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1974 Israel MOVIE POSTER Film FRONT PAGE Wilder LEMMON Matthau SARANDON Hebrew For Sale

1974 Israel MOVIE POSTER Film FRONT PAGE Wilder LEMMON Matthau SARANDON Hebrew


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1974 Israel MOVIE POSTER Film FRONT PAGE Wilder LEMMON Matthau SARANDON Hebrew:
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DESCRIPTION :Here for sale is an EXCEPTIONALY RARE and ORIGINAL over 40 years old Hebrew-Israeli SMALL POSTER for the 1974ISRAEL premiere ofthelegendary classic COMEDY DRAMA awards winner and nominee BILLY WILDER film - movie " THE FRONT PAGE " , Based on the BEN HECHT play,Starring among others : JACK LEMMONand WALTER MATTHAUand also SUSAN SARANDON , VINCENT GARDENIA and CAROL BURNETT. The Hebrew poster was created ESPECIALLY for the Israeli premiere of the film .Please note : This is Made in Israel authentic THEATRE POSTER , Which was published by the Israeli distributors of "CINEMA ARMON" in RAMAT GAN - GIVATAIM ISRAEL for the Israeli premiere projection of the film in 1974. you can be certain that this surviving copy is ONE OF ITS KIND. The poster also advertises the western "THE SHEEPMANN" with Glenn Ford and Shirley MacLaine in a matinnee show. Size around 7" x 12" . The poster is invery good condition. Used. One fold.Will definitely disapear under a framed glass. ( Pls look at scan for accurate AS IS images ). Poster will be sent in a special protective rigid sealed package.

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SHIPPING : Shipp worldwide via registeredairmail is $19 . Poster will be sent in a special protective rigid sealed package. Handling within 3-5 days after payment. Estimated Int'l duration around 14 days.

The Front Pageis a 1974 Americancomedy-drama filmdirected byBilly Wilderand starringJack LemmonandWalter Matthau. The screenplay by Wilder andI.A.L. Diamondis based onBen HechtandCharles MacArthur'splay of the same name(1928), which inspired several other films. Contents [hide] · 1Plot · 2Cast · 3Production · 4Box Office · 5Critical reception · 6Awards and nominations · 7DVD release · 8See also · 9References · 10External links Plot[edit] Chicago Examinerreporter Hildebrand "Hildy" Johnson (Jack Lemmon) has just quit his job in order to marry Peggy Grant (Susan Sarandon) and start a new career, when convict Earl Williams (Austin Pendleton) escapes fromdeath rowjust prior to his execution. Earl is an impoverished, bumblingleftistwhose only offense is stuffingfortune cookieswith messages demanding the release ofSacco and Vanzetti, but theyellow pressofChicagohas painted him as a dangerous threat fromMoscow. As a result the citizenry are anxious to see him put to death. Earl has not left the jail, and enters the prison pressroom while Hildy is alone there. Hildy cannot resist the lure of what could be the biggestscoopof his soon-to-be-over career. editorWalter Burns (Walter Matthau), desperate to keep Hildy on the job, encourages him to cover the story, frustrating Peggy, who is eager to catch their train. When Earl is in danger of being discovered, Mollie Malloy (Carol Burnett), a self-described "$2whorefrom Division Street" who befriended Earl, creates a distraction by leaping from the third-floor window. When Earl is caught, Hildy and Walter are arrested for aiding and abetting a fugitive, but are released when they discover that the mayor and sheriff colluded to conceal Earl's last-minutereprieveby the governor. Walter grudgingly accepts that he is losing his ace reporter and presents him with a watch as a token of his appreciation. Hildy and Peggy set off to get married, and Walter telegraphs the next railway station to alert them that the man who stole his watch is on the inbound train and should be apprehended by the police. Cast[edit] · Jack Lemmonas Hildebrand 'Hildy' Johnson · Walter Matthauas Walter Burns · Susan Sarandonas Peggy Grant · Vincent Gardeniaas Sheriff "Honest Pete" Hartman · David Wayneas Roy Bensinger · Allen Garfieldas Kruger · Charles Durningas Murphy · Herb Edelmanas Schwartz · Austin Pendletonas Earl Williams · Carol Burnettas Mollie Malloy · Martin Gabelas Dr. Max J. Eggelhofer · Harold Gouldas The Mayor/Herbie/Green Hornet · John Furlongas Duffy · Jon Korkesas Rudy Keppler · Cliff Osmondas Officer Jacobi · Lou Frizzellas Endicott · Paul Benedictas Plunkett · Dick O'Neillas McHugh · Biff Elliotas Police Dispatcher · Barbara Davis as Myrtle Production[edit] The original play had been adapted for the screenin 1931and asHis Girl Fridayin 1940. Billy Wilder was quoted by his biographerCharlotte Chandleras saying: "I'm against remakes in general" "because if a picture is good, you shouldn't remake it, and if it's lousy,whyremake it? . . . It was not one of my pictures I was particularly proud of."[1] After years of producing his films, he passed producing chores toPaul Monashand concentrate on screenwriting and directing whenJennings Langsuggested he film a new adaptation ofThe Front PageforUniversal Pictures. The idea appealed to Wilder, a newspaperman in his younger days, who recalled, "A reporter was a glamorous fellow in those days, the way he wore a hat, and a raincoat, and a swagger, and had his camaraderie with fellow reporters, with local police, always hot on the tail of tips from them and from the fringes of the underworld." Whereas the two earlier screen adaptations of the play were set in their contemporary times, Wilder decided his would be aperiod pieceset in 1929, primarily because the daily newspaper was no longer the dominant news medium in 1974.