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| 1. Double Indemnity Director: Billy Wilder | |
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Amazon.com essential video Reviews (80)
Although it received a total of six Oscar nominations (With no wins), none of the nominations went to Fred MacMurray as Walter Neff ("Insurance salesman, age 35"). Neff is very successful at what he does (He's been at it for eleven years). He visits the home of Mr. Dietrichson to renew automobile insurance but soon finds himself falling in love with his wife Phyllis Dietrichson (Barbara Stanwyck), who convinces Walter to have Mr. Dietrichson sign an accident insurance without his knowing it so he can be killed. But it's the Double Indemnity clause that gets them really involved, since they will get double the pay. Stanwyck provided, for me, a superb performance as the cold, calculating Mrs. Dietrichson, who used Neff so she could get rid of her husband and collect up some money. Meanwhile, Walter finds himself getting involved with her step-daughter Lola. He discovers from Lola that her ex-boyfriend has been seeing Phyllis, suggesting perhaps that Phyllis has plans for him. One of the most memorable performances in the movie is Edward G. Robinson's Barton Keyes, the claims manager, a brilliant fellow who is by hunches when a claim doesn't seem right. He's the one who figures out that the Dietrichson claim doesn't seem right, but can't quite figure out who assisted. In fact, most of the safeguards put into the plot by Neff were done so to prevent Keyes getting any major suspicions. "I did it for the money and for a woman. I didn't get the money and I didn't get the woman". These words said by Neff form a sense of irony. The murder fell apart not because of the authorities, who were too dumb to figure it all out, but because of themselves. Murder's never perfect.
Basically, Double Indemnity is about a less-than-brilliant insurance salesman, Walter Neff(Fred MacMurray), who falls for a beautiful married woman (Barbara Stanwyck) who wants to use him to get rid of her husband for the insurance money (hence the title, Double Indemnity). Although he resists her at first, Neff soon falls for the scheming woman and decides to help her plan the perfect murder. The movie itself starts after the murder has been completed with Neff leaving a message for his boss confessing what occurred and then goes back in time to the beginning of the scheme. Double Indemnity is a great film - the idea behind it, interesting in itself, was brilliantly executed by the legendary director Billy Wilder. Consequently, Indemnity is a true film noir classic and must-see!
Wait for some other distributor to release it. Wonderful film. Totally botched DVD release. Wait for it... ... Read more | |
| 2. Sabrina (Commemorative Edition) Director: Billy Wilder | |
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I love the story of Sabrina...
Sabrina's sent to a cooking school in Paris, which not only prepares her for a vocation, but to help her get over her crush over David Larrabee (William Holden), the dashing playboy who spent short periods at many colleges and even shorter periods with his three wives (consecutive, of course). Ironic, considering that Holden had a crush on Hepburn, which led to a brief affair, and for him, a torch he carried through the rest of his life. The advice she gets is "don't reach for the moon." The thing is, she's the last of the romantics, "l'amour toujours" as described by Linus Larrabee, the business brains behind the multimillion Larrabee holdings, which include land and water, copper, construction, and now, a new kind of plastic that's resilient and tastes sweet(!!) After two years in Paris, she is a vision of beauty, chic, with a new haircut, and transformed, yet still the romantic, as she vows to be in the world and of the world, and "never ever run away from life, or from love either." Linus plans to marry David off to Elizabeth Tyson, whose father owns the second largest sugar cane in Puerto Rico, the ceremonial part of a $20 million merger with Tyson. This is put in jeopardy with Sabrina's return, and David, who previously ignored her, is bedazzled. Yet Sabrina, who's reluctantly wooed by Linus to salvage the deal, finds out there's more to him than just the "cold businessman...with ice in his veins, ticker tape coming from his heart." She finds out he's nice and quite human. "Remember, it's the 20th century" is a reminder that the Victorian days of knowing one's place is gone. Fairchild sees life as a limousine: "there's a front seat, there's a back seat, and a window inbetween." He later says "Nobody poor was called democratic for marrying someone rich." Mother and Father Larrabee believe that, as they are scandalized at David's affections towards Sabrina, and see her in terms of class status. Other great scenes include the cooking school, but the party scene when Sabrina appears in her bare-shouldered white dress and becomes the belle of the ball dancing with David, shows her at her most radiant and resplendent. Humphrey Bogart is great as Linus, scheduled, sensible, loyal, observant, honest, and yet with a softer side. John Williams is perfect as Tom Fairchild. And Jenny the maid is played by Nancy Kulp, best known as Ms. Hathaway in the Beverly Hillbillies TV series. But Francis X. Bushman as old Mr. Larrabee has some funny moments with a penchant for martinis and cigars (whenever his wife's not around). Hepburn would be reunited with director Billy Wilder in Love In The Afternoon. However, Sabrina also sees birth of a long-time association between Audrey and a certain Hubert de Givenchy, who did her costumes for many of her films. No Oscar for Hepburn, though she was nominated, but this film got me on my Hepburn kick back in the 90's, and is especially wonderful for those living "la vie en rose" as Sabrina does. To conclude, forget the 1995 remake--watch the original instead.
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| 3. Some Like It Hot Director: Billy Wilder | |
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Amazon.com essential video Reviews (176)
The film has such balance between the comic exploits of Curtis and Lemmon looking out for their backs and trying to pull off this whole female identity without getting caught, and the romantic parts, which involve Curtis' character trying to woo Sugar Kane. While Curtis is trying to make the moves on Sugar Kane, Lemmon's character is trying to escape the advances of a multi-millionare who continally attempts to make the moves on him/her. There is plenty of double-meaning humor, slapstick humor and fun romance in this movie. It has a little of everything, and it is understandable why most still refer to this movie as a gem.
