George Axelrod was a playwright, screenwriter, novelist and film director best remembered for his 1952 hit Broadway play, “The Seven Year Itch,” turned into a movie by Billy Wilder and starring Marilyn Monroe. Axelrod’s plays which included “Will Success Spoil Rock Hunter” and “Goodbye Charlie” introduced to modern pop culture, the sex comedy, a sub-genre that would become more prevalent in the 1960′s and beyond. Axelrod’s other works include “The Manchurian Candidate,” “Breakfast at Tiffany’s,” “How to Murder Your Wife” (screenwriter), “Lord Love A Duck,” and “The Secret Life of an American Wife” (screenwriter and director). Continue reading
Office politics has changed a lot over the years but sex in the workplace, in one form or another, is alive and well. Billy Wilder’s superb comedy/drama is a time capsule look back at one man’s struggle on how to succeed in business by lending out his apartment to four middle level company executives on various nights for their extramarital liaisons. In exchange, the four executives praise our antihero at work, writing glowing reports on him to senior management, including putting in good words with Mr. Sheldrake (Fred MacMurray) the top dog at personnel.
C.C. “Bud” Baxter (Jack Lemmon) is the original lonely guy, an actuarial, crunching out numbers for a major insurance company. Baxter works at a drab grey desk in a large corporate office building, populated by faceless individuals all working at hundreds of other drab grey desks.
Baxter’s home life consists of frozen dinners, watching TV and cleaning up the empty liquor bottles left over from the night’s escapades, bottles which he leaves outside his apartment door for garbage pickup, suggesting, to his neighbors, Dr. Dreyfuss (Jack Kruschen) and his wife, that Baxter leads a wild life of swinging parties. Continue reading
This posting is my contribution to the CMBA Comedy Classics Blogathon which runs through Jan. 27th. You can find more contributors here.
Do you remember the first film you ever recorded? I do, it was Billy Wilder’s “Some Like it Hot” way back sometime in the 1960’s. “Wait a minute!” You say, “How can you have recorded it back in the 1960’s when VCR’s did not come out until the late 1970’s?” Well, it was simple, on a reel-to-reel tape recorder. I loved this film so much I recorded the entire soundtrack. I use to lay down in bed or on the couch with my headphones on and listen to the entire movie, visualizing all the scenes.
Crazy, weird? Probably, I am sure my parents thought so.
Needless to say, “Some Like it Hot” is one of my favorite movies, it has stood the test of time. Because of this film, I became a lifelong admirer of both director Billy Wilder and Jack Lemmon. It is a film I never get tired of watching.
Before and since its release in 1959, there have been many films that have used men in drag as a plot device (“I Was A Male War Bride”, “Tootsie”, “La Cage aux Folles”), even TV shows like “Bosom Buddies” got into the act, however none have come close or surpassed “Some Like it Hot” in its farcical humor. The well-known storyline is simple, it is 1929, two Chicago musicians, Joe (Tony Curtis) and Jerry (Jack Lemmon), witness The Saint Valentine’s Day Massacre after which they decide it might be best for their health if they leave town. The only jobs available are as musicians in an all girl band heading for Florida. It is at the train station they meet Sugar “Kane” Kowalczyk (Marilyn Monroe) a ukulele player and singer with the band. Continue reading
There was no love lost between Billy Wilder and film director Mitchell Leisen. Over the course of many interviews Billy expressed his strong feelings that Leisen ruined his scripts, he had no regard for the written word, changing, moving and deleting lines without a thought to storyline. Yet in Cameron Crowe’s essential “Conversations with Wilder,” Billy states, “Midnight, that was a good picture.” The distaste for Leisen seems to stem more from the making of “Hold Back the Dawn,” the final film Wilder, and his partner Charles Brackett, wrote for Leisen (their final screenplay before Wilder embarked on his directing career was “Ball of Fire” for Howard Hawks who Wilder admired). “As a director,” Wilder said to Crowe, “he was alright. You could get to be an old man writing just Mitch Leisen pictures.” In “Hold Back the Dawn,” there was a scripted scene involving a cockroach that was never filmed. Wilder and Brackett worked on this scene for many long hours but Charles Boyer refused to talk to a cockroach as the script dictated, a bit which would have showed a softer side to his character. Leisen, siding with his star, just cut the scene out without regard. This burned Billy and they fought and fought but Billy, just a writer, low in the Hollywood hirarchy, lost the battle. In Leisen’s defense, one just has to take a look at “Midnight” and “Hold Back the Dawn” and ask how bad can he have destroyed them? Both of these films are good and still contain the wit and intelligence of Wilder’s and Brackett’s work. What’s lacking, is the acidic cynicism that Wilder’s self directed films contained throughout much of his career. I liked that cynicism, it is part of what separated and defined Wilder from most everyone else.
