Category Archives: Billy Wilder

1945 Films, Best Film of the Year, Billy Wilder, Drama, Jane Wyman, Phillip Terry, Ray Milland

The Lost Weekend-1945

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The Lost Weekend-1945

Director Billy Wilder

Starring Ray Milland, Jane Wyman

Scott’s Review #856

Reviewed January 10, 2019

Grade: A

Billy Wilder, considered one of the most influential directors of the Hollywood Golden Age of cinema (the 1940s), created a masterpiece that tackles a storyline about social issues that has never been explored.

The Lost Weekend (1945) tells a tale of alcoholism and the desperation and degradation of a person with an addiction. Wilder bravely goes where no film had dared to go with astounding results.

The film was awarded several Academy Awards, including Best Picture, Best Director, and Best Actor.

Don Birnam (Ray Milland) plays a New York writer left alone for one hot summer weekend. His brother Wick (Philip Terry) and girlfriend Helen (Jane Wyman) are aware of Don’s drinking problem but leave for the weekend anyway when Don goes on a bender.

He spends each subsequent day desperate for liquor and in need of cash to purchase it. He resorts to theft and selling personal items out of desperation and the need for booze.

The story features flashbacks of past events, such as when he first met Helen and an embarrassing attempt to meet her parents for lunch.

The film is adapted from Charles R. Jackson’s 1944 novel of the same name. Although it is a dark story that can be categorized as a downer, the film does not paint a glamorous picture of the pains an alcoholic experiences or the lengths he will go to out of desperation.

Before The Lost Weekend was made, drunkard characters in the film were primarily portrayed as either bumbling or as comic relief, so this character study is a welcome departure from tradition.

Milland is perfectly cast and effectively relays the troubled and desperate Don. Handsome, well-dressed, and professional, he is not the stereotypical image of a drunk. Dressed in a suit and tie by all measures, he does not fit the bill of a desperate man but slowly begins his descent and spirals out of control.

This makes Wilder’s message more potent as he shows that alcoholism can afflict anyone, even professional, intelligent men. Milland, who resembles actor Jimmy Stewart, is supposed to be liked by the audience, eliciting a rooting factor even when he mistreats Helen. We want him to face his problems and recover.

Many glimpses of Manhattan are shown, and exterior shots are used plentifully. Wilder shoots the scenes as largely bleak and lonely, which aligns with the film’s overall feel.

Third Avenue looks desolate and isolated as we watch a desperate Don wander around and attempt to sell his typewriter for booze money. He is grief-stricken when he realizes that it is Yom Kippur weekend and the pawnshops are closed.

The camera remains firmly fixed on Milland, showcasing a range of powerful emotions throughout the film.

The Lost Weekend (1945) was a groundbreaking film at its release. It is a serious and detailed tale of the life and times of an alcoholic. With a superb acting performance by Milland, Wilder can darkly and frighteningly portray the world of a person with an addiction.

Decades later, the film is still mentioned as inspirational to other filmmakers who are creating works about alcohol abuse.

Oscar Nominations: 3 wins– Best Motion Picture, Best Director-Billy Wilder (won), Best Actor-Ray Milland (won), Best Screenplay (won), Best Scoring of a Dramatic or Comedy Picture, Best Cinematography, Black-and-White, Best Film Editing

1944 Films, Barbara Stanwyck, Billy Wilder, Crime Drama, Drama, Edward G. Robinson, Film noir, Fred MacMurray

Double Indemnity-1944

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Double Indemnity-1944

Director Billy Wilder

Starring Fred MacMurray, Barbara Stanwyck

Scott’s Review #847

Reviewed December 26, 2018

Grade: A

Double Indemnity (1944) perfectly epitomizes the classic film noir genre. It contains all the necessary elements, from intrigue, suspense, and unpredictable thrills to schemes and dastardly deeds by the major players.

The on-screen chemistry between leads MacMurray and Stanwyck provides enough romantic flair and provocative moments to entertain all as developments progress when a smitten man meets a femme fatale and a devious plot is hatched.

