While Billy Wilder is best known as a film director, he always considered himself a writer first and director second. He worked best with a partner, and though he had many over the years, there were two, Charles Brackett and I.A.L. Diamond, who were his most important associates. Though he was born in Europe, Wilder quickly picked up and mastered the American vernacular. While Wilder always had a co-writer, there is no way to misinterpret a Wilder screenplay. His footprints are clearly all over them. Continue reading
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.