau is, in his own right, absolutely hilarious! Initially striking the audience as filthy, crude and generally unappealing, his Oscar Madison eventually manages to worm his way into our hearts, culminating in a hilariously overplayed confession of emotions that Matthau rasps out in a voice not entirely his own. At the same time, while holding his own as a comedian, his interplay with Lemmon is, of course, pitch-perfect; indeed, the film rightly belongs to both actors, who have never failed to light up the cinema screen by themselves, let alone together.

Calling to mind Billy Wilder's screenplay for 'The Apartment (1960),' this Neil Simon comedy builds itself around around a rather morbid premise. Compulsive house-cleaner Felix Unger (Lemmon), having just been evicted by his wife of twelve years, attempts to commit suicide, but fruitlessly abandons the idea after he wrecks his back trying to open the hotel window. Dejected, he arrives at the house of good friend Oscar (Matthau), a divorced slob who lives alone on a diet of potato crisps and green sandwiches (that might contain either very new cheese or very old meat!). Oscar kindly offers Felix a place to stay, but is soon overwhelmed by his friend's finicky personality and constant insistence on absolute cleanliness. The pair form an unusual sort of marital arrangement, with Felix assuming the role of the effeminate and constantly-nagging wife, and Oscar as the sloppy, unappreciative husband who always comes home later than he's supposed to. This is a marriage that barely lasts three weeks, and, by the end of it, we can completely sympathise with Felix's ex-wife, who remains unseen.

'The Odd Couple' is a terrific comedy, most of all because it has a lot of heart. For all their arguing, it's obvious that the two roommates have plenty of affection for each other, most movingly seen when Felix tries to launch into a furious tirade, instead – perhaps inadvertently – ending up informing Oscar how "tops" he his. The pair's four poker buddies (John Fiedler, Herb Edelman, David Sheiner and Larry Haines) are also constantly badgering each other about some obscure annoyance, but you can't deny that they've got the best of intentions. Their decision to treat Felix as though nothing has happened to him may have sounded fine in theory, but maybe being ignored wasn't quite the correct solution to Felix's gloomy feelings of inadequacy and inconsequentiality. Unlike some comedies based on popular stage plays {I was recently disappointed by Wilder's 'The Seven Year Itch (1955)}, this film doesn't simply strike at the same chord throughout, and the relationship between the two leads is progressively developed, through tears, laughter and much disagreement.

I simply can't get over how brilliant the pairing of Walter Matthau and Jack Lemmon is. It's like the movie doesn't even need additional characters because you can never get tired of the dialog between these two.

Lemmon had already been in several well-known films like Mr. Roberts and The Apartment and Matthau was fresh off his Oscar win for The Fortune Cookie (another Billy Wilder film also with Lemmon). That particular movie wasn't as great as this one because the story couldn't sustain such a long running time (I think it was almost 2 hours). However, this goes by at a brisk hour and a half, even though the introduction of the events leading up to Lemmon ending up at Matthau's apartment is a tad long (so was this sentence). That's a minor quibble though and for the rest of the running time you have a marvelous time.

I have already written a comment about how the follow-up to this film sucked and I won't go deeper into that. The reason why this is such a joy is probably that the movie was made just as the innocence of American movies was beginning to fade fast into oblivion. There are some sexual references but they are dealt with in such an innocent way that you couldn't even get a "Well, I never..." out of the most prudish person out there. It is kind of fun to see a movie from a long lost era and that was probably why the sequel didn't work because you had Matthau and Lemmon say quite a few f-words and that just doesn't fit them.

Of course, now they are both gone and you can just be happy that you still can enjoy them in a marvelous film like this. I think the only male actor in this film who is still alive is John Fiedler. Edelman died recently. So there you have it. Simply one of the best comedies and films ever.

Add: I have just learned recently that John Fiedler has died so to all the fans of him I am deeply sorry. I didn't mean any disrespect and I will try to be more careful of what I am blah blah blahing next time.

A hallmark Neil Simon comedy shot with Panavision parameter by film/stage director Gene Saks, his second feature film, paired with Lemmon and Matthau, the second out of their 10 collaborations, after their prize-winning bash in Billy Wilder's THE FORTUNE COOKIE (1966).

In the main, it is a one-apartment knockabout, the eponymous couple, Felix Ungar (Lemmon) and Oscar Madison (Matthau), are best friends but equipped with diametrical personalities, Felix is a fastidious neat-freak whereas Oscar a congenital slob. In the opening scenes, we follow Felix wandering off a hotel-dotted Manhattan in the night, he checks in a high-story room and decides to kill himself spurred by the unforeseen cessation of his 12-year marriage, only to find the window is jammed.

Starting with a suicidal attempt going awry, that's the spirit a quality comedy should have because it heralds that nothing would go more serious than that! So once Felix thinks better of it, he goes to Oscar's place, literally a divorcé's dump littered with garbage, food and permeated with smoke, sweat and other repugnant odor, where he meets their usual poker friends, after a flurry of misunderstanding, Felix moves into Oscar 8-room apartment, that's when the discord begins to ratchet up. It is a time-honored template of mis-matched buddy romp, Neil Simon's script ensures that their disparity runs to the maximum in opposite scales, even to a fault at the expense of its characters' likability, especially Oscar, emblazoned as a macho ingrate, in comparison with Felix's nagging but at least good-natured punctiliousness. Thankfully, the two stars' chemistry gratifyingly hits the right mark (Lemmon is a compelling sprain-prone dynamo and Matthau is in his element with his trademark rakish sloppiness), and leavens the implausible story with trenchant one-liners (that F.U. monogram for instance), including a hilarious double date with the Pigeon sisters (Evans and Shelley) from Britain, where sensuality humbled by sentimentality.

In retrospect, THE ODD COUPLE is an archetype of urban bromance (minus the gay undertone), likens the friendship between two men to a married couple (the only missing link is the consummation) when they are shoved under the same roof, and aggrandizes their tough/vulnerable dichotomy for laughter, a thoroughly pleasurable pot-boiler (if not a sharp-edged satire or an irresistibly droll goofball) borne out of an ingenious idea.