Cast: Marilyn Monroe ... Sugar Kane Kowalczyk The cops bust a "funeral" with a casket full of booze--and nothing else. Joe/Josephine (Tony Curtis) and Jerry/Daphne (Jack Lemmon), desperate for work as a bass fiddle player and saxophonist, take a spot as members of an all-girl band, in drag, for a Florida tour, and to get away from gangsters who know that they witnessed a gang war murder by Spats Colombo's (George Raft) gang. There they meet Sugar Kane Kowalczyk (Marilyn Monroe) who has a drinking problem. The pair are attracting the notice not only of the mob, but also of suitors, including millionaire Osgood Fielding III (Joe E. Brown) and others, and Joe/Josephine falls for Sugar. This is a wacky movie which provides a lot of laughs, and brings out hidden a talent for comedy from Curtis. Billy Wilder did a great job. Joseph (Joe) Pierre
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| 4. The Spirit of St. Louis Director: Billy Wilder | |
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Amazon.com Reviews (19)
No matter what ticket sales were like, it is a well-done film. One cannot deny the fact that Stewart was not the correct age to play Lindbergh, but it doesn't really take anything away from the film. Lindbergh always seemed to be more wise than his age would suggest anyhow. The VHS version is fine, and until the DVD version is released (if ever) this is the only way to go.
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| 5. The Major and the Minor Director: Billy Wilder | |
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Amazon.com essential video Reviews (22)
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| 6. Love in the Afternoon Director: Billy Wilder | |
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Reviews (43)
Audrey Hepburn is beautiful, as always, in her excellent performance as a young music student who falls madly in love with American playboy Gary Cooper, a visitor in her native Paris. Both actors are elegantly funny and exchange witty banter, but a few elements of the relationship were quite disturbing and just TOO unrealistic. First, Cooper looks every bit of his 56 years, while Hepburn appears to be a college freshman. Second, why doesn't Cooper immediately realize that virginal Hepburn isn't the flighty young woman she claims to be? His ignorance is astounding. Third, the ending is just too over-the-top. This film was cute, especially watching Hepburn recount her many, many (fictional) affairs to a perplexed Cooper, but if you really want to see a good Hepburn romance, get "Roman Holiday" or "Breakfast at Tiffany's." Those two films top this one any day.
The romantic cat and mouse game played by Hepburn to intrigue and win Cooper's heart is all very innocent and sweet, and I always shed a few tears at the magical ending. The b & w cinematography by William Mellor is exceptional, and how the camera loves Audrey, looking exquisite in an array of beautiful gowns. There is also a quartet called "The Gypsies", who serenade the lovers throughout the film with some terrific czardas, and the melodic song "Fascination".
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| 7. A Foreign Affair Director: Billy Wilder | |
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His vision of American military imperialism is presciently negative, astonishingly so in 1948, as is the sexual frankess, the shifting sado-masochism of Lund's relationship with Dietrich (linked to Nazism); the bawdy innuendo of that with Jean Arthur. The film also works as a tribute to Marlene Dietrich, a creation of light and mirrors who,unlike 'earthier' stars like Arthur, will never be caught.
Erika Von Shluetow (Marlene Dietrich) is an ex-Nazi now reduced to doing cabaret in a blackmarket nightclub. She is being courted by an American soldier, Captain Pringle (John Lund). On her way to Berlin is Phoebe Frost (Jean Arthur), an icy woman from America, who is going to record her visit and report back to the government. Erika is meant to be doing time in a labour camp for her Nazi dealings, but Pringle always manages to get her through. Phoebe finds out about her and decides to track her down, and Pringle decides the only way he can save her life is to lead on Phoebe and bribe her into letting Erika go. Billy Wilder's film is a joyous delight, with Dietrich and Arthur in top form. Dietrich performs the Frederick Hollander songs 'Black Market', 'Illusions', and 'Ruins Of Berlin'. In reality Dietrich was horrified at the thought of playing a Nazi femme fatale, as she was very strongly against Hitler and what he was doing to her homeland. During the war she entertained the Allied troops.
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| 8. The Seven Year Itch Director: Billy Wilder | |
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Amazon.com essential video Reviews (40)
Richard Sherman (Tom Ewell in his original Broadway role) has just farewelled his wife and young son for the annual summer exodus from New York. Far from having nothing to do, Sherman fantasises all day and night about the never-named girl (Marilyn Monroe) who has just moved into the apartment above his. Evelyn Keyes (GONE WITH THE WIND) gives a comically-knowing performance as Sherman's wife, while Marilyn is delightful in her brilliant rapport with Ewell. George Axelrod's long-running Broadway play was the basis of the film, but the all-powerful censorship board saw too many "vulgarities" in the play (where Sherman actually has an affair with the upstairs girl). In the film it is only toyed with. Walter Matthau was originally considered for the Sherman role, but Ewell fills the role of the everyman so perfectly that it is almost impossible to think of the film without him. The DVD includes the "Backstory" making-of featurette, deleted scenes, restoration comparisons, trailer and gallery.
There is no doubt that this film was influential to many other great comedy films. Ideas like the main character thinking out loud and narrating the movie was used in Ferris Bueller. Ideas like using the main characters fantasies for a laugh was used in the movie A christmas story. Ofcourse this films discussion of sexual tension between males and females has been used many times in movies like American Pie. Ofcourse by todays standards The seven year itch is a classy film compared to films like American Pie. The Seven year itch did it all and influenced some of the greatest comedies of my generation(80's to present). casting=5 stars OVERALL= 4.9 TOTAL STARS DVD FEATURES: The Seven year itch has awesome DVD features. The AMC backstory explains how Tom Ewell was picked as the starring role, how the censors almost ruined the movie, and Joe Dimmagios reaction to his wife Marilyn Monroes controversial subway scene. Also included is 2 deleted scenes, restoration comparisons and previews for other Marilyn films...