Director Billy Wilder was one of the most influential directors of his day. This picture was his first effort, and it received fabulous critical acclaim.

The accolades put him firmly on the map for years to come, culminating in an Oscar win in 1960 for The Apartment. Wilder uses a clever insurance “double indemnity” clause as its title, making it one of the best and most influential crime dramas of the 1940s, staking ground for other similarly themed films.

The story is told via flashbacks as a wounded Walter Neff (Fred MacMurray) scrambles to record a confession to his colleague and best friend, Barton Keyes (Edward G. Robinson).

The action rewinds to an ordinary day when Neff makes a routine stop to sell insurance and meets flirtatious Phyllis Dietrichson (Barbara Stanwyck). She brazenly inquires how she ought to take out an insurance policy on her husband’s life without his knowledge.

When Neff deduces Phyllis’s intention to kill her husband, he declines any further help but cannot forget the ravishing beauty and her charms. He ultimately succumbs to her whims and aids her in a wicked crime.

The adventure the audience is taking on is the most fun aspect of the film. We already deduce that Neff is involved in shenanigans, but most of the fun occurs after the murder has been committed and Phyllis and Neff’s scheme begins to unravel.

The added component of Neff’s colleague and close friend, Keyes, being involved as he starts to suspect foul play is equally compelling.

Will he finally realize that Neff is involved in the plot? If discovered, will Keyes cover for Neff? Will Phyllis’s history catch up with her and twist events?

These questions make the film a great picture.

A debate among viewers can ensue whether Neff is sympathetic as this point continues to cross my mind with each viewing. One can safely say that he is seduced by the charms of an eager and aggressive woman, but if he is to blame for the crimes, is she not even more to blame?

As events unfold, sides can be drawn, and characters can be more focused, particularly after Double Indemnity’s startling conclusion.

Neff is not a strong, heroic character. She is relatively weak and easily manipulated by the cagey Phyllis. It is interesting how little time it takes for Neff to succumb to her plot and willingly commit the crime.

In the final act, Neff does show some muscle needed, but this is only because his “goose is cooked,” and he finally realizes the dire nature of Phyllis’s character. However, shouldn’t he have discovered this sooner?

MacMurray and Stanwyck have smoldering chemistry and are a significant film success, keeping the audience invested in the plot. The added measure of the murder victim being relatively unknown to the audience adds a macabre rooting value to the pair.

Wilder never presents the plot as a romantic triangle, and Neff and Phyllis have no other romantic entanglements. The only roadblock is the insurance company and its suspicions about Phyllis.

Wilder adapted the screenplay from James M. Cain’s novella of the same name and spins a potent film noir from these pages. Double Indemnity (1944) is intelligent, sexy, and mysterious, mixing in as much sultry poise as witty dialogue.

The film is a measured success and a highly influential cinematic story thanks to the allure of fine actors and a stunning train adventure.

Oscar Nominations: Best Motion Picture, Best Director-Billy Wilder, Best Actress-Barbara Stanwyck, Best Screenplay, Best Scoring of a Dramatic or Comedy Picture, Best Sound Recording, Best Cinematography, Black-and-White

1959 Films, Billy Wilder, Comedy, Jack Lemmon, Joe E. Brown, Marilyn Monroe, Tony Curtis

Some Like It Hot-1959

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Some Like It Hot-1959

Director Billy Wilder

Starring Marilyn Monroe, Jack Lemmon, Tony Curtis

Scott’s Review #388

60010910

Reviewed March 26, 2016

Grade: A

Considered one of the best comedies ever made, Some Like It Hot (1959) is a funny, outlandish, yet controlled film that never goes too over the top or dives into outrageous camp. Instead, it is well-written, well-acted, and contains excellent chemistry between the stars.

In summary, it is a film in which all the elements come together just right. In film comedy, this is an infrequent occurrence. Instead, we are typically treated to formulas or retreads of past successes.

Some Like It Hot feels refreshing and brilliant.

The film was also monumental in paving the way to the eventual elimination of the hated Hays Code, which imposed many restrictions on American cinema from 1930 to 1968.

