This Day in Film History (Jack Lemmon, ‘America’s Everyman,’ Born)

Feb. 8, 1925— Jack Lemmon came by his flair for the dramatic right from the start, when his flamboyant mother—"Tallulah Bankhead on a road show"—gave birth to her actor son while in an elevator in Newton, Mass.

His mother never had another child after that experience, he chuckled in later years.

Audiences saw themselves in Lemmon to such an extent that a documentary on his career was called “American’s Everyman.”

But it was his intelligence, intense preparation, improvisational skills, and ability to get along with directors with different working methods that made him a favorite with colleagues as well as audiences, leading to eight Academy Award nominations—and two victories—to go along with two Emmys, Kennedy Center honors, and a lifetime achievement award from the American Film Institute.

I remember when I read the news of his death back in 2001 and feeling stupefied that this actor I had watched since childhood would no longer be making any films. What impressed me especially about his career was how well he moved from primarily comic parts (Mister Roberts, Some Like It Hot) to dramatic ones (Save the Tiger, The China Syndrome). Among today’s actors, I think that only Tom Hanks has handled such a transition so adroitly.

Two films that I saw as pivotal in Lemmon’s career change came in the early Sixties.

With The Apartment (1960), Billy Wilder called on him to make several head-spinning changes from hilarity to near-tragedy, most notably when his drunken Chuck Baxter does the cha-cha as he tosses his jacket onto his bed—only to do a terrified double-take when he realizes that the co-worker he adores is passed out there after swallowing sleeping pills.

Two years later, in Days of Wine and Roses, the humor and charm that Lemmon endows PR man Joe Clay is critical to keeping the audience’s sympathy as he cajoles his wife into taking drinks so he won’t be alone—a decision with leads them on a downward spiral that threatens their marriage and lives.

The actor threw himself so thoroughly into the role that, when Clay experiences the DT’s while in a straitjacket, crew members had to shake the actor to snap him out of his hysterics.

In the 1970s, he made something of a specialty of the middle-aged man at bay—what critic Judith Crist termed a "harassed man — outflanked, outranked and outmaneuvered"—in films like The Out-of-Towners, The Prisoner of Second Avenue, The China Syndrome, and the film that won him his Best Actor Oscar, Save the Tiger.

Some more bits of trivia about Lemmon:

*While deeply affected by what he learned about alcoholism in Days of Wine and Roses, it took him another 20 years before he could quit drinking for good.

*Though he readily admitted, in this 1989 “Desert Island Disk” interview, to never learning to read music, he was an accomplished, self-taught pianist who demonstrated his talent in 10 of his 60 films, as noted in Fred Wasser’s 2011 NPR report.

*Wilder and Lemmon made seven films together, including the director’s last, Buddy Buddy (1981).

*He was often cast with Walter Matthau and even directed him in Kotch (1971).