From a BBC.com cuture article:
Faced with the question of why Some Like It Hot has topped BBC Culture’s poll of the best ever big-screen comedies, it’s tempting to say something similar. Wilder’s glittering masterpiece doesn’t just use the handsomest kid in town (and a terrific actor, to boot), but its most radiant sex symbol, Marilyn Monroe, and one of its most dexterous comedians, Jack Lemmon. It also has a bevy of bathing beauties, a crowd of sinister mafiosi, a glamorous seaside setting in the roaring ‘20s, and a sizzling selection of songs.
It is structured so meticulously that it glides from moment to moment with the elegance of an Olympic figure skater, and the consummate screwball dialogue, by Wilder and IAL Diamond, is so polished that every line includes either a joke, a double meaning, or an allusion to a line elsewhere in the film. To quote one character, it’s a riot of “spills, thrills, laughs and games”. To quote another, it deserves to be “the biggest thing since the Graf Zeppelin”. So why was it chosen as the best comedy ever made? Simple. What else were we going to choose?
To read more click on the following link: http://www.bbc.com/culture/story/20170817-why-some-like-it-hot-is-the-greatest-comedy-ever-made
Feom a Wall Street Journal Arts & Entertainment article:
Seventy-five years ago, “Double Indemnity” opened in theaters across America. It was an instant hit, and remains to this day a staple offering of revival houses and on cable TV and streaming video. Yet little journalistic notice has been taken of the birthday of Billy Wilder’s first great screen drama, a homicidal thriller that nonetheless had—and has—something truly unsettling to say about the dark crosscurrents of middle-class American life.
Directed by Wilder and co-written by him and Raymond Chandler, the celebrated mystery novelist, “Double Indemnity” is the story of a restless insurance salesman who helps a sexy, frustrated housewife murder her husband for profit. Though neither Wilder nor Chandler realized it at the time, it would later be acknowledged by critics and scholars as the first fully developed example of film noir, in which a flawed but basically innocent protagonist is presented with a moral choice, makes the wrong call, and is plunged into a violent after-hours world of passion and crime.
To read more click on following link: https://www.wsj.com/articles/a-film-noir-icon-turns-75-11565637941
From a NY Times article by Jill Cowan and
If you are among the significant number of people who’ve seen Quentin Tarantino’s latest love letter to a bygone era, “Once Upon a Time … in Hollywood,” then you’ve seen the Musso & Frank Grill.
It’s the spot where Leonardo DiCaprio’s and Brad Pitt’s characters commiserate about their lives over a whiskey sour and a bloody Mary. They also share an emotional moment in the restaurant’s parking lot as they wait for the valet, and a Musso & Frank sign looms prominently over their heads.
It’s clear Mr. Tarantino has an affection for the place, which will have been open for a century on Sept. 27, and has been a favored industry haunt for almost that entire time.
To read more click on the following link: https://www.nytimes.com/2019/08/02/us/california-today-musso-frank-grill.html
JAY MYSELF documents the monumental move of renowned photographer and artist, Jay Maisel, who, in February 2015 after forty-eight years, begrudgingly sold his home—the 36,000 square-foot, 100-year-old landmark building in Manhattan known simply as “The Bank.” Through the intimate lens of filmmaker and Jay’s protégé, noted artist and photographer Stephen Wilkes, the viewer is taken on a remarkable journey through Jay’s life as an artist, mentor, and man; a man grappling with time, life, change, and the end of an era in New York City.