SnoopyStyle Wall Street broker Howard Brubaker (Jack Lemmon) is in a stifling marriage to Phyllis (Sally Kellerman). After getting promoted, he gets invited to a fancy party at his boss Ted Gunther (Peter Lawford)'s high class apartment. He is terribly awkward and then he meets Ted's wife Catherine (Catherine Deneuve). The two unhappily married people find comfort with each other and decide to run away to Paris.Jack Lemmon is a straight laced businessman. Catherine Deneuve is a tired rich wife in a loveless marriage. The movie showcases them facing a series of silly '60s situations as an earnest naive man trying to impress lovely Catherine Deneuve who can't help but fall for him. The husband Peter Lawford desperately clinging to Deneuve has some funny moments. Sally Kellerman is more annoying than anything. She never listens to Jack Lemmon and in turn, the audience. It seems there's never any point in Jack Lemmon trying to explain anything to her. All in all, the two leads are what sells this movie. There's nothing great about the writing but maybe a couple of good laughs.

dennisrnebrich I watched this movie in 1969 when I was 18, in the Coast Guard and stationed in NY City. I thought it was a great movie and what a way to fall in love. I remembered the part where Jack Lemmon talks about being a frog in a school play and the princess was afraid to kiss him so he stayed a frog. He later brings a stuffed toy frog as a gift and later it is in a seat on the plane as they fly to Paris. In 1976 while buying my first house I found out my real estate woman was the one who made the frogs for the movie. She said she had to make up to 12 frogs and Jack Lemmon had her make several changes. I have always ranked this movie as one of my 10 favorites. Too bad it didn't get better ratings.

William Brown (wdbrown) I have always loved this movie, and, in many ways, relate to the Howard Brubaker character. Is it a great movie? Absolutely not. But it is romantic, humorous, and touching in many ways. This was my first glimpse of Catherine Deneuve outside of a pilfered Playboy, and she was nearly enough to make me forget Diana Rigg. I have always thought that Jack Lemmon was great, and being an old movie buff, I was very happy to see Myrna Loy and Charles Boyer.In many ways this film can be considered silly. Boyer's chasing of Lemmon, the total detachment of Sally Kellerman's character, the locker room style boasting of Brubaker's friends, and finally the hasty courtship and decision to flee made by Lemmon and Deneuve. But, somehow it works. The touching love of Boyer and Loy is the perfect counterpoint to the blossoming relationship of Lemmon and Deneuve. And the similar ways in which Catherine and Howard are objectified by their respective spouses (Brubaker's wife considers him a source of funding for her projects while Guenther thinks of his wife as his greatest acquisition) insures fertile ground for anything resembling true warmth and emotion. Don't think of this as some throwaway romantic comedy. Think of this, instead, as an Everyman's Romantic Fantasy. In reality we think not only of sex at the drop of a hat (not present in this movie), but also of meeting a beautiful woman who immediately recognizes the real man within and is willing to drop all for the love of that man.I love this movie.I remember Rex Reed saying that this was a horrible mess and that Catherine Deneuve should never make anything without English subtitles. Well, Deneuve has gone on to become one of the world's respected actresses in any language, and Reed's greatest claim to fame was appearing in Myra Breckinridge.Don't be afraid to give this movie a chance.

jckruize Typically good Jack Lemmon performance enhances this uneven Hal Dresner script that strains too hard to be whimsical. Great supporting cast, with Charles Boyer, Myrna Loy and Peter Lawford standouts. Catherine Deneuve is impossibly beautiful in this, one of her few American films, and her melancholy is nicely balanced by Lemmon's trademark veneer of glibness masking a streak of cynicism. Lovely score by Marvin Hamlisch, with the title song by Burt Bacharach and Hal David. Very 60's in milieu and cinematography, but the two leads especially lend some unexpected poignancy to the plot shenanigans.