[1] Wilder hiredHenry Bumsteadasproduction designer. For exterior shots, Bumstead suggested Wilder film inSan Francisco, where the buildings were a better match for 1920s Chicago than wasLos Angeles. The final scene on the train was filmed in San Francisco, where a railroad enthusiast provided a vintage railway car for the setting.[1]The interior shot of the theater in an earlier scenes was done at the Orpheum Theatre in Los Angeles. The opening credits scenes were filmed at the Los Angeles Herald Examiner. Wilder and Diamond insisted their dialogue be delivered exactly as written and clearly enough to be understood easily.Jack Lemmon, who portrayed Hildy Johnson, later said, "I had one regret about the film. Billy would not let us overlap our lines more. I think that would have made it better . . . I feel it's a piece in which youmustoverlap. But Billy, the writer, wanted to hear all of the words clearly, and he wanted the audience to hear the words. I would have liked to overlap to the point where you lost some of the dialogue."[1] Because of Wilder's tendency to "cut in the camera", a form of spontaneous editing that results in a minimal footage being shot, editorRalph E. Winterswas able to assemble a rough cut of the film four days after principal photography was completed.[1] While the film was Wilder's first not to show a profit sinceIrma la Douce(1963), the director regretted not sticking to his instincts over remakes.[1] Box Office[edit] The film earned North American theatrical rentals of $7,460,000.[3] Critical reception[edit] Vincent CanbyofThe New York Timesthought the story was "a natural" for Wilder and Diamond, who "have a special (and, to my mind, very appealing) appreciation for vulgar, brilliant con artists of monumental tackiness." He continued, "Even though the mechanics and demands of movie-making slow what should be the furious tempo, thisFront Pagedisplays a giddy bitterness that is rare in any films except those of Mr. Wilder. It is also, much of the time, extremely funny." He described Walter Matthau and Austin Pendleton as "marvelous" and added, "Mr. Lemmon is comparatively reserved as the flamboyant Hildy, never quite letting go of his familiar comic personality to become dominated by the lunacies of the farce. He always remains a little outside it, acting. Carol Burnett has an even tougher time as Molly Malloy . . . This role may well be impossible, however, since it requires the actress to play for straightmelodramawhile everyone around her is going for laughs . . . Mr. Wilder has great fun with the period newspaper detail . . . and admires his various supporting actors to such an extent that he allows them to play as broadly as they could possibly desire." He concluded, "The hysteria is not as consistent as one might wish, nor, indeed, as epic as in Mr. Wilder's ownOne, Two, Three. The cohesive force is, instead, the director's fondness for frauds, which, I suspect, is really an admiration for people who barrel on through life completely intimidating those who should know better."[4] The British television networkChannel 4called it the "least satisfying screen adaptation of Hecht and MacArthur's play," saying it "adds little to the mix other than a bit of choice language. The direction is depressingly flat and stagy, Wilder running on empty. While it is easy to see why he was attracted to this material . . . he just does not seem to have the energy here to do it justice. Matthau and Lemmon put in their usual faultless turns, but cannot lift a pervading air of pointlessness."[5] TV Guiderated the film 2½ out of four stars and noted, "This slick remake of the ebullient original falls short of being the film it could have been, despite the presence of master filmmaker Wilder and his engaging costars . . . Despite the obvious charismatic interaction between Lemmon and Matthau, the film is oddly stilted. In an overly emphatic turn, the miscast Burnett easily gives the most awful performance of her career. She projects only one emotion - a gratingly annoying hysteria. One never enjoys the film so much as when her character throws herself out of a window."[6] Burnett said inThis Time Togetherthat she was so displeased with her performance that when she was on an airplane where the film was shown, she apologized on the plane's intercom.[7] The play again served as an inspiration for film makers withSwitching Channelsreleased in 1988. Awards and nominations[edit] The film was nominated for theGolden Globe Award for Best Motion Picture - Musical or Comedybut lost toThe Longest Yard, and Lemmon and Matthau, competing with each other for theGolden Globe Award for Best Actor – Motion Picture Musical or Comedy, lost toArt CarneyinHarry and Tonto. Wilder and Diamond were nominated for theWriters Guild of America Award for Best Comedy Adapted from Another Mediumbut lost toLionel ChetwyndandMordecai RichlerforThe Apprenticeship of Duddy Kravitz.