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| 9. Witness for the Prosecution Director: Billy Wilder | |
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Amazon.com essential video Reviews (46)
This plot of this film, which was based on a play by Agatha Christie, is your basic courtroom drama: a series of witnesses testify about the murder of a wealthy widow. Tyrone Power plays the young man accused of the murder, Marlene Dietrich gives an amazing performance as the key witness in the case, and Charles Laughton plays the lawyer determined to unravel the mystery. This film has some terrific, very surprising, twists and turns, so to say any more about the plot would give too much away! Anyhow, this film is really suspenseful, captivating, and memorable. It's a true classic by the brilliant director Billy Wilder, and has been imitated countless times since its release. But no imitation has come close to the original, which is why this film is a must-see. Highly recommended!
Err ... not likely. So, try as he might to be a good patient, Sir Wilfrid needs only little encouragement to accept the case of handsome drifter and small-time inventor Leonard Vole (Tyrone Power), accused of murdering his rich benefactress Emily French (Norma Varden). Of course, the very circumstances that most disturb the famous barrister's colleagues Mayhew and Brogan-Moore (Henry Daniell and John Williams) - Mrs. French's infatuation with Vole, his visit to her on the night of the murder, the lack of an alternative suspect and his inheritance under her new will - just make the matter more interesting in Sir Wilfrid's eyes. Most problematic, however, is Vole's alibi, which depends entirely on the testimony of his German wife Christine (Marlene Dietrich), an actress he had met when stationed with the RAF in WWII-ravaged Hamburg. Troubling, insofar, isn't only that Christine is her husband's sole alibi witness and that - Sir Wilfrid explains - a devoted wife's testimony doesn't carry much weight anyway. The real problem is that Christine isn't the loving, desperate wife one might expect: far from that, she is cool, calculating and surprisingly self-controlled; so much so that, worried because he cannot figure out her game, Sir Wilfrid decides not let her testify at all, rather than risk damaging his case. That, however, seems to have been one of his illustrious career's few major miscalculations - because now he and his client suddenly have to face Christine as a witness for the prosecution. And her testimony on the stand is only one of several surprises she has in store. "Witness for the Prosecution" is based on a concept Agatha Christie first realized as a four-person short story (published in the 1933 collection "The Hound of Death") and subsequently adapted into what she herself would later call her best play, which opened in London in 1953 and in 1954 on Broadway, where it won the N.Y. Drama Critics' Circle citation as Best Foreign Play. Throughout the adaptations the storyline was fleshed out more and more, the focus shifted from the work of solicitor Mayherne (whose name changed to Mayhew) to that of QC Sir Wilfrid Robarts, and the screenplay ingeniously added Miss Plimsoll's character, utilizing the proven on-screen chemistry of real-life spouses Laughton and Lanchester, for whom this was an astonishing eleventh collaboration, and whose banter bristles with director/co-screenwriter Billy Wilder's dry wit and the fireworks of the couple's pricelessly deadpan delivery, timing and genuine joy in performing together. Perhaps most importantly, the story's ending changed: not entirely, but enough to give it a different and, albeit very dramatic, less cynical slant than the short story's original conclusion. - To those of us who have grown up with Christie's works, those of her idol Conan Doyle and on a steady diet of Perry Mason, Rumpole of the Bailey and the many subsequent other fictional attorneys, the plot twists of "Witness for the Prosecution" (including its ending) may not come as a major surprise. At the moment of the movie's release, however, the ending was a much-guarded secret; viewers were encouraged not to reveal it both in the movie's trailer and at the beginning of the film itself; and even the Royal Family was sworn to silence before a private showing. Similarly, features such as the skillful, methodical unveiling of a seemingly upstanding, disinterested witness's hidden bias in cross-examination have long become standard fare in both real and fictional courtrooms, and any mystery fan worth their salt has heard more than one celluloid attorney yell at a cornered witness: "Were you lying then or are you lying now?" (Not recommended in real-life trial practice, incidentally.) Yet, in these and other respects it was "Witness for the Prosecution" which laid the groundwork for many a courtroom drama to come; and herein lies much of its ongoing importance. Moreover, this is simply an outstandingly-acted film; not only by Laughton, Lanchester and a perfectly-cast Marlene Dietrich but by every single actor, also including Torin Thatcher (prosecutor Mr. Myers), Francis Compton (the presiding Judge) and, most noteably, Una O'Connor (Mrs. French's disgruntled housekeeper). This is true even if Tyrone Power's emotional outbursts in court may be bewildering to today's viewers - and even if one wonders why an American-born star was acceptable for an Englishman's role without even having to bother trying to put on an English accent in the first place, whereas Dietrich and other non-native English speakers of the period, like Greta Garbo and Ingrid Bergman, were routinely cast as foreigners. (Yes, yes, I know. Redford and "Out of Africa" come to mind more recently, too, but that's a can of worms I won't open here.) "Witness for the Prosecution" won a Golden Globe for Elsa Lanchester, but unfortunately none of its six Oscar nominations (which undeservedly didn't even include Marlene Dietrich), taking second seat to the year's big winner "Bridge on the River Kwai" in the Best Picture, Best Director (David Lean), Best Actor (Alec Guinness) and Best Editing categories, and to "Sayonara" for Best Supporting Acress (Miyoshi Umeki) and Best Sound. No matter: with the noirish note resulting from its use of multiple levels of ambiguity - in noticeable contrast to Christie's Poirot and Miss Marple mysteries - it fits seamlessly next to such Billy Wilder masterpieces as "Sunset Boulevard" and "Double Indemnity;" and it has long since become a true courtroom classic.
