Editing One, Two, Three (section)

===Critical response===
Critic [[Bosley Crowther]] applauded the work of Cagney and wrote,

<blockquote>With all due respect for all the others, all of whom are very good—Pamela Tiffin, a new young beauty, as Scarlett; Horst Buchholz as the East Berlin boy, Lilo Pulver as a German secretary, Leon Askin as a Communist stooge and several more—the burden is carried by Mr. Cagney, who is a good 50 per cent of the show. He has seldom worked so hard in any picture or had such a browbeating ball. His fellow is a free-wheeling rascal. His wife (Arlene Francis) hates his guts. He knows all the ways of beating the rackets and has no compunctions about their use. He is brutishly bold and brassy, wildly ingenious and glib. Mr. Cagney makes you mistrust him—but he sure makes you laugh with him.  And that's about the nature of the picture. It is one with which you can laugh&mdash;with its own impudence toward foreign crises&mdash;while laughing at its rowdy spinning jokes.<ref name="nytbosley"/></blockquote>

''[[Time (magazine)|Time]]'' magazine called it a "yell-mell, hard-sell, [[Mack Sennett|Sennett]]-with-a-sound-track satire of [[Iron Curtain|iron curtains]] and [[Color line (civil rights issue)|color lines]], of people's demockeracy, [[Cocacolonization|Coca-Colonization]], peaceful {{sic|noexistence}}, and the Deep Southern concept that all facilities are created separate but equal."<ref name="time61"/>  ''Time'' notes Wilder "purposely neglects the high precision of hilarity that made ''[[Some Like It Hot]]'' a screwball classic and ''[[The Apartment]]'' a peerless comedy of officemanship. But in the rapid, brutal, whambam style of a man swatting flies with a pile driver, he has produced a sometimes {{sic|beWildered|nolink=y}}, often wonderfully funny exercise in nonstop nuttiness." The film won kudos from the staff at ''[[Variety (magazine)|Variety]].'' They wrote, "Billy Wilder's ''One, Two, Three'' is a fast-paced, high-pitched, hard-hitting, lighthearted farce crammed with topical gags and spiced with satirical overtones. Story is so furiously quick-witted that some of its wit gets snarled and smothered in overlap. But total experience packs a considerable wallop."<ref>[https://www.variety.com/review/VE1117793729.html?categoryid=31&cs=1&p=0 ''Variety'']. Film review, 1961. Last accessed: January 31, 2008.</ref> [[Pauline Kael]], on the other hand, dismissed the film as a tiresome succession of stale and inane gags. She was also bemused by what seemed to her the forced enthusiasm of the favorable reviews.{{citation needed|date=June 2023}}

According to [[J. Hoberman]], screenwriter [[Abby Mann]] (who wrote ''[[Judgment at Nuremberg]]'') "deemed Wilder's [film] so tasteless, he felt obliged to apologize for it at the [[Moscow Film Festival]]."<ref name="time2011"/>