Some Like It Hot pushed the envelope in essential ways, leading to a spike in creativity and art within the film industry that lasted mainly throughout the 1960s and 1970s.

For that, it is a masterpiece.

Down on their luck, broke, and needing work, Jerry and Joe (Jack Lemmon and Tony Curtis) are struggling jazz musicians seeking a meager existence in snowy Chicago. Having witnessed the St. Valentine’s Day massacre, they go on the run from the assailants, who have seen them, and pose as Josephine and Daphne, dressed in drag.

This leads to one humorous situation after another as they take the bus from Chicago to Miami with an all-girl musical band, a slumber party of sorts led by boozy starlet Sugar Kane (played by Marilyn Monroe), who serves as the band’s vocalist and ukulele player.

Once arriving in sunny Miami, “the girls” find romantic entanglements with Sugar and rich millionaire Osgood Fielding III, which leads to blatant comic antics. Josephine poses as a male Shell Oil Junior, attempting to woo Sugar with his assumed riches in the oil business.

What makes Some Like It Hot work so well is that it does not go too far over the edge to seem campy, nor does it play it too straight. This perfect balance makes the film rich with natural, fresh comedy.

Director Billy Wilder chose to film in black and white, avoiding Lemmon and Curtis looking ridiculous with colorful, bright makeup. This was toned down and muted so that it allowed for more believability.

Additionally, the film’s subtle edginess impresses me with each passing watch. Some Like It Hot got away with a lot in 1959, considering the restrictions, and that knowledge gives it a groundbreaking quality.

There is an air of homosexuality throughout, and the final line is my favorite, allowing for a thought-provoking interpretation.

When Daphne reaches her breaking point with Osgood’s romance and yanks off his wig, she professes exasperation, “I am a man!! ” Only to hear Osgood’s startling reply, “Well, nobody’s perfect,” is clever dialogue.

Did Osgood know all along that Daphne was male? Will he marry ‘her’ anyway?

Who wouldn’t have blushed gazing at Monroe’s skin-colored and quite revealing outfit? It gave the impression that she was nude and showed how funny Lemmon and Curtis’s physical comic timing together is.

Bumbling around in stockings, heels, and dresses, attempting to be feminine but never really succeeding, making all the other characters think they were women is excellent.

Curtis was reportedly quite uncomfortable in drag, which shows on camera, but this works out well, giving Josephine a natural awkwardness.

Lemmon went all out in his costumes, and his energy came across.

In my opinion, not looking her best, slightly plump and tired looking, Marilyn Monroe still gives the film added life and charm, and who is not mesmerized viewing her on stage singing “I Wanna Be Loved By You”?

To think that Monroe died only three short years later is sad and an appreciation of her career in the final stages.

A risqué, laugh-out-loud, funny treat, Some Like It Hot resonates with me and did so with audiences upon release in 1959.

Comical, thoughtful, and highly influential, the film is a must-see for fans of film comedy done honestly and free of standard cliché.

It is a blueprint for all witty comedies to follow.

Oscar Nominations: 1 win-Best Director-Billy Wilder, Best Actor-Jack Lemmon, Best Screenplay Based on Material from Another Medium, Best Art Direction, Black-and-White, Best Cinematography, Black-and-White, Best Costume Design, Black-and-White (won)

1950 Films, Best Film of the Year, Billy Wilder, Buster Keaton, Cecil B. Demille, Drama, Erich von Stroheim, Film noir, Gloria Swanson, Hedda Hopper, Jack Warden, Jack Webb, Nancy Olson, Scott's Top 100 Films, Sidney Skolsky, William Holden

Sunset Boulevard-1950

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Sunset Boulevard-1950

Director Billy Wilder

Starring Gloria Swanson, William Holden

Top 100 Films #42

Scott’s Review #330

60010956

Reviewed January 8, 2016

Grade: A

I adore films about Hollywood (good ones), and Sunset Boulevard (1950) is an absolute treasure.