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| 10. Some Like It Hot Director: Billy Wilder | |
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Reviews (176)
The film has such balance between the comic exploits of Curtis and Lemmon looking out for their backs and trying to pull off this whole female identity without getting caught, and the romantic parts, which involve Curtis' character trying to woo Sugar Kane. While Curtis is trying to make the moves on Sugar Kane, Lemmon's character is trying to escape the advances of a multi-millionare who continally attempts to make the moves on him/her. There is plenty of double-meaning humor, slapstick humor and fun romance in this movie. It has a little of everything, and it is understandable why most still refer to this movie as a gem.
Cast: Marilyn Monroe ... Sugar Kane Kowalczyk The cops bust a "funeral" with a casket full of booze--and nothing else. Joe/Josephine (Tony Curtis) and Jerry/Daphne (Jack Lemmon), desperate for work as a bass fiddle player and saxophonist, take a spot as members of an all-girl band, in drag, for a Florida tour, and to get away from gangsters who know that they witnessed a gang war murder by Spats Colombo's (George Raft) gang. There they meet Sugar Kane Kowalczyk (Marilyn Monroe) who has a drinking problem. The pair are attracting the notice not only of the mob, but also of suitors, including millionaire Osgood Fielding III (Joe E. Brown) and others, and Joe/Josephine falls for Sugar. This is a wacky movie which provides a lot of laughs, and brings out hidden a talent for comedy from Curtis. Billy Wilder did a great job. Joseph (Joe) Pierre
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| 11. The Lost Weekend Director: Billy Wilder | |
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Amazon.com essential video Reviews (28)
Billy Wilder's film adaptation of the novel by Charles Jackson does a fine job of detailing what happens to someone in the grips of alcoholism: the desparate need, the hallucinations, the blackouts, etc. Ray Milland delivers one of the finest screen performances as Don, giving the impression that you are living every moment with Don, suffering his hallucinations and withdrawal, and thirsting for alcohol. This performance also earned him the Best Actor Academy Award. Jane Wyman is wonderful as Don's girlfriend Helen, who wants to see him through this terrible ordeal. Phillip Terry also gives a strong performance as Don's brother Wick, who wants to help Don by being the strong one, but always caves in, feeding Don's dependency. For anyone who has read the book, certain aspects from the story have been removed and altered, but this in no way detracts from this portrait of a man in the throes of alcoholism. It's still a very potent and powerful film dealing with an almost taboo subject at the time. Highly recommended.
The film began with Don pretend to pack his luggage with a bottle tied to a string hanging outside his window.Don's life and fate changed. Don Birnam has writer's block, he is also a alcoholic. He is aware but unable to kick it.He even trade his typewriter for drinks. He been through a lot in a few days and forced to face up to his problem. Luckily he has love and support from his brother and girlfriend. Ray Milland gave a splendid performance which totally deserved his oscar.He showed Don's fear, depression and all his emotions so vividly. His role is pathetic and psychologically realistic. This film has a superb script with detailed description of nightmares images and visions. Breakthrough during that era. One of the memorable scene is when Don went to a musical play with actors drinking and he see 'Bottles dancing' instead. Although this film is black and white I find it amazingly well made and many contemporary movies couldn't hold a candle. I'm always fascinated by old classic film from 1940 to 1970. Although I belong to new generation I love the feeling and sincerity of old movies. I find this film psychoanalytic,truthful,compelling and a vintage classic! One of the best film ever made.
Ray Milland (an actor who starred in several schlockfests at the end of his career, such as "Frogs") plays Don Birnam, a painfully insecure writer who just can't make his life work. Birnam quickly learned that the soothing balm of alcohol took the edge off his various phobias, but he just as quickly learned that drinking took the edge off his talent, too. For years, Birnam never wandered far from the neighborhood bar or the liquor store, secure in the knowledge that a bottle of rye was always within reach. His brother Wick not only financially supports his boozy sibling; he also covers for him when the drinking causes problems. Of course, Don doesn't care much about his brother one way or the other as long as he gets his shot of whisky when he needs it. Another problem for Don appears in the form of Helen St. James (played by an enormously cute Jane Wyman), a successful writer at Time magazine who accidentally met Don at the opera one night and has since latched on to him despite his chronic alcoholism. When Birnam isn't trying to outwit Wick or Helen, he's down at the local bar spouting alcoholic witticisms to Nat the bartender (played wonderfully by Howard Da Silva) and flirting with a beautiful barfly named Gloria. We learn most of the story through a flashback sequence told by Birnam as he ties on yet another massive drunk. The film starts with a nervous Don packing for a weekend trip with brother Wick, where the two siblings hope to get out of New York City for a nice change of pace. Of course, Don doesn't want to go because he's not sure he can survive without ready access to booze. In fact, during this opening sequence we see Don hiding a bottle of whisky from his brother by hanging it from a piece of string outside his window. In order to start drinking, Birnam convinces Wick and Helen to go to a concert, a little piece of trickery that is only the beginning of the devious schemes hatched by Don throughout the film. Thus begins a downward spiral over the course of a four-day weekend, as Don resorts to outright theft, robbery, and beggary in order to secure just one more drink. This bender comes with a high price, though: Don suffers excruciating blackouts, nearly gets himself arrested, and ends up in the alky ward at the city asylum. The capper is Birnam's bout with the DTs in his apartment, an incident that reduces him to a shattered, screaming wreck. "The Lost Weekend" is a memorable experience. Only a person who has never had a problem with alcohol would criticize some of Birnam's philosophical musings about drinking. There is a great bit of dialogue where Birnam tells Nat why he drinks, about how alcohol makes a person feel as though he or she