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German communist who steals Scarlett’s heart and indoctrinates her bubblehead The arms, and the bed, of comrade Otto Piffl (Horst Buchholz), an ardent East Things go fromīetter to bad to worse when Scarlett’s nighttime excursions plant her firmly in Office life—some overly-disciplined desk jockeys and a sexy secretary namedįräulein Ingeborg, played by the Swiss Liselotte (Lilo) Pulver. Home life—two children and his jaded wife, Phyllis (Arlene Francis)—and his Promotion, MacNamara accepts the responsibility while also contending with his The blustery ditz Scarlett Hazeltine (Pamela Tiffin). His stateside boss gives him the irksome task of keeping tabs on his daughter, In the Coca-Cola company, he is put in the arduous position of babysitter when Angling to become a high-ranking executive Balancing family withīusiness and patriotism with commerce, MacNamara is the quintessential “noĬulture, just cash” ugly American. MacNamara, played with great gusto by James Cagney. And what could be more American than anĮmblematic bottle of Coca-Cola? Hoping to strike a deal that cracks the Iron CurtainĪnd allows for the East German distribution of this iconic beverage is C.R. Under the influence of Western, specifically American, culture—pop (in two Side goes about its daily business of parading, while its democratic half grows

Precarious cultural and political crossroads, One, Two, Three is the portrait of a divided city, where the communist And now that Kino Lorber has released the picture on anĮxcellent new Blu-ray, this is as good a time as any.īerlin, straddling the border between East and West Germany and sitting at a Three doesn’t live up to Wilder’s more acclaimed predecessors, but whatįilms do? Forgoing that delimitation, though, this riotous Cold War comedyĭeserves due credit. Him, in part evinced by more than a dozen Oscar nominations and six wins. The fact of the matter is that by 1961, Wilder’s finest hours did lay behind Media reproach (though both are supremely relevant today). Three make it somewhat less popularly appreciable than the earlier film’s It is every bit as acerbic as Wilder’s other overlooked Onįilm seems infinitely more perceptive, but it doesn’t have that “classic To do with the impressively high standards set by Wilder’s own prior work. There are several reasons for this, many having Billy Wilder’s One, Two, Three is perhaps the legendaryĭirector’s most underrated film.