Billy Wilder was a wonderful writer and director and he made many terrific films, such as "Sunset Boulevard". However, in the more permissive 1960s, Wilder's scripts began to feature a lot of sex...because now, apparently, the old Production Code was going by the wayside. His first sex film, "The Apartment", was a great success and a cute movie. Later films also focused on sex...but with much less enjoyable results...such as "Avanti" and "Irma la Douce".

The problems with "Irma la Douce" are many...but the quality of the acting isn't one of them. While Shirley MacLaine and Jack Lemmon were horrible choices to play French folks (they sounded about as French as Edward G. Robinson or Jackie Chan),the acting was nice. So what were the serious problems? Well, the film is supposed to be a romantic comedy....and it stars MacLaine as a prostitute and Lemmon as her initially unwilling pimp. Pimps and prostitutes....not exactly comedy gold!

The plot, well, it's just dumb. After Lemmon beats up MacLaine's pimp, he becomes her new pimp...much like the rules for "The Santa Clause". But he is in love with her and doesn't want her turning tricks any more, so he concocts an insane plan...to pose as Brit and become her exclusive trade. Though, how to PAY for this is never really addressed....and the plot just doesn't make any sense at all. It makes even less sense when the British gentleman disappears...and folks assume Lemmon murdered him. Huh?!?!

My advice to you is to find an earlier and infinitely better Billy Wilder film. Prostitution and the trade just aren't funny nor romantic...and the film is a real confusing mess.

When I first saw Irma La Douce as much as I liked it, I was puzzled by the fact that Billy Wilder had chosen to do this hit musical without any songs in it. Very much like Fanny from a few years ago which also had a French setting and came to the screen without its score. The Broadway cast album was a staple in my house and I certainly enjoyed the songs that Keith Mitchell and Elizabeth Seal and the rest of the cast did on Broadway.

What made it more puzzling was the presence of Bruce Yarnell in the movie cast, the possessor of a really nice baritone voice, he played opposite Ethel Merman in the Lincoln Center revival of Annie Get Your Gun. That together with the fact Shirley MacLaine first made her mark in musical roles, in fact she had starred in the screen version of Can-Can the two years before.

Well, according to the recent biography of Billy Wilder by Ed Sikov in fact this film started out as a musical. Somewhere there is some footage of MacLaine, Yarnell, possibly even Jack Lemmon and Lou Jacobi doing some musical numbers lying in a vault somewhere. Wilder said he thought the numbers slowed the pace of the story and midpoint in the film he just scrapped what he had shot and didn't bother with the rest.

Personally I wish he had kept the numbers in, maybe it would have made Irma La Douce run too long. Who knows maybe we'll get to see them some day.

Shirley MacLaine got an Oscar nomination for her performance in the title role. She's a good natured working girl who has the misfortune to get busted by the one cop in Paris who is not winking at prostitution on his first day on his new beat. That would be Jack Lemmon who for his honest law enforcement gets himself fired.

That far from ends it as Lemmon falls for MacLaine and like he did in The Apartment sees himself as her savior. The rest of the film is the ridiculous lengths Lemmon goes to save MacLaine from her life of sin and debauchery.

His one confidante is Lou Jacobi who plays Moustache the owner of a local bistro where the girls and their mecs(that's French for pimp) hang out. His role was originally intended for Charles Laughton.

Billy Wilder has a well deserved reputation as a cynical observer of humankind and had some run ins with several Hollywood greats. But he became an unabashed admirer of Charles Laughton after working with him on Witness for the Prosecution. The tenderest part of that Wilder biography tells about how Wilder kept visiting Laughton up to the end discussing the part with both of them knowing it was never to be. Yet I wish Laughton had lived to do the part. It would really have been special.

Bruce Yarnell's part is that of MacLaine's mec. His career too was tragically cut short by a plane crash that he was killed in later in the decade. Terrific voice, nice screen and stage presence, what a terrible thing to happen.

Though I would have liked to have seen the musical, I can't fault Billy Wilder's production of Irma La Douce. The fact that this came to the screen at all was further demonstration of the Code finally being lifted from the backs of the creative.

Maybe we will see a full blown musical adaptation of Irma La Douce some day. But that's another story.

Nestor Patou (Jack Lemmon) is a by-the-book cop. He used to police a children's park. After rescuing a child, he's transferred to the prostitute-filled Paris streets. He is taken with Irma La Douce (Shirley MacLaine) but is shocked to realize she's a prostitute. He calls in a raid on Hotel Casanova. It pulls in the wrong man and he is kicked off the force. He finds solace with Moustache (Lou Jacobi) who owns Chez Moustache. He wins in a fight against Irma's crude boyfriend Hippolyte. She takes him as her new boyfriend/pimp but he has a crazy plan to monopolize her time as new client British Lord X. He wears himself out earning enough money to pay her and keep up the pretense.

The trio of Billy Wilder, Jack Lemmon, and Shirley MacLaine delivers a fun loopy love story. MacLaine is a real wildcat. Lemmon has the humanity and the madcap insanity. Two and a half hours is a long running time for a comedy. The second half feels a little long. I would have preferred Wilder figure a way to end this sooner.