Tag Archives: Billy Wilder

REVIEWS: THE BEST JACK LEMMON MOVIES (MGM)

MGM (September 16, 2023) – Enjoy some of Jack Lemmon’s most iconic scenes in this crafted compilation:

  • Irma La Douce (1963) – Produced and Directed By: Billy Wilder Screenplay By: Billy Wilder and I.A.L. Diamond
  • Some Like It Hot (1959) – Directed By: Billy Wilder Screenplay By: Billy Wilder and I.A.L. Diamond Cast: Marilyn Monroe, Tony Curtis, Jack Lemmon, George Raft, Pat O’Brien, Joe E. Brown
  • The Apartment (1960) – Directed By: Billy Wilder Written By: Billy Wilder & I.A.L. Diamond Cast: Jack Lemmon, Shirley MacLaine, Fred MacMurray, Ray Walston, Jack Kruschen, David Lewis, Joan Shawlee, Naomi Stevens, Hope Holiday, and Edie Adams
  • Avanti! (1972) – Produced and Directed By: Billy Wilder Screenplay By: Billy Wilder and I.A.L. Diamond Based on the Play By: Samuel Taylor Cast: Jack Lemmon, Juliet Mills, Clive Revill, Edward Andrews
  • The Fortune Cookie (1966) – Produced and Directed By: Billy Wilder Written By: Billy Wilder and I.A.L. Diamond Cast: Jack Lemmon, Walter Matthau, with Ron Rich, Cliff Osmond, and Judi West

Classics: ‘Some Like It Hot’ – Marilyn Monroe, Tony Curtis & Jack Lemon (1959)

After witnessing a Mafia murder, slick saxophone player Joe (Tony Curtis) and his long-suffering buddy, Jerry (Jack Lemmon), improvise a quick plan to escape from Chicago with their lives. Disguising themselves as women, they join an all-female jazz band and hop a train bound for sunny Florida. While Joe pretends to be a millionaire to win the band’s sexy singer, Sugar (Marilyn Monroe), Jerry finds himself pursued by a real millionaire (Joe E. Brown) as things heat up and the mobsters close in.

Some Like It Hot (1959)

Directed by: Billy Wilder

Written by: Billy Wilder and I.A.L. Diamond

Cast: Marilyn Monroe, Tony Curtis, Jack Lemmon

New Books: ‘Billy Wilder On Assignment’ (Video)

Billy Wilder on Assignment: Dispatches from Weimar Berlin and Interwar Vienna Billy Wilder

Edited by Noah Isenberg Introduction by Noah Isenberg Translated by Shelley Frisch

Acclaimed film director Billy Wilder’s early writings—brilliantly translated into English for the first time Before Billy Wilder became the screenwriter and director of iconic films like Sunset Boulevard and Some Like It Hot, he worked as a freelance reporter, first in Vienna and then in Weimar Berlin.

Billy Wilder on Assignment brings together more than fifty articles, translated into English for the first time, that Wilder (then known as “Billie”) published in magazines and newspapers between September 1925 and November 1930. From a humorous account of Wilder’s stint as a hired dancing companion in a posh Berlin hotel and his dispatches from the international film scene, to his astute profiles of writers, performers, and political figures, the collection offers fresh insights into the creative mind of one of Hollywood’s most revered writer-directors.

Wilder’s early writings—a heady mix of cultural essays, interviews, and reviews—contain the same sparkling wit and intelligence as his later Hollywood screenplays, while also casting light into the dark corners of Vienna and Berlin between the wars. Wilder covered everything: big-city sensations, jazz performances, film and theater openings, dance, photography, and all manner of mass entertainment. And he wrote about the most colorful figures of the day, including Charlie Chaplin, Cornelius Vanderbilt, the Prince of Wales, actor Adolphe Menjou, director Erich von Stroheim, and the Tiller Girls dance troupe.

Film historian Noah Isenberg’s introduction and commentary place Wilder’s pieces—brilliantly translated by Shelley Frisch—in historical and biographical context, and rare photos capture Wilder and his circle during these formative years.

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Movie Nostalgia: It’s Been 60 Years Since “Best Ever” Big-Screen Comedy “Some Like It Hot” Opened (1959)

From a BBC.com cuture article:

Some Like It Hot movie sceneFaced 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

Iconic Movies: Film Noir Thriller “Double Indemnity” (1944) Directed By Billy Wilder Turns 75

Feom a Wall Street Journal Arts & Entertainment article:

Double_Indemnity_publSeventy-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