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How to Murder Your Wife

How to Murder Your Wife

Comedy · 1965

Stanley Ford is a successful cartoonist and happily single. That is, until he gets drunk at a friend's bachelor party and impulsively proposes to the beautiful woman who pops out of the cake. Once sober, he regrets the decision, but she won't agree to a divorce. Stanley jokingly vents his frustrations in his comic strip by having the main character kill his wife. But when his actual wife goes missing and Stanley is arrested for her murder, he has a change of heart.

Movie details

How to Murder Your Wife

“Bring The Little Woman...Maybe She'll Die Laughing!”

1965 Comedy 1h 58m

Critical arithmetic

One number, for now.

TMDB

6.4 / 10

Community rating

Stanley Ford is a successful cartoonist and happily single. That is, until he gets drunk at a friend's bachelor party and impulsively proposes to the beautiful woman who pops out of the cake. Once sober, he regrets the decision, but she won't agree to a divorce. Stanley jokingly vents his frustrations in his comic strip by having the main character kill his wife. But when his actual wife goes missing and Stanley is arrested for her murder, he has a change of heart.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over How to Murder Your Wife?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Where it lives

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Names above the title

The people responsible.

Directed by

Richard Quine

Written by

George Axelrod

Jack Lemmon

Jack Lemmon

Stanley Ford

Virna Lisi

Virna Lisi

Mrs. Ford

Terry-Thomas

Terry-Thomas

Charles

Eddie Mayehoff

Eddie Mayehoff

Harold Lampson

Claire Trevor

Claire Trevor

Edna

Sidney Blackmer

Sidney Blackmer

Judge Blackstone

Max Showalter

Max Showalter

Tobey Rawlins

Court is in session

Put How to Murder Your Wife on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Popcorn Loyalist

“It owes the canon nothing.”

The movie pursues immediacy and audience pleasure without begging institutions to certify its worth.

The prosecution The Big-Idea Head

“Easy pleasure, short half-life.”

It moves efficiently through the moment but offers little reason to keep arguing once the credits end.