11 in A, the “Posthorn” Serenade and the Overture and the aria “Non più andrai” from The Marriage of Figaro. Since the actor loved Mozart’s music, always humming his tunes on the sets, the score is comprised of excerpts from Eine kleine Nachtmusik, the Piano Sonata No. Much like Artur Rubinstein, the great Polish pianist who never played in Germany after 1914, Matthau had lost family and friends in the Holocaust. The “R” rating is solely due to the abundant bad language.įor the filming of the Munich Oktoberfest scene which begins the movie-done at the actual event with eight hidden cameras-Matthau only agreed to go to Germany if his son was cast, though this was David Matthau’s last of only eight theatrical films. Glenda Jackson, who had appeared with Matthau in House Calls (1978), was pleased to work with the actor in a second film, and their chemistry is natural and genuine. The plot is made romantically interesting with the scheme-necessary addition of Kendig’s accomplice/former girlfriend, Isobel. Matthau, in the grumpy, laid-back approach that made him famous, plays demoted CIA agent Miles Kendig who mails to spy agencies around the world his “memoirs,” exposing the ineptitude of boss Myerson (Ned Beatty) and the misdeeds of the agency.ĭirected by one-time David Lean protégé Ronald Neame only on the understanding that the Garfield novel be a comedy, Hopscotch was filmed in a myriad of U.S. and international locations, including Georgia, Bermuda, Marseille and Calais, Salzburg, counties Kent and East Sussex in England as well as Mayfair and Heathrow Airport in London. Hopscotch, a comedy-ized version of Brian Garfield’s serious and cynical novel about CIA shenanigans, becomes a deliberately hilarious cat-and-mouse caper. In Mirage (1965) he is a sly detective working for amnesia victim Gregory Peck, in The Fortune Cookie (1966) a crooked insurance man in his third film for director Billy Wilder and in Grumpy Old Men (1993), a last hit, he is reunited in a final film with nine-time collaborator Jack Lemmon. Behind him were two of his biggest hits, Charade (1963) and The Odd Couple (1968). The 1980s was a time of generally weak films for Walter Matthau. A disgruntled CIA man decides to take revenge on his boss and expose the transgressions of the agency.
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