One, Two, Three (dir. Billy Wilder, 1961)

[GER199]

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Please post your reviews of Wilder's film, and comments on existing reviews, under this thread.

[sporopat]

One of the questions posed by Professor Klebes before viewing One, Two, Three was who is more critically portrayed by director Billy Wilder, the Germans or the Americans? My perception is that each party received equal criticism. Both the Communist and American characters were portrayed in a manner that played into the negative stereotypes associated with the party, an almost satirical approach. The Communist businessmen were overweight, bald, and unattractive. They were seemingly foolish businessmen and compromised their morals more than once. Otto’s character also received less than favorable portrayal – a grungy and poor bike rider who constantly asserted his Communist nature but made ignorant statements about politics. The characterization of the Americans was similar. American culture was sometimes mocked (the Uncle Sam clock and the Itsy Bitsy Teeny Weenie song as a torture method) and portrayed as capitalistic, materialistic and greedy. Mac was portrayed as a manipulative and aggressive businessman, a cheater, and disliked by his family. Scarlett’s character was ditzy, naïve, and also ignorant of the politics between West and East Germany. The two political parties faced insults from each other, especially in scenes between Mac “an imperialist stooge” and Otto “the Kremlin kid”. However, making light of the political tension among the two parties created humor in the film. This being said, I can understand why the film received poor reception from the German public. With the erection of the Berlin Wall, a political tension that is being playfully mocked in Wilder’s film becomes very real and very serious.

[bjensvol]

Before starting the movie, our instructor insisted us to decide for our selves, as we watched it, which side we believed the director Billy Wilder, was most critical of during his film. And in truth, this proved to be a fairly difficult task; fore at no point throughout the movie is there a time when one side is portrayed as the clear superior to the other. For a film which attempts to compare and contrast two extremely dissimilar groups of people, Wilder greatly emphasizes each side’s negative qualities while virtually ignoring their positive. Both stars James Cagney as C.R. MacNamara and Horst Buchholz as Otto Ludwidg Piffl do a phenomenal job in embodying every single known stereotype of their respective character’s disposition. MacNamara being the wealthy, old, fat, lying, cheating, glutinous, narcissistic capitalist continually buts-heads with Otto the poor, skinny, young, dirty, short-tempered, paranoid communist inevitably leading to the bitter sweet finally in which neither side finds themselves the true victor.
Although both side’s flaws are hysterically flaunted all through the film, it is my opinion that by the end of his film Wilder meant for his audience to walkway with a greater sympathy for poor Otto (and by association the west Germany) rather than MacNamara. Fore he was the one whom was forcefully assimilated by the people he had grown to hate against his will; where as MacNamara’s down fall was by his own ill-conceived doing. The entire storyline of the movie screams symbolism of European/Western Colonialism, as one side strides to dominate the other by any means nessesary.

[Evan]

Billy Wilders’ One, Two, Three is without a doubt a comical play on the life of many after WWII when Berlin is still divided between east and west. In this film there are an assortment of very different characters that lead very different lives. Though completely contradicting, each character is very stereotypical and makes stereotypes about other cultures. The main character, MacNamara, and his American boss, Howard, are portrayed as pushy and power seeking. His boss has a very thick southern accent and is so wealthy he sends his seventeen year old daughter on a European vacation to distract her from her fiance at home. The Germans in this film are either portrayed as hot headed communists or people who cant adjust to life without a dictator after the war. Not only do the characters stereotype themselves and the cultures they represent, they also joke and slander other countries as well. A few examples of this are the Russian business men saying how it is unacceptable for the Swiss to send them cheese with holes in it, or when MacNamara frustratedly points out how all his plants in the Middle East have failed even after they were designed to point towards Mecca. Countries aren’t just stereotyped in this film, women as well hold very sculpted roles, which also enhances the films humor. There is the secretary, Fraulein, who naturally is the seductive assistant used throughout the movie as a temptress. She uses her blonde hair and good looks to manipulate people whenever she needs to, she also is only interested in men who have money and will spend it on her. Mrs. MacNamara is the stay at home wife that looks over her children during the day. She knows that her husband is cheating on her, yet she doesn’t leave him until the end of the film. She calls her husband “My Fuhrer” and seems to have very little control over him. Scarlett is a cliche example of a ditzy young woman who doesn’t have a mind of our own. She is spoiled and doesn’t think about her actions, leading her to her four engagements and her marriage to a German stranger she barely knows. To her, everything is just marvy! All the cliché's this movie focuses on including both cultural and gender stereotypes are main themes in the film, and these components are what make One, Two, Three a comedy.

