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user\nGoldie Hawn, in 1969, was best known for playing in television comedy shows - in particular ROWAN AND MARTIN'S LAUGH IN, where she was the giggly cookie young blond. She did make movies before CACTUS FLOWER, the most notable being a Walt Disney feature, THE ONE AND ONLY GENUINE, ORIGINAL FAMILY BAND. But CACTUS FLOWER picked up on her character from LAUGH-IN, and (due to a good script by I.A.L. Diamond - Billy Wilder's second partner - based on an Abe Burrows play) she was able to develop the television character so that a real performance was fleshed out. As a result Ms Hawn won an Oscar for Best Supporting Actress in 1969, and her career took off to such future hits as PRIVATE BENJAMIN and THE FIRST WIVES CLUB. Although other stars of LAUGH-IN did well on television (Henry Gibson has a recurring role as a judge on BOSTON LEGAL) only Goldie was able to have a career as a bonifide movie star.
On LAUGH-IN Goldie's personality would show a naiveté that would be embarrassing. Occasionally she realized it, and would laugh loud to cover, but sometimes she just did not see her error (example: Goldie is introduced to the 1950s variety show host Gary Moore, and is told, \"Goldie, this is Mr. Gary Moore.\" She shakes his hand and says (much to his confusion), \"I've always wanted to meet Mr. John Gary Moore!\"). But as Toni Simmons it is quite different. She is desperately in love with Dr. Julian Winston (Walter Matthau), a successful dentist, who can never marry her. Julian has told her that his wife (with whom he has had two sons and a daughter) will never give him a divorce. So at the start of the film Toni tries to commit suicide by the gas of her stove. But she is rescued by her neighbor, Igor Sullivan (Rick Lenz), a struggling dramatist, who breaks into her apartment and turns off the gas.
Toni is resigned to live, but she has sent a suicide note to Julian. Igor tries to deliver a message to ignore the note but Julian's receptionist/nurse/assistant, Stephanie Dickinson (Ingrid Bergman) won't stop Julian's work schedule to pass him the phone when Igor calls. Instead Julian finds the letter and races to Toni's apartment, only to find her alive. When Igor supports her story that she tried to kill herself, Julian realizes the depth of her love, and decides he must marry such a woman. Unfortunately Toni has swallowed Julian's lies, and believes in his wife and children. You see, Julian has no wife and children. Since Toni is a firm believer that she can't marry a man who would lie to her Julian is stuck on a weakening tree branch.
Julian comes to solve it by getting Stephanie to pretend she is Mrs. Winston. Stephanie is opposed to it at first, but on her own, on her first free Saturday, she confronts Toni at the record shop Toni is at. They talk, and Toni notices all the fine strengths of character and personality of Stephanie (and since Stephanie has her two nephews with her, Toni thinks they are Julian's kids). Toni tells Julian they have to see who is the man that Stephanie is supposedly going to marry. So the lie starts spiraling for Julian, Stephanie, and Toni. Soon a lover is given to Stephanie in the form of Julian's friend and freeloading patient Harvey Greenfield (Jack Weston). Greenfield is so sleazy (Stephanie loathes him) that Toni feels that he is unworthy of Stephanie.
And so it goes, with one complication (most caused by the well-intentioned, misinformed Toni) following another until the conclusion. The script is full of first rate situations and one-liners (example: Julian to reward Stephanie for lying about their marriage, buys two record albums from Toni's store. He has given a mink stole to Toni, but she decides to send it to Stephanie with Julian's card. Stephanie is quite happy at getting the mink, but she does not say a word about the nature of the gift she got - when she profusely thanks Matthau, he says the thought she'd like Horowitz - meaning Vladomir Horowitz. But Stephanie thinks Horowitz is the name of the furrier!).
Bergman must have enjoyed the filming, as several scenes shows that earthy radiance that was a trademark for her in the later 1940s films. But there was also the resemblance to her 1958 film comedy smash hit, INDISCREET. There Cary Grant lied to make sure the pair would concentrate on the romance of their affair without having to think about marriage. When Grant's lie is revealed to Bergman she decides on a lie of her own to convince Grant that she was making him a cuckold. Here, instead of being the passive lover believing Matthau is telling the truth, Bergman gingerly tries to get Matthau out of his mess by little white lies, only to find one leads to another to complicate everyone's lives. Bergman is seen as a nice woman who becomes part of the problem, despite trying to be part of the solution.
All the leads perform well, in particular Bergman, all business thoroughness at first but gradually reclaiming her sexuality. Matthau is delightful as a man who finds a useful lie is an impediment that just can't be kicked aside. The supporting cast, especially Weston as the mooching and sexually slimy Harvey, and Vito Scotti as the U.N. ambassador who actually has the hots for Bergman. It was a clever comedy, and a really good way for Goldie Hawn's movie career to push forward.
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