is a great artist on top of the world. Believe me, this is how an alcoholic feels when they tie one on, at least in the early euphoric stages of the addiction. Birnam's enthrallment for rituals of drinking is also dead on; such as his fascination about the rings the shot glass leaves on the bar and the propensity to "see" liquor in the most mundane circumstances (look for the dancing raincoats with the rye bottle in the pocket). An alcoholic does not merely work at his trade part-time; the process of drinking is a full-time job built on a series of elaborate rituals that reinforce this nefarious addiction. "The Lost Weekend" captures the intricacies of alcoholism in a way few films ever have. Unfortunately, the movie lost some of its power due to some hokey effects and a conclusion that had me throwing my hands up in disbelief. The DVD release is quite good for a film nearly sixty years old. There is a trailer and cast biographies included here, as well as a short bio for director Billy Wilder. The transfer looks pretty good, although I thought I saw a few scenes where certain parts of the picture looked a tad blurry. "The Lost Weekend" won four Oscars: Best Actor for Ray Milland, Best Picture, Best Screenplay, and Best Director for Billy Wilder. As far as I can see, this movie deserves its accolades. If you haven't seen "The Lost Weekend," you are definitely missing out on a great film loaded with grim atmosphere, great dialogue, eerie background music, and excellent performances. ... Read more | |
| 12. Stalag 17 Director: Billy Wilder | |
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Amazon.com essential video Reviews (52)
Essentially, as Cookie, the narrator, explains, the movie is about what happened in a certain barrack in Stalag 17, a German prisioners of war camp. Because of several failed escape attempts and their horrible luck in concealing secrets for the Germans, the inhabitants of the barrack conclude that there must be a traitor in their midst. Their suspicions turn towards the character played by William Holden, who is an extremely cynical loner who spends his time trading with the Germans and running projects to earn money from his fellow prisioners. In addition to the exciting plot about the traitor, Stalag 17 paints an accurate and often humorous, sometimes serious, portrait of the men in the camp and how they deal with their situation through joking around. Anyhow, Stalag 17 is a classic war movie and is very entertaining - highly recommended!
Summary: We are introduced to American POW airmen at a WWII German prison camp ("STALAG 17"). It is Christmas 1944 and the narrator Cookie (Gil Stratton) explains the specific situation happening at his Barracks #4. The latest problem is all escaping POW's are being killed so their is suspicion that there is a "Stoolie" amongst them. Sefton (William Holden - Oscar winning performance) is the lead suspect since he is the Barracks hustler and friend to all (including the Germans) for a price. The Security Officer Price (the young Peter Graves - outstanding) seems a little to perfect for Sefton. So the story has many turns but finding the spy is the primary focus. This DVD is Black & White, Full Screen / Standard Format (before WideScreen). Excellent quality picture. This the Best POW film dealing with the true "Black Comedy" of war. Note: Black Comedy / Dark Comedy was the nervous humor which came out in the most dismal time and the horrors of war. This is a CLASSIC FILM to watch again & again. Shall we never forget !!!
Cast: A story set in a German prison camp in WWII. There is a snitch in the barracks: the lowest of the low, who is costing American prisoners their lives, as well as giving away escape plans, short wave radios, and espionage activities. Holden (Sgt. Sefton) is suspected because he is trading with the Germans (and everyone else in sight) to get what comforts are available. But the real traitor is another: a German posing as an American. This is a fine film. Not, perhaps, on a par with The Great Escape, but it is nevertheless entertaining and worthy of viewing. Not to be confused with the television series of the same name. The actors are all different. I thought Robert Strauss ("Animal") did a great job of providing laughs. Joseph (Joe) Pierre and other books
As the opening voiceover says (and I'm paraphrasing), there have been a lot of war movies about submarines, flying leathernecks, tank commandos, etc. but none about the P.O.W. camps. Leave it to the late great Billy Wilder to rectify that. Certainly there's no glory of war here, or at least not the kind we're accustomed to. Wilder creates an insular world of desperate and downtrodden men thrown together in confinement and heaps on the stark reality of war's "other side". Holden is the barracks' con man/horse trader and, thanks to the already poor relationship with his fellows, the immediate suspect when they determine someone on the inside is spying on them for the Germans. It's a testament to how well the film has held up over the years that even after seeing it long ago (and thus knowing who the spy is) that I was still riveted in anticipation of how he would be found out. The Germans are a combination of menace and comedy, the former exemplified by Otto Preminger as the camp commander and the latter by the great character actor Sig Rumann as Sgt. Schulz. This film was the inspiration for Hogan's Heroes, but it's best to separate them in your mind if you can and appreciate the complexities of the situations and the characters. ... Read more | |
| 13. The Fortune Cookie Director: Billy Wilder | |
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It was directed by Billy Wilder, who by this time had already made some memorable movies with Jack Lemmon. 'Some Like It Hot' and 'The Apartment' to name just two of them. The basic story is: Overall, I think this movie is brilliant, although I do have one problem with it. That is with Judi West who played Lemmons ex-wife. I believe (May be wrong) that this was her screen-debut. I really think she is the only person in the movie who lets it down slightly due to her acting. A quick mention about the DVD. The print used here is very good. However, it lacks any decent extras. PLEASE NOTE: I am the owner of the UK Region 2 release of this DVD from the same company, so the discs, besides the region coding, should be the same.
Although not at the level of "Some Like It Hot", this is one of Billy Wilder's best comedies. His view of humanity is certainly cynical and bleak, but not nihilistic. The best performance is by Mathau who plays Willy to the hilt. He's wonderful and deserved his Oscar. The music by Andre Previn is also very good and very sly. You won't be disappointed. Bring on the DVD!