Leisen was a successful and popular director whose films some claim were only as good as the script he was working with. “Hands Across the Table” was penned by Norma Krasna. “Easy Living” and “Remember the Night” had Preston Sturges brilliance behind it, Sturges was another writer who had many of his own disagreements with Leisen. By 1941, Sturges had already paved the way for screenwriters to direct their own scripts with “The Great McGinty.” Wilder and Brackett were Paramount’s top screenwriters and from most reports, including Billy himself, the studio heads did not want Billy to direct but they gave him a chance figuring the film would flop, he would get the directing urge out of his system and go back to script writing full time. Continue reading
This review is part of the FOR THE LOVE OF FILM: THE FILM PRESERVATION BLOGATHON to benefit the film noir foundation who work for the restoration of decaying noir films. The blogathon runs from Feb. 14th through Feb. 21st. For more information on how you can help by donating please check out our blogathon hosts, The Self Styled Siren and Ferdy on Films.
Here is a link to the organization’s facebook page.
Manipulation, exploitation, opportunism, and hard-boiled vile, shaken, mixed and slammed into your guts by Billy Wilder. “Ace in the Hole” (aka The Big Carnival) is a lurid, take no prisoners portrait of the news media delivering a knock down, nasty assault on journalism, and the morbid character of the blood leeching public. No one is spared. A film made more than fifty years ago, yet more relevant today than ever.
From the moment journalist Charles Tatum (Kirk Douglas) arrives in Albuquerque in his broken down vehicle to the final shot of him falling down dead, his face inches from the camera, Wilder creates a rare work that scorches the celluloid it was made on. A disaster at the box office when first released, the film was a hit overseas in Europe where critics liked it for Wilder’s attack on American ethics, even winning the International Award at the Venice Film Festival. Wilder was stung by the bad reviews and poor box office and retreated over the next several years, sticking to adaptations of plays and novels. It was not until 1959 with “Some Like it Hot” that he would do another original screenplay. Critics in the U.S. must have taken the attack personally, which may account for the hostile reviews. Bosley Crowther in The New York Times wrote, “Mr. Wilder has let imagination so fully take command of his yarn that it presents not only a distortion of journalistic practice but something of a dramatic grotesque.” I guess Mr. Crowther could not take a joke, especially when the morbid joke is on his profession.
Kirk Douglas stars as the egotistical, self-centered despicable Tatum exiled to Albuquerque, New Mexico. As soon as he arrives Tatum makes his way straight to the office of the Albuquerque Sun-Bulletin where he reveals his fast talking smart ass personality right away when he notices a needlepoint hanging on the wall with the words TELL THE TRUTH weaved in. “Who did that?” He asked. A woman sitting nearby responds, “Mr. Boot, but I did the needlework.” Tatum’s cruel retort, “I wish I could coin’em like that. If I ever do, will you embroider it for me?” Continue reading
When people think of Howard Hawks comedies, the titles that generally pop up are “Bringing Up Baby” and “His Girl Friday”, two quick-paced classics, no less distinguished though is this 1941 comedy that reunites Gary Cooper with Hawks (Sgt. York) and with Barbara Stanwyck (Meet John Doe).
Written by Billy Wilder and Charles Brackett, “Ball of Fire” is a witty comedy that retains plenty of laughs despite its almost seventy year years in age, a battle of intellect (Professors) versus brute force (gangsters).
The story itself revolves around a group of stuffy professors who are on a multiyear assignment to complete an encyclopedia. The youngest professor, Bertram Potts (Gary Cooper) is compiling a list American slang. His research takes him throughout the city, Times Square, Yankee Stadium and to a nightclub where he comes upon entertainer Sugarpuss O’Shea (Barbara Stanwyck), who is performing to Gene Krupa’s “Congo Boogie.” Sugarpuss’ distinctive and colorful vocabulary is just what the professor ordered. Convinced she is an important resource not to be lost he asks her to help him, which she is reluctant to do until she finds out the police want to question her on the where bout’s of her boyfriend, underworld thug Joe Lilac (Dana Andrews). Sugarpuss decides it might be best to “help” the stuffy professors, and hide out at their residence until she can get out of New York and meet up with her gangster boyfriend in New Jersey.