[asiegler]

In Billy Wilder's "One, Two, Three", no character escapes the common stereotypes of the time period, and everyone is stereotyped almost to the point of ridiculousness. The Americans in the story, especially Scarlett (the boss' daughter) seems to be the pinnacle of a typical American - she is completely unknowledgeable of the political turmoil occurring between East and West Germany and is very self-centered. Scarlett’s biggest mistake is her marrying a communist while secretly visiting East Germany. Her comments when asked of her travels to East Germany and her meeting of her husband Otto, only exacerbate the obviousness of her stupidity when she says things like, “I washed his shirt and he washed my brain”. The East Germans are also rudely stereotyped as only being concerned with the politics of their Communist society and an obsession with the strength of their country and the bourgeois/capitalistic ways of society (“We will overthrow your Western ways!” and “Manicures are an example of the bourgeois decadence of Western Society!”), combined with a determination to overthrow “Western” society’s beliefs, while singlehandedly having no quality items to do any sort of overthrowing with- their cars fall apart in chase scenes, and Otto first appears has no shoes or underwear.
When asked, “Who is Billy Wilder most critical of?” I would have to reply with Western women, since Scarlett’s marriage and pregnancy are the focus of the film and never would’ve occurred had she been even slightly intelligent regarding political tensions and the cultural moral codes for women her age. She also very insensitive regarding her husband’s political ties, with replies to his complaints of their wedding plans and the future plans for their child being too Capitalistic such as “Our child can decide at 18 if he wants to be a Capitalist or a rich Communist” (which obviously are one and the same) and her forcing him into the modes of Western Civilization via dinner etiquette. In summary, the movie is a satire of every political stereotype circulating Germany in the early ‘60’s, and each character is typecast perfectly.

[Perrisc]

I would like to compare One, Two, Three to Doctor Strangelove because they were both political comedies of the same period. Wilder’s take on the cold war and the Berlin wall was one of Shtick. Corny one-liners and ridiculous antics are how Wilder made fun of the conflict between the east and west while Kubrick took the more satiric and witty side. For example One, Two, Three took the more lighthearted side when making fun of politics by slapstick style jokes, physical comedy, and a romantic interest. This gave it the more family friendly vibe that I think Wilder was looking for, but still there were many satirical overtones that could go unnoticed by the viewer. There were many references to Nazi Germany that could of been used in order to discredit the East Germans, and also using political stereotypes for the characters. For example James Cagney’s capitalist character wanted to place Coco-Cola all over the world and view the east something that would prevent him from obtaining his personal satisfaction and wealth. On the other hand, the three Russian businessmen were easily bribed, corrupt, and power-hungry still held up the demeanor that they hade communist values which was stereotypical of eastern officials. So overall One, Two, Three had this almost innocent feel while Doctor Strangelove came on bolder. Doctor Strangelove the more heavily satirical feel and really let loose on the politicians and the politics between the east and west. In a way you could say that Doctor Strangelove was just as ridiculous as One, Two, Three but it held up this more intelligent and dry humor that One, Two, Three lacked. Doctor Strangelove showed how ridiculous and unintelligent the people who were in power are. This is a comedy were Kubrick really made fun of both sides with silly names, stereotypes, characters with no intelligence or common sense, pie fights, and insanity. Doctor Strangelove Is Cleary poking fun at the current cold war with these comedic motifs I described. It poked fun in a way in which everyone that watched the film (unless they were one of the politicians that was being made fun of) would pick one the satire Kubrick was presenting. So the differences between the movies were the ways in which the comedies were presented, one with lightheartedness and one with strong satire. Both films still poked fun at the same concepts and addressed similar views of the current situation between the west and east.