Jack Lemmon captures it too. All-American with a nervous twitch-- I mean, twist-- Lemmon is a good guy, a normal guy, with a mad streak. In this case, he wants his wife back-- wants her bad. Walter Matthau-- "Whiplash Willie"-- exploits his brother-in-law's unrequited love by bringing a lawsuit (for one-million dollars) against the Cleveland Browns, CBS, and Municipal Stadium. If you know the rest, I need not repeat; if you don't-- that is, if you haven't seen the movie--I won't give it away. But you might want to know a few things. Hapless Harry Hinkle (Lemmon) is a camera-man for CBS, at a Browns game, and punt-returner Boom Boom Jackson (Ron Rich) runs into him. Fans of football (though college instead of pro) will be happy to recognize a younger version of the great-- the legendary-- Keith Jackson (of ABC). So, with his big sad eyes, Hinkle wants his wife back. There's something sentimental in here about love, about how much we need it. But brother-in-law Willie is all cynicism-- delicious, laugh-out-loud cynicism. There are a few uncomfortable moments-- for me anyway-- regarding the treatment of Ron Rich's character. He does a lot of smiling, cooking, cleaning, encouraging, making up of beds, and (not to spoil the plot), drinking, punching, and so forth. But the punch-line-- yes, the punch-line-- of the movie rests on a very progressive, an enlightened, handling of race matters, and really, it would be unfair to say Boom Boom Jackson is a stereotype of an African-American athlete. Two of the equipment guys say he's the last guy they'd expect to get in a fight after having too many drinks. It seems Billy Wilder never wants us to get too comfortable as we're watching his pictures. Beware of thinking too deeply about these things, but this movie-- one of his very best-- has an edge to it that makes you say "pure genius." Jack Lemmon in his wheelchair whirring about the room to "You'd Be So Nice to Come Home To"-- you feel like crying even as you're laughing. Well, I do at any rate.
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| 14. Five Graves to Cairo Director: Billy Wilder | |
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| 15. Sunset Boulevard Director: Billy Wilder | |
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Amazon.com essential video Reviews (151)
A striking film, visually, emotionally, and in every sense, this is a dark, bitter, darkly comical study of what happens when a faded star (who was a bit out of touch with reality to begin with) clings a little too tightly to her gone days of fame. Gloria Swanson gives a phenomenally powerful, over-the-top performance as Norma Desmond, histrionic ex-silent film star. Bill Holden is fine as the down-and-out screenwriter from Dayton, Ohio, that accidentally gets mixed up with her. Max von Stroheim is magnificently creepy as Norma's devoted butler, and Nancy Olson is heartbreaking as the one innocent with no idea of the trouble that surrounds her. Every frame is perfectly filmed, every image marverlously conveyed, every line wonderfully spouted. Nothing is wrong or out of place. And practically every line is a classic. Most remember the last line of the film's insane conclusion: Norma, finally completely descended into madness, sweeping dramatically down the grand staircase as cops, reporters, and even Hedda Hopper look on; the music swells to a deafening height, and Norma--with that deranged look in her eyes--breathes, "I'm ready for my closeup..." But the best line of all, and the line that symbolizes everything that stands for the golden days of Hollywood, is spoken when Joe recognizes Norma and makes the mistake of saying, "You used to be big." She eyes him bitterly, raises her chin, looks down her nose at him and cries, "I AM big! It's the PICTURES that got smaller!" If you have to choose a movie to see one day, and can only choose one, don't let the opportunity go by. See this.
A superb film all the way around except for the casting of Nancy Olson. Inexplicably, Olson won a supporting actress nomination from the academy that year, but I fail to see why. Her character gets on my nerves, especially making goo eyes at William Holden. But this is just a little quirk I have. The film succeeds brilliantly mainly because of Swanson. It has an effecting score, great cinematography and great acting from the principle characters (Olson notwithstanding). You will not be disappointed with this one!
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| 16. Love in the Afternoon Director: Billy Wilder | |
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Audrey Hepburn is beautiful, as always, in her excellent performance as a young music student who falls madly in love with American playboy Gary Cooper, a visitor in her native Paris. Both actors are elegantly funny and exchange witty banter, but a few elements of the relationship were quite disturbing and just TOO unrealistic. First, Cooper looks every bit of his 56 years, while Hepburn appears to be a college freshman. Second, why doesn't Cooper immediately realize that virginal Hepburn isn't the flighty young woman she claims to be? His ignorance is astounding. Third, the ending is just too over-the-top. This film was cute, especially watching Hepburn recount her many, many (fictional) affairs to a perplexed Cooper, but if you really want to see a good Hepburn romance, get "Roman Holiday" or "Breakfast at Tiffany's." Those two films top this one any day.
The romantic cat and mouse game played by Hepburn to intrigue and win Cooper's heart is all very innocent and sweet, and I always shed a few tears at the magical ending. The b & w cinematography by William Mellor is exceptional, and how the camera loves Audrey, looking exquisite in an array of beautiful gowns. There is also a quartet called "The Gypsies", who serenade the lovers throughout the film with some terrific czardas, and the melodic song "Fascination".
