Summary
Albert Herman’s 'The Trouble Fixer' unfolds as a kinetic tapestry of domestic upheaval and identity fragmentation, pivoting on the frantic energy of Wanda Wiley. The narrative engine ignites during a honeymoon departure where Wanda and her husband inadvertently abscond with a friend's infant, precipitating a high-velocity pursuit that functions as a precursor to the film’s later architectural chaos. Upon their arrival in the sun-drenched, precarious landscapes of California, the couple’s attempt at establishing a domestic equilibrium under a canvas tent becomes a staging ground for escalating absurdities. Wanda, embodying a proto-feminist trickster archetype, finds herself ensnared in a labyrinth of social performance when she agrees to impersonate a neighbor's spouse to satisfy the expectations of a visiting patriarch. The arrival of her own parents necessitates a secondary layer of deception—the procurement of a surrogate child to validate her own supposed motherhood. This culminates in a bravura display of slapstick schizophrenia, where Wiley must navigate the physical impossibility of manifesting as twins, reconciling the demands of multiple audiences while evading the righteous fury of a mother whose child has been unceremoniously drafted into this theater of the absurd.
Synopsis
Wanda and Hubby, off on their honeymoon, accidentally "kidnap" their friends' baby, but after a long chase it is finally recovered by the anxious parents. Arriving in California, they start housekeeping under a tent and, incidentally, difficulties. Wanda poses as the wife of their neighbor to help him out with his father, who thinks he's married. When her own parents arrive, she has to rustle up a baby to pass off as her own. In the ensuing complications Wanda has to pass herself off as twins, appear in two places simultaneously, and pacify an irate mother, whose baby she unceremoniously commandeered . . . but everything ends happily.
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