[c-bazarov]

Although director Billy Wilder presents all characters in his film One, Two, Three at there utmost extreme stereotypical realties, I believe he portrays the Americans in the movie most critically. Using an ambitious, wasteful, and arrogant, yet lively, Coca-Cola branch manager in West Berlin to portray the American businessman, Wilder makes the viewer both hate and love this character who’s name is MacNamara. Wilder’s use of nonsensical, frivolous capitalist “luxuries,” such as the American Coca-Cola cuckoo clock on the wall or all the overly fancy clothes MacNamara orders the young German idealist, Otto Pifler, to wear, seem to be hints of a critique on American capitalist materialism and waste. Otto sums it all up when he declares at one point that American capitalism “is like a dead herring in the moonlight: it shines, but it stinks.” And herein Wilder also gives us his take on why capitalism still continues to flourish and keep moving along. It is capitalism’s deceptive nature of pulling people in by fascinating them with useless luxuries that most people cannot help but to desire. Even the Communist businessmen or officials are corrupt by their own standards when they are seen desiring such capitalist luxuries and attempting to bribe MacNamara for his attractive young female receptionist. Perhaps Wilder was less critical of the American character in his movie than I think, or more critical of other such characters, and it is but my mere disposition to such things that leads me to this reflection. But I shall still hold my opinion that he portrays the American character most critically within the movie.

[Cole]

One, Two, Three is quite obviously a comedic play on the Cold War in its early years. The movie goes back and forth from East to West, but the wall is not up yet, and the guarded border is rarely seen. This is no fault of Wilder but it makes it hard to compare what it is like on either side. However, Wilder does do a supreme job of using every one of the stereotypes for the Communist side and the Capitalist side. The Capitalists are portrayed by and arrogant, aggressive and cheating husband who is hungry for more power, a wife who knows about the cheating and dismisses it, and a clueless daughter. The Communists in the movie are portrayed by three power hungry, disgusting, and corrupt officials who only want attractive blond women, and a young, ignorant, and hot headed communist worker. All of the stereotypes from the era are used, and used to a ridiculous extent to make the movie a comic relief from the stress of possible world annihilation of the time. The Capitalist side I think is shown more critically than the Communist because they are more characters and some crazy antics. But because both sides are poked at, no one side can be seen as the better or the winner of a conflict of interest. Over all I think Billy Wilder did a great job with this movie and making sure we can all see how outlandish we may seem to someone from another culture and that we are not always right.

[anm]

Billy Wilder’s movie One Two Three is a reflection of the stereotypes made in a post World War Two Germany. The movie represents the view of the Easterner Westerners and the Americans. The different characters in the movie each represent different political sides. Otto represents the East side of Berlin. Though his interactions both positive and negative sides of the communist party are represented. Otto himself agrees with the Eastern Communist party and always tries to show the good that his people are doing. MacNamara on the other hand does his best to point out all of the negative aspects and shortcomings that Otto embodies. While showing the negativity of the East MacNamara also shows the superiority of the west. Through this he shows that the West too is flawed and does not have everything perfectly figured out. Scarlet and her father show the viewpoint of the Americans. Scarlet plays the role of the uneducated American who does not understand the difference between the east and west and does not care to. Her father on the other hand represents the fact that American supported the west. He supports the west regardless that he infract he has no idea what is actually going on there, because he controls everything from America.
Throughout the movie everyone portrays his or her views through stereotypes. Wilder knows that if he uses all of the stereotypes of the time and makes everyone’s character a generalization of the people that they represent it will give the movie a comic effect. Another thing about Wilder is that he is a German-American director. This means that he did not only have one set of people in mind when he made the movie. I feel this is more of an American movie than a German one because it is easier for a third party member to see the humor in the situation. It would be hard for a German to make a comedic film about the division of their country because it is an everyday problem that they have to deal with.