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| 17. Irma La Douce Director: Billy Wilder | |
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A must see. Darin
Wilder originally wanted Charles Laughton for the role of Moustache. Those who have seen him in "Witness for the prosecution" know what he could have done to this film and his co-stars. Wilder's initial choice for Irma was, as everybody knows Marilyn Monroe. Her memories fresh from "Some like it hot", she threw the role away. She would have been wonderful in the role. MacLaine however, is excellent in her own right. Her ultra-cool delivery of her lines make her a provocative foil for Lemmon. Watching Lemmon's performance, many critics were reminded of the great comedians of the golden age. No wonder. One must be tied up to resist this lovestruck hero. The scene where he enters Irma's room for the very first time, sweetly hesitant, ill at ease, because he knows that in a few minutes he is going to make love to her - this scene alone would secure this film its place among the great romantic comedies. Why then has this film been refused its place as a true classic? The problem with Irma is, that the story ends 20 minutes before the film does. We had our thrills, we had our laughs, and now the story forces Wilder to send after an ending that will satisfy the "little bourgeois" in us. It feels as if the film-presenter announces: Ladies and Gentlemen, I hope you enjoyed this film and now, as an extra, Mr. Lemmon will perform some acrobatics...he married during shooting, be indulgent. Make your choice: enjoy "Irma" completely, including its anticlimactic ending, or miss one of the funniest films of all time. Spicy enough to send you from one fit of laughter to the next, innocent enough not to offend your maiden aunt or harm your (elder) children. This film captures the delightful atmosphere of Paris and bubbles and sparkles like champagne. If "Irma la Douce" can't cheer you up, no film can.
Nestor Patou (Jack Lemmon), a young cop has saved a little boy from drowning. As a reward he is transferred to Irma's district. He struts along, self-contented, unsuspecting, and buys himself an apple. The fruit-seller looks perplexed at the money in his hand: In this part of the city, as a custom, policemen are not those who pay, but those who get paid...While Nestor saunters about the street, wishing the ladies a good morning, eating his apple, something is beginning to dawn on him. He seeks information from Moustache: What is it, with all those couples who enter this Hotel? Sadly, Moustache's make-love-not-war-message is lost on Nestor's little-bourgeois mind. He puffs himself up ("fragrant vice...must be stamped out") and decides to make a raid. But first, would Moustache kindly tell him the phone-number of the police-station? In his industry he fails to notice that he is bribed behind his back...The transport of the ladies to the police-station is heavy work - they spray perfume in his eyes and taunt him badly - but crowned by success: "16 females and one poodle. I'll do better next time". But his expected promotion does not take place, because - I bet you guess this one - the Chief of police was among the customers... This same evening, after a day of futile efforts of finding another job, Nestor winds up again at "Chez Moustache". His belongings are in his suitcase. It's raining. At this late hour, things are usually pretty lively, but the rain keeps the customers away and Hippolyte has no luck with his card-game - and takes it out on Irma. Nestor hurries to her help - one of the most hilarious fight-scenes in film history - and wins. Irma's knowing smile reveals it, but it's not until the next morning that Nestor realizes that a new job fell right into his lap. While he still abandons himself to the recollection of the pleasures of last night Irma orders him to try on Hippolyte's suits and slings field-glasses (for the horse-race) around his neck. She promises that she will work harder for him than for any of his predecessors... Every profession has its own status-symbols. Irma's trade requires a posh "Mac". She decorates him with expensive tie-pins in order to impress the other girls. She is also extremely jealous: Heaven help the girl who dares to make a pass on him. Traces of lipstick on his face present us with the most hilarious boxing-match between ladies since Marlene Dietrich fought it out in "Destry rides again". Nestor too is jealous: of Irma's clients. He loves her dearly and wants her for himself. But Irma is a real pro who considers her trade as vocation and there is always this problem with money...After much brooding Nestor develops an ingenious plan: Irma needs a long-term patron: Lord X (himself + false beard + fake accent) will pay Irma 500 francs, twice a week for the exclusive title to her favor. Problem solved. Is it? Suddenly Nestor discovers that those 500 francs, twice a week have to come from somewhere, have to be earned...Now he learns the rough way how hard it is to lead an easy life: Drug Irma's poodle with champagne, steal out of her arms to the market where the pork-butcher is waiting for him. He is pinched by lobsters, garbage has to be disposed off, too. A slightly untidy gentleman steals himself into Irma's bed again, always hoping she won't wake up...Irma's life underwent a drastic change too: Her relationship with Lord X is strictly platonic and Nestor is always tired. Slowly she shifts her affection from Nestor to the Lord. Mad with jealousy, Nestor decides to get rid of his alter ego. The truth is lost on Irma, but she certainly understands a crime of passion... ... Read more | |
| 18. The Spirit of St. Louis Director: Billy Wilder | |
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| 19. Buddy Buddy Director: Billy Wilder | |
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Reviews (3)
Billy Wilder's final film as director shows the master pushing the envelope, including gratuitous foul language and brief nudity, along with matter-of-fact handling of murder, vandalism and ridiculing the effectiveness of law enforcement. The scene where a hotel maid ignores the plight of a bound and gagged Lemmon is painful to watch. The woman "chats" with the victim without once considering that he needs help, bidding him good day as she eventually exits. This could be seen as an insult to Hispanic Americans, portraying the maid as a bubble-headed idiot. The way Matthau and Lemmon play-off each other is fun to watch. The many reckless ways of making fun of life wasn't always humorous, but at times worrysome. This is not the kind of fun I expected from the "dream team" of veteran film makers. This is no "Seven Year Itch". With low expectations you may find a little joy in this attempt to deliver laughter.***
