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"Just a Concoction of Nonsense": The Oral History of A Fish Called Wanda, originally presented by Vanity Fair, opens with a rather dark, and frankly, humorous footnote in cinematic history. In 1989, a Danish audiologist, Dr. Ole Bentzen, reportedly in good health, laughed himself to death while watching this very film. It’s a stark, albeit morbid, testament to the power of comedy when executed with precision and a touch of audaciousness.
The film itself is a masterful blend of genres, weaving together a love story, a meticulously constructed farce, and a classic crime caper. At its core, it's also a fascinating dissertation on the cultural and personal differences between Americans and the British. The intricate plot, centered around a group of criminals double-crossing each other after a diamond heist, is layered with deceit, unintended animal casualties, and one of the most memorably absurd love scenes in cinematic history.
This intricate narrative was the product of John Cleese's meticulous, years-long writing process, with him also starring as the rigidly repressed British barrister Archie Leach. He was joined by director Charles Crichton, who was remarkably 77 years old during filming. This behind-the-scenes spirit of collaboration was a unique force, bringing together Cleese with his fellow Monty Python alum Michael Palin as the stuttering animal lover Ken, Jamie Lee Curtis as the manipulative Wanda, and Kevin Kline in an Academy Award-winning turn as the eccentric Otto.
The genesis of A Fish Called Wanda began in June 1983, with John Cleese and director Charles Crichton setting out to make a movie together, a long-held ambition since the late 1960s. Their initial ideas were somewhat disparate but formed the nascent sparks of the film. Cleese envisioned a character with a stutter needing to deliver crucial information, while Crichton desired a scene featuring a character being run over by a steamroller.
John Cleese embarked on crafting the script, his first feature film as a solo writer, with a methodical approach. He explained that the ideas came slowly, resulting in thirteen drafts—eight minor and five major. Cleese focused on developing characters in some drafts and ensuring the plot made perfect sense in others. He even used toy figures in a drawn set to map out the intricate farcical sequences, meticulously tracking who was in which room at any given moment.
Between 1983 and 1985, the script gradually took shape, and the star-studded cast began to align. Cleese specifically envisioned roles for himself and three other actors. He was impressed by Kevin Kline in "Sophie's Choice" and later reconnected with him during the promotional tour for "Silverado," even sharing a condominium. Jamie Lee Curtis caught his eye in "Trading Places," and Cleese, along with Michael Palin, his frequent scene partner from Monty Python, were already seasoned collaborators, having recently worked together on "Monty Python's The Meaning of Life."
The synergy between John Cleese and Michael Palin was particularly notable. Palin described working with John as a great pleasure, stating you could go anywhere with him and never be let down, always engaging in a sort of verbal fencing. Cleese, using a tennis analogy, likened their dynamic to finding a perfect partner across the net in a game; not competitive, but a perfect balance and match, making their scenes together feel like the best ones.
Kevin Kline, a devoted fan of Monty Python's "And Now for Something Completely Different," felt a personal connection to their comedy, viewing their Sunday night broadcasts as a form of "worship." When John Cleese approached him about a potential project, Kline, who had previously shared a condominium with Cleese during the filming of "Silverado," recalled Cleese commenting on his "clown" persona and mentioning the possibility of writing something specifically for him. This laid the groundwork for their collaboration.
Jamie Lee Curtis initially believed John Cleese's offer to star in his new film was a mistake, thinking he might have meant to speak with her husband, Chris Guest. She recalled a lunch meeting where Cleese expressed his vision for the movie, casting her, Michael Palin, and Kevin Kline, and confidently predicting its success. While she was initially skeptical, the prospect of working with such talent soon became a reality.
By November 7, 1986, the core cast gathered at Cleese's home for the script's first reading. This session revealed that while most characters were working, Archie Leach needed refinement. Michael Palin suggested toning down Archie's character, recognizing that Cleese was pushing too hard for laughs from his own role. The focus shifted to making Archie authentic, allowing the bigger laughs to come from Kline and Palin, and ensuring the dynamic between Cleese and Curtis felt genuine.