[Sam]

Billy Wilder’s One, Two, Three was filmed in Berlin during the same time period as the Berlin wall was being constructed; both were completed in 1961. For the movie’s very first audiences, therefore, One, Two, Three had already become a historical relic from an earlier era. The script’s lighthearted tone, its portrayal of American, Russian, and German cultural values, and the absurdity of the plot’s denouement, hearkened to the self-satisfied faith of post-WWII Americans in the power of materialism and a can-do-attitude, to overcome the most recalcitrant of enemies. For MacNamara (played by James Cagney), the rapidly escalating Cold War is, essentially, a Cola War: as the head executive of European operations for Coca-Cola, his main concern is introducing the many pleasures of Coca-Cola to those parts of the world as yet bereft of its benefits. The spectator, of course, is invited to read “American-style consumerism” for “Coca-Cola.” The film, much like its Communist characters, revels in exposing the superficiality of the American, capitalist outlook; however, again mimicking the Communist characters, the film takes every opportunity to enjoy the many pleasures of the superficial. MacNamara himself is a master-manipulator of the superficial. He repeatedly uses the allure of his curvaceous blond secretary as an enticement to the Soviet trio to abandon their convictions; when they have played fully into MacNamara’s hands, and finally get their own hands on the secretary, they find MacNamara has kept the blond at his side, and left them with a man in a blond wig (could this, perhaps, be analogous to the era’s American foreign policy?).

[MSiemers]

Howard Hawks usually gets the palm for the fastest dialogue in comedies but Wilder probably ties him here. This must be one of the funniest comedies to come out of Hollywood, at least during the sound era. The gags come fast -- and thick. If one doesn't work you don't have time to be disappointed because the next one is already underway.

It's one of those movies in which the gags would be spoiled if they were described to a person who hadn't yet seen the film. For the most part they are tied closely to the plot and often build on one another. But I'm compelled to give one example. Cagney is an executive in Berlin and his first-hand man is Schlemmer. Schlemmer has a habit of clicking his heels before and after addressing Cagney. At one point Cagney chews him out and asks him, "just between us," what Schlemmer did in the war. "I was in the underground," says Schlemmer. "Oh, the resistance?" "No, the underground. The subway. I was a conductor." Cagney says supiciously, "And I suppose you never were a supporter of Adolf." Schlemmer: "Adolf who? You see, I was always in the underground. They never told us anything down there."

The dialogue is shouted rather than spoken. Heels are clicked, people leap to attention, fingers are snapped, orders are flung about. The only person who doesn't run around frantically is Lilo Pulver who does not have to run to attract anyone's attention. She can simply stand still and get the job done. She's Cagney's secretary and tells him she's thinking of getting a job elsewhere as a translator. "Don't forget I am bilingual." "Don't I know it," Cagney mutters ruefully.

[cbarton1]

he film One, Two, Three succeeded not only in portraying the relationship between people in East and West Berlin from a West German/American perspective but also concentrated on the relationship between the North and South in the USA. The movie, although shot in Germany and dealing with mostly German subject matter, ended up being harder on the culture of the Southern USA more than the peoples of Communistic Western Germany. Although the film did poke fun throughout the film at West Berlin more humor was oriented towards the South and the actors who represented the people of the South, specifically the daughter of the boss of Coca-Cola, and she was put in more extreme and slandering situations.

The businessmen of Eastern Germany were portrayed frequently as oversized bafoons but nothing more than their intelligence was criticized. For example, the businessmen complained about having received cheese from Switzerland and it riddled with holes when clearly it was Swiss cheese sent the them and it is meant to have holes. They were also easily dubbed into accepting a male dressed in a woman's dress instead of an actual female. While all of this situations are comedic they do not do the kind of damage to the actual character or culture of Eastern Germany as what is done when created comedic situations directed at Southern USA.

Southern Americans where shown not only as unintelligent but also as lacking character and deviating from accepted societal standards. The daughter of the boss of Coca-Cola was the only character in the movie representing the south and so the viewers based all their opinions on the south according to what the girl said and what she said. The daughter was portrayed as not only unintelligent but promiscuous, which, especially considering the time in which this movie was made is, although comedic, is very slandering towards the south.

It is interesting to note that although based in Germany and dealing with mainly German characters One, Two, Three ended up slandering the people and culture of the Southern United States more than it did the Eastern Germans.