"I once knew a guy, he had two heart-attacks. So they put in him a pace-maker. So his wife divorced him. She said it was interfering with the tv-reception". (Trabucco about women) "Put a bucket full of ice-water next to your bed. Try to think of the names of the seven dwarfs". (Dr. Zuckerbrots advice against premature ejaculation) "I'll put a bucket full of ice-water next to my bed". (Victor Clooney imploring his wife not to divorce him) The postman puts a package in Mr. Schusters mailbox. Mr. Schuster is blown up. Contented, the postman lights his cigar. Mr. Trabucco (Walter Matthau) calls his client. Due to extensive police-protection, the liquidation of the last stool-pigeon, Mr. Gambola, will be more delicate and therefore more expensive...The response is satisfactory, and so, Trabucco rents a room with a view on the court-building and starts to put together his rifle-rack. You would not trouble strangers with your domestic problems? Victor Clooney has no scruples of this kind. His wife has left him! He has to vomit! He needs a shoulder on which he can weep his grief out. His face is long of disappointment when Trabucco forgets to wave back... Due to Wilders & Diamonds malicious script, Victor now moves in Trabuccos adjoining room, and this hard-working citizen realizes, that his day's work has doubled... Would I screen "Buddy Buddy" to someone who's never seen a Billy Wilder film? Mention in an awestruck tone that here he can see the wittiest director and the finest actor on earth at work? Probably not. "The Apartment" is better suited to this deed. When I first saw this film, I was in fact offended. By the shabby sets, the language and Lemmons performance, where he replaced timing with mannerisms. But now, somehow I start to like this film. Loads of swearwords usually bore me. But here I'm amused at the thought of Wilder & Diamond writing them down in order to dupe some imaginary censor. They start innocently enough, with one or two "friggins". Soon, Lemmon uses a sanitary installation and specifies all the things that are forbidden at prime-time. (He's a mighty tv-censor, and how he preens himself like a peacock in order to impress Trabucco). One highlight in this film may be his realization of what has become of his wedding-ring ("The p-word!"). Or was it his "father - you said the f-word" remark? Jokes about some innocent, hash-smoking hippie and his pregnant wife...Kissinger-jokes...sex-clinic-jokes...hm. Klaus Kinski as Dr. Zuckerbrot...hm. Paula Prentiss has the rotten role of Lemmons wife (Lemmon: "We've been married for 12 years". Prentiss: "Thaaat long?"). But then I think of how funny she was in "Man's favorite sport" alongside Rock Hudson, and forgive her. But not all supporting performances are poor. There is Miles Chapin as pert bellhop, just as entertaining as his colleagues in "Some like it hot" and "Avanti", and there is Bette Raya as the kind of mexican maid who is so busy singing, talking and cleaning up, that she doesn't notice a gagged man, tied up on a chair. But the only reason to watch this film is, it goes without saying, the presence of Lemmon & Matthau. Wilder later had afterthoughts. Why didn't he engage Clint Eastwood? ("People are not afraid of Walter"). Still - Matthau is extremely funny in his part. How tenderly ("He needs a little human warmth") he responds to Lemmons sorrows, while we can read in his eyes that he considers ways to dispose of him without attracting attention. How solicitous his inquiry about Lemmons health sounds ("Wouldn't you feel much better if you threw up once more?") while he secretly slips Lemmons farewell-letter in his pocket. And even Lemmon has his great moment: Due to a case of mistaken identities ("He is better equipped than I expected") he learns that his wife has given her new lover a detailed account of his intimate life ("Every wednesday and saturday night"). He staightens up, Napoleon-like, proud of his achievement...Suddenly it is beginning to dawn on him, that this was not meant a a compliment... My rating is too high? O.K - It's second-rate Wilder. But even second-rate Wilder is better...
victor clooney (jack lemmon) is a suicide attempter who manages to appear in trabucco's (walter matthau) life at the wrong time and with each meeting becomes more and more annoying. while trabucco tries to finish a contract before retiring as a hit man clooney thinks that his life isn't worth living any more because of problems with his wife. i really liked the movie because it's a funny but not "standard" comedy. once i've been told that we laugh when things are true. though i never met a suicide attempter while i tried to shoot someone, the main story (meeting someone annoying at the time you really needn't) served me a lot of laughs and i can just recommend this movie to those who like to laugh while watching a movie (and - of course - to other lemmon/matthau or billy wilder fans). ... Read more | |
| 20. The Apartment Director: Billy Wilder | |
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Amazon.com essential video Reviews (83)
Essentially, The Apartment is about a young insurance company worker (played by Jack Lemmon in an excellent performance) who is forced to allow his philandering bosses to use his apartment on dates. In exchange for allowing his bosses to use the apartment, Lemmon is recommended to recieve promotions. Things get more complicated, however, when the bigger boss, Sheldrake (played by Fred McMurray) gets involved in the apartment renting. This would seem like a good thing for Lemmon - but there is one problem: McMurray (who is married and has no plans of divorcing) is dating Lemmon's dream girl, the beautiful elevator operator at the company (played by Shirley MacLaine). To say any more would be to give too much away... In addition to having an intertaining plot and a funny, sarcastic script (like most Billy Wilder movies), The Apartment features amazing performances by all of its actors, especially Lemmon and MacLaine. So I don't know how else to recommend this movie - get it soon and enjoy!
Cast: Jack Lemmon ... Calvin Clifford 'C.C.' 'Bud' Baxter C.C. 'Buddy Boy' Baxter (Jack Lemmon) has a downwtown apartment near his work where he is an insurance analyst in a large firm. He is ambitious to work is way up the ladder, and so loans his apartment out to various of his supperiors for their trysts in an effort to win their favors, which means that he is forced ro work overtime and stay out late while his apartment os occupied. Fran Kubelik (Shirley McLaine), elevator girl, is in love with big boss and branch manager Jeff D. Sheldrake (Fred MacMurray), who is a married, cheating philanderer with a long history of conquests among the female staff. C.C. Baxter is also in love with Fran, who is having an affair with Sheldrake in his apartment. This is not really a comedy, although it has its funny moments. It is a good story which comes out all right in the end. Joseph (Joe) Pierre
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