Directed by classic film director Billy Wilder, the film is a film noir about a legendary silent film star, Norma Desmond, who cannot cope with modern films involving sound and living a life of instability and mental illness as her career has long ended.

Handsome Joe innocently stumbles upon her mansion, forming an eerie relationship that ends in tragedy.

Sunset Blvd. is a famous street in Los Angeles and Beverly Hills, California. It is immediately featured in the film as Joe Gillis, played by William Holden, drives down the street, an unsuccessful screenwriter whose car is about to be repossessed.

Joe narrates the film, and we see a man lying dead in a vast swimming pool. Ironically, this is the film’s ending, and Wilder interestingly works backward so the audience knows tragedy will eventually ensue.

To avoid being chased by men, Joe pulls into a driveway and hides his car in a garage near a vast yet run-down mansion. He is mistaken for a coffin salesman and meets the infamous and creepy Norma and her servant, Max.

The coffin is for Norma’s pet chimpanzee, who has died. Intrigued and broke, Joe hatches a plot to re-write Norma’s terrible screenplay- and make some money from the aging Hollywood star.

Norma needs companionship. The two, with Max, embark on a weird relationship based on jealousy, passion, and rage.

The black-and-white style works exceptionally well in the film, and the lighting creates a mystique of intrigue and film noir.

Sunset Boulevard combines noir with a rich character study of Norma, and we feel her pain and isolation from being cast aside because of the times.

I love how Wilder focuses on the gloomy nature of Norma’s vast mansion—especially when she throws a New Year’s Eve party isolated with just she, Joe, and a hired band—and intersperses it with a lively party in Hollywood filled with young, energetic, up-and-coming talents.

The scenes mix perfectly and show the two different worlds and perspectives.

Sunset Boulevard is a brilliant depiction of old Hollywood at its best (and worst). A study in ambition, struggle, high hopes (Joe), and faded success and dreams shattered in reality, where delusion is the only defense (Norma).

Oscar Nominations: 3 wins-Best Motion Picture, Best Director-Billy Wilder, Best Actor-William Holden, Best Actress-Gloria Swanson, Best Supporting Actor-Erich von Stroheim, Best Supporting Actress-Nancy Olson, Best Story and Screenplay (won), Best Scoring of a Dramatic or Comedy Picture (won), Best Art Direction-Set Decoration, Black-and-White (won), Best Cinematography, Black-and-White, Best Film Editing

1955 Films, Billy Wilder, Carolyn Jones, Comedy, Marilyn Monroe, Robert Strauss, Tom Ewell

The Seven Year Itch-1955

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The Seven Year Itch-1955

Director Billy Wilder

Starring Marilyn Monroe, Tom Ewell

Scott’s Review #302

60004542

Reviewed December 18, 2015

Grade: B

Following a string of successful hits by director Billy Wilder (primarily famous for films in the 1940s and 1950s), The Seven Year Itch features Marilyn Monroe in her prime and at her finest.

It is a cute film made charming by the likable legend. While not high art, it is a fun experience in classic romantic comedy cinema, and its innocence is undoubtedly lost in today’s genre.

Playing a familiar character to what she was known for (sexy, flirty, sweet blondes), it is arguably Monroe’s best role (though Some Like it Hot still wins out for me as her best film role).

Richard Sherman, a successful New York publisher, finds himself alone for the summer when his wife and son leave for a vacation in the country. Middle-aged and bored, he immediately is enamored with his gorgeous new upstairs neighbor, known as The Girl, played by Marilyn Monroe.

The Girl is a commercial actress and former model and is quite friendly and bubbly. She is conveniently staying in New York City while filming a new television ad for toothpaste. Richard finds himself awkwardly tempted by the curvaceous Girl in one situation after another.

The Seven Year Itch is pure innocence and fantasy. The Girl has no designs on Richard, and his flirtation with her is harmless and juvenile. Richard is nerdy and socially awkward, not to mention fearful of his wife’s stern nature if she discovers that he is even spending a moment with The Girl.