Two months before shooting, Cleese met with Kevin Kline in Jamaica to thoroughly review Kline's scenes, a deliberate choice to find a warm environment. During these sessions, Kline would occasionally improvise, contributing new ideas as they arose, demonstrating a collaborative approach to character development. This process helped them explore the nuances of the characters before the cameras rolled.
Rehearsals began on June 16, 1987, and the collaborative spirit continued. John Cleese noted that thirteen people contributed suggestions that were incorporated into the script, highlighting a rare freedom of shared input that Jamie Lee Curtis found particularly beautiful. This inclusive environment, where everyone's ideas were considered, was unusual and fostered a strong sense of ownership among the cast.
Kevin Kline's character, Otto, was meticulously designed to reflect a unique blend of fashion and a surprisingly rugged sensibility. The costume included a vintage Issey Miyake overcoat and a distinctive pointed hat, creating a visually striking and memorable look. This attention to detail, down to the way his pants were tucked into sweatbands to resemble military boots, contributed to Otto's overall character as a "concoction of nonsense."
Filming commenced on July 13th in London, and the cast was well-prepared for the intimate scenes. Jamie Lee Curtis, recognizing the need for comfort and authenticity in these moments, proactively suggested that actors engage in some private rehearsal. This approach aimed to ensure that on-screen intimacy felt real and natural, even when performed for the camera multiple times.
Kevin Kline, as Otto, immediately embraced the character's uninhibited nature. He recalled an early moment on set where he grabbed Jamie Lee Curtis's breast during a take, and upon asking John Cleese if it was "too much," received the emphatic response, "No! More! Bigger!" This exchange signaled the film's willingness to push boundaries for comedic effect.
Jamie Lee Curtis observed that Kevin Kline was operating on a unique wavelength, delivering a truly magical performance. She noted that his energy was so potent that she had to develop specific techniques to suppress her laughter during his scenes, even admitting to ruining multiple takes because she found him so funny. This highlights Kline's commitment to inhabiting the character fully.
Michael Palin, who adopted curly hair for his role as Ken, drew inspiration for his character's stutter from his father's experience. He described how his father's stammer was a difficult but unaddressed issue during his childhood. Palin aimed to channel these observed tensions, portraying Ken's inner conflict and his love for animals juxtaposed with his detestation of human beings.
The film's infamous scene of Otto's sexual encounter with Wanda, set to a dramatic Wagnerian score, culminates in Otto's cross-eyed, over-the-top orgasm. Kline described the improvised nature of this scene, shifting from an initial idea of a gym setting to a bedroom due to time constraints. The visual of Otto's intense, almost idiotic expression during his release was intended to reveal his "essential self."
Jamie Lee Curtis found herself struggling to contain her laughter during these intense scenes with Kline, often needing a pillow or rolled socks to muffle her reactions. She admitted to being an "untrained little organism" who laughs easily, and she felt she might have compromised some of Kevin's performances. This mutual comedic friction was a key element of their on-screen chemistry.
While many found the on-screen chaos amusing, Kevin Kline prided himself on maintaining a straight face during comedic moments, viewing it as a mark of professionalism. He embraced the absurdity, even developing a T-shirt with the slogan "Who is this guy?" to reflect the ongoing mystery and contradiction within his character, Otto. This internal struggle fueled his commitment to the role.
A scene originally conceived with Wanda being discovered nude was revised after Curtis suggested John Cleese take on the nudity himself. This was a strategic choice; Curtis believed her own nudity would be a distraction, whereas Cleese's, representing a character shedding his repressed nature, would serve the narrative and thematic arc more effectively, symbolizing his complete sexual liberation.
The romantic scenes between Archie and Wanda offered a different dynamic. Jamie Lee Curtis, experienced in such portrayals, took the lead, encouraging John Cleese to improvise and be present in the moment, a departure from his usual meticulous rehearsal style. This approach allowed for a more organic development of their characters' connection, much to Cleese's initial apprehension.
Curtis described Cleese as an "über-intellectual, too intellectual, very brilliant guy" with incredibly tiny handwriting, contrasting with her own more intuitive performance style. She encouraged him to simply be in the moment and look at her, which she felt allowed him to "melt," fostering a genuine connection that translated effectively on screen. She emphasized his talent and partnership in these scenes.