Secluded in the house, the professors, become fond of Sugarpuss as she teaches them to unstuff their rigid collars including an education on how to do the conga. However, it is the sensuous seduction Sugarpuss knowingly displays toward the studious. naïve but good-looking Bertram that sets the fires burning. Once in the professors quarters, she removes her coat revealing her skimpy costume and when she gives Bertram her cold wet bare foot to warm up displaying her equally naked and shapely leg, the girl knows full well the effect she is having not just of Bertram but the entire professorial staff. Bertram is soon hooked and before you know it, he is impetuously proposing marriage.
Before the nuptials can be finalized, Joe Lilac’s thugs show up and haul the entire group toward Jersey, using the professors as a cover to smuggle the on the lam Sugarpuss over the New York/New Jersey border. By this time, of course Sugarpuss has fallen in love with Bertram. There is a climatic confrontation between the professors and the hoods, and just like Hawks underdog heroes in “Rio Bravo”, the professors against all odds overcome their better-equipped adversaries with brains over brawn.
True, the premise is silly, seven professors secluded for years living under one roof. At close to two hours the film is a bit long, some trimming would have picked up the pace, yet there is more to recommend than dismiss, a witty script, fine performances from the top on down. There is also Gene Krupa and his orchestra and some nice deep focus photography courtesy of Greg Toland.
Stanwyck is sexy and uninhibited as Sugarpuss, perfect for the role conveying a combination of a typical sassy New York character only to reveal a soft tender side underneath the hard exterior. Deservedly she received an Oscar nomination for her performance. Surprisingly, Stanwyck was not producer Sam Goldwyn’s first choice for the role, nor was she second or even the third. Goldwyn first offered the role to Ginger Rogers who turned it down and then to Jean Arthur and Carole Lombard. Even Lucille Ball was considered before offering it to Stanwyck who gladly and wisely accepted. While I relish the idea of Arthur or Lombard reading the dialogue of Wilder and Brackett, I cannot image anyone doing a better job in the role than Babs did here.
Cooper was set for his role from the beginning. It all came about when Sam Goldwyn wanted Wilder and Brackett to write a script for Coop who he had under contract and was having a tough time finding a suitable project for him. Old Sam made a deal with Paramount, who the writers were under contract to, that involved Coop going to Paramount for one film, which would turn out to be “For Whom the Bells Toll” while Goldwyn got Wilder and Brackett, and the use of Bob Hope for another film (They Got Me Covered). The script Wilder came up with was from a story he wrote back in his early days in per-war Germany called “From A to Z.” It was updated with the help of a junior writer named Thomas Monroe. Wilder also got Goldwyn to agree that he would be allowed to stay on the set during the filming and watch Howard Hawks direct. Wilder wanted to direct his own scripts and admired Hawks work, and like Lubitsch, would become a big influence on Wilder’s directing style. Wilder has commented that he did not like the film thinking the story, a variation of “Snow White and the Seven Dwarfs” was silly, though one has to admit Stanwyck’s Sugarpuss made for a very sexy if somewhat tainted Snow White. Wilder and Brackett did receive an Oscar nomination for best original screenplay. The script would be Wilder’s last screenplay that would be directed by someone else. The following year, he went on to direct his first feature, “The Major and the Minor.”
The supporting cast is filled with fine talents from Dana Andrews as the hoodlum Joe Lilac, to 1930′s Warner regular Allan Jenkins as the garbage collector to Oskar Homolka, Henry Travers and S.A. “Cuddles” Sakall as three of the bumbling professors. Finally there is Dan Duryea as one of Joe Lilac’s henchmen. Look also for Elisha Cook Jr. in a small role as a waiter in the early nightclub scene.
“Ball of Fire” opened to good reviews and excellent business. Released in December of 1941 to qualify for that year’s award nominations, it went into general release in January of 1942 when the film opened at Radio City Music Hall in New York.
There is a 1948 remake of this film called “A Song is Born”, also directed by Hawks with Danny Kaye and Virginia Mayo in the Cooper/Stanwyck roles. I have not seen it but I am going to go out on a small limb here and assume that it is not up to the same quality of the original.
Sources: Conversations with Wilder (Crowe)
Howard Hawks: The Grey Fox of Hollywood (McCarthy)