Much of the film includes scenes where Richard imagines conversations with his wife or imagines her with another man, justifying his attraction for The Girl. These scenes are done hilariously as he imagines conversations with his wife, and his thoughts are exaggerated.

Humorous scenes transpire, such as the “champagne scene,” in which The Girl and Richard attempt to open a champagne bottle while cooling off with Richard’s new state-of-the-art air conditioner.  The Girl keeps her underpants in a freezer to cool off.

The Girl appearing in her toothpaste commercial, comically, is also a treat. And who can forget Marilyn Monroe’s famous scene in which she stands over a subway grate, clad in a sexy white dress and high heels, the wind from the subway blowing her dress in the air, is one of the most memorable in film history and priceless.

Some would argue that The Seven Year Itch (1955) is nothing but fluff, and they essentially are correct. Still, in an age of crude and obnoxious films disguised as romantic comedies, with cheesy jokes and canned humor, it is refreshing to look back to the 1950s culture, primarily an innocent era, and enjoy a fun film romp with one of cinema’s forever stars.

1960 Films, Best Picture Oscar Winners, Billy Wilder, Comedy, Drama, Fred MacMurray, Jack Kruschen, Jack Lemmon, Paul Picerni, Ray Walston, Romantic Comedy, Romantic Drama, Shirley MacLaine

The Apartment-1960

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The Apartment-1960

Director Billy Wilder

Starring Jack Lemmon, Shirley MacLaine

Scott’s Review #7

60011007

Reviewed June 17, 2014

Grade: A-

The Apartment (1960) is another gem by Billy Wilder (Sunset Boulevard, The Lost Weekend). This one is set in 1959 New York City, a setting and period I adore.

The black-and-white images effectively portray the loneliness and bleakness of the characters, who are all friendless, sad, and starved for love.

It questions social morality and getting ahead in the corporate world but goes from drama to romantic comedy with no sappiness.

Quite the contrary, as the film has dark moments of despair and angst.

The film influenced the television series “Mad Men”. As with most Billy Wilder films, there is a darkness of humanity, which is fascinating to watch.

Jack Lemmon and Shirley MacLaine are terrific, but their chemistry is lacking. Despite this, the film is still excellent.

The Apartment (1960) won the Best Picture Oscar.

Oscar Nominations: 5 wins-Best Motion Picture (won), Best Director-Billy Wilder (won), Best Actor-Jack Lemmon, Best Actress-Shirley MacLaine, Best Supporting Actor-Jack Kruschen, Best Story and Screenplay Written Directly for the Screen (won), Best Sound, Best Art Direction, Black-and-White (won), Best Cinematography, Black-and-White, Best Film Editing (won)

1953 Films, Billy Wilder, Don Taylor, Otto Preminger, Peter Graves, Robert Strauss, War, William Holden

Stalag 17-1953

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Stalag 17-1953

Director Billy Wilder

Starring William Holden, Don Taylor

Scott’s Review #5

994592

Reviewed June 16, 2014

Grade: B

Stalag 17 (1953), a film by famed director Billy Wilder, tackles the theme of POWs during World War II.

This film reminds me of the acclaimed television show M*A*S*H (1972-1983) in that the comedy elements are similar (men in drag, a light subplot of one soldier’s obsession with Betty Grable).

However, this film is heavy on the drama side and a deep cynicism that network television shows cannot match.

A group of American soldiers is held in a POW camp by Germans. Somehow, the Germans realized an escape plan. A whodunit ensues to find out who the mole is and his motivations. Liberties are taken- I doubt the real German soldiers would be as lovely as the film depicts.

William Holden stars as the cynic of the camp and the likely suspect, but is he the culprit?

This film is a hybrid of other Wilder films- the cross-dressing theme in Some Like it Hot (1959) is depicted, and shades of the darkness of Sunset Boulevard (1950) (also starring Holden) appear.

The black and white are effective in eliciting the confinement of the camp.

It’s a quality film, though a predictable “seen this all before” element nagged throughout.

Oscar Nominations: 1 win-Best Director-Billy Wilder, Best Actor-William Holden (won), Best Supporting Actor-Robert Strauss