Kevin Kline, despite his captivating spontaneity on set, grappled with self-doubt, frequently questioning if he was portraying Otto correctly. John Cleese observed Kline's constant indecision after each take, a trait that eventually became familiar to the crew. This internal conflict, however, also stemmed from the character's inherent contradictions, which Cleese had intentionally written.
Kline's eventual realization that not fully understanding the character was acceptable proved to be a valuable lesson. He saw it as a testament to Cleese's writing, where well-written characters possess inconsistencies and contradictions that are not meant to be perfectly reconciled but rather embodied. This philosophical acceptance of character ambiguity was a key takeaway for him.
Michael Palin felt Kevin Kline's performance injected crucial energy into the film, likening his aggressive portrayal to Cleese's own manic energy in "Fawlty Towers." He noted that improvisational moments, like Kline's spontaneous request to kiss him on the stairs, required constant adaptation. Palin described working with Kline as a high-wire act, demanding careful attention and responsiveness.
Curtis characterized the cast's working styles, noting that she and Palin were similar in their straightforward approach, while Cleese was more studied. She described Kline as an "inventor" and a "magician," someone whose scene partners needed to be ready to support his "tricks." His painstaking attention to detail, while occasionally difficult, was integral to his transformative performances.
The film's memorable torture scene, where Otto inserts a pear into Ken's mouth and fries his nostrils, was deeply impactful. Palin recounted that the pear insertion was not scripted and that the specially created chips for his nostrils were difficult to keep in place, creating an almost suffocating experience. This scene, while horrific, was a testament to the actors' commitment and the film's dark humor.
Kevin Kline expressed surprise at the rudimentary nature of the fish used in the scene, expecting animatronic props rather than simple rubber models. He recalled the unappetizing taste of the painted rubber fish, even requesting real ones by the end of the day. This detail highlights the practical, and sometimes less glamorous, realities of filmmaking.
Late 1987 to early 1988 saw the film screened for test audiences, who reacted strongly to moments of cruelty, including Ken's torture and the depiction of deceased dogs. The original ending, which suggested Wanda's continued deception of Archie, also met with disapproval. Cleese received invaluable feedback from peers like Rob Reiner, Harold Ramis, and Steve Martin.
Steve Martin, in particular, provided Cleese with some of the most expert notes he had ever received on a movie. Cleese acknowledged that audience reception ultimately dictates what works, admitting that even the torture scene, which he found hilarious, elicited "eurghhh" sounds from test audiences concerned about Michael Palin's ability to breathe. This indicated that audience judgment had to supersede their creative vision.
The film's original ending featured Jamie Lee Curtis's character, Wanda, wearing shark-shaped shoes, a visual cue suggesting she would ultimately deceive Archie. This was intended to show that Archie, blinded by romantic delusion, would be taken advantage of by Wanda as she absconded with the money. However, test audiences strongly favored the romantic connection between Archie and Wanda, leading to a revision of the ending.
The initial audience reception to the ending prompted significant reshoots and edits. Curtis, initially reluctant to stray from the darker, more truthful ending John Cleese had written, expressed frustration that the film seemed to be "wimping out" by leaning into American sentimentality. Nevertheless, the overwhelming audience sentiment for the couple's romance dictated the final cut.
A Fish Called Wanda was released in the U.S. on July 15, 1988, and in the U.K. on October 14, achieving immediate success on both sides of the Atlantic. It garnered three Academy Award nominations, with Kevin Kline winning Best Supporting Actor, and John Cleese and Michael Palin receiving British Academy Film Awards. Cleese's expansive acceptance speech humorously thanked a wide array of figures, both serious and absurd.
The film's enduring legacy was underscored by the tragic, yet fitting, story of Dr. Ole Bentzen, who laughed himself to death watching it in 1989. Michael Palin reflected on this extraordinary accident, calling it a "dreadful accident" and a "quite a tribute." He mused that "everything you write comes round to kick you up the arse later in life," suggesting a prophetic quality to their work.
John Cleese viewed Dr. Bentzen's death as the "ultimate compliment," humorously noting that the doctor laughed from the moment the film began until he passed away. While they considered using the incident in publicity, they ultimately decided it was in poor taste. Cleese, however, offered a philosophical perspective, suggesting that if one must go, laughing oneself to death might be a rather pleasant way to do it.
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