[8] Wilder won theDavid di Donatello Awardfor Best Director of a Foreign Film, and Lemmon and Matthau shared Best Foreign Actor honors withBurt LancasterforConversation Piece. BILLY WILDER ON "THE FRONT PAGE" byRoger Ebert May 26, 1974 |Print Page hungry police reporters, and corrupt politicians, and an escaped murderer who spends half the film concealed in a rolltop desk in the press room. The play has been filmed twice before: In 1930 with Lee Tracy as the reporter and Adolphe Menjou as his managing editor, and again in 1940, when directorHoward Hawksgot the bright idea of making the reporter a girl (the new title was "His Girl Friday," withRosalind RussellandCary Grant). "This is not only the funniest comedy written during the decade of the 1920s," Wilder declared, "but one of the best constructed comedies ever written. It is tight as a drum. We are making no, changes lightly. Every morning when we come on the set we say Hecht and MacArthur would have been proud of us." The movie marks the first time since "The Fortune Cookie" in 1966 that Wilder has been reunited with both of his favorite actors,Jack LemmonandWalter Matthau. Lemmon is playing Hildy Johnson, the quicktalking reporter, and Matthau is Walter Burns, his barracuda editor. The play was inspired by experiences Hecht and MacArthur had as Chicago newsmen in the era around World War One, and most of the characters are based on real people who were thinly-disguised (if at all). Hildy was drawn from Hilding Johnson of the old Chicago Herald-Examiner, and Burns was a copy of Walter Howey, managing editor of the paper. The other reporters were also drawn from life, and so (the authors swore) was most of the dialog. Wilder's screenplay was written by his longtime collaborator and friend, I. A. L. Diamond, who's as oft spoken as Wilder is outgoing. He stood nearby, also chewing gum, and observed gloomily: "The difference, I'm afraid, is that Billy is chewing to stop smoking, and I am chewing between cigarettes." Diamond said their film version would restore Chicago for the first time to its rightful status as the locale of the action. "People never notice it," he said, "but in the first two film versions of 'The Front Page,' the city was never ever named. In this version, we're restoring the original references to the Sheriff of Cook County, the Mayor of Chicago, the newspapers, and so on. And there won't be any phony newspaper titles like the Chicago Globe. We're using all the real names The Daily News, the Tribune and the real frontpage makeups." I asked Diamond what sorts of changes he'd made in preparing a screenplay from a comedy nearly 50 years old. "Well, in the first place, it's still set in the 1920s," he said. "You couldn't set it at the present moment because journalism isn't like that anymore. In those days guys would do anything to get a story, and never more so than in Chicago. I wonder if the, Chicago reporters were more cynical because Chicago itself was more cynical and corrupt.... "Another thing you have to realize is that, even by the 1920s, things weren't like 'The Front Page.' Hecht and MacArthur set it then, but their experiences were drawn from the circulation wars days around the First World War, when there probably wasn't, a more violent and exciting newspaper town in the country. We've put in a few references to other big scoops of the period, like the New York Daily News photos of Ruth Judd in the electric chair, and the Leopold-Loeb case. "But you have to be careful what you change, because the play's basic structure is very sound. We changed mostly surface details that have dated now. But the guy hiding in the desk -- that you can't change. We eliminated some characters, added some new ones -- we put in a young cub reporter, fresh out of school, just to emphasize the contempt the older guys felt for anyone who learned how to be a reporter by going to college. But the dialog, the pacing and the structure have been preserved." Especially the dialog and the pacing, Jack Lemmon was explaining a few minutes later, having been torn from both the movie's poker game and a reallife backstage poker game. "When I talk about rapidfire dialog, what do I mean?" Lemmon asked. "I'll tell you what I mean. With the average page of screenplay dialog, you figure on a rule of thumb of one minute per page. The other day we had two pages of dialog that took 45 seconds. That's fast. "With the way 'The Front Page' is put together, if you did it as a screenplay of ordinary length, you'd have a short subject. Everything moves like crazy. And it's funny, it's zany. You know, I'd never seen 'The Front Page' on the stage. I saw 'His Girl Friday' once, and I read the play in college. But in a way I'm glad I never saw it, because sometimes when you see the way another actor plays a role, you try so hard not to do the same things that you lean over backwards and are all wrong in the opposite direction." Lemmon said he and Matthau had been looking for a property for years, ever since "The Fortune Cookie.'' They are close personal friends, and Lemmon directed Matthau in the 1970 movie, "Kotch," which won him an Oscar nomination as best actor. Matthau didn't win (Lemmon, of course, won this year for his dramatic role in "Save the Tiger"), and Lemmon speculated that maybe the voters of the Academy didn't have enough respect for comic performances. "Year after year, a dramatic performance gets, the, Oscar," he said. "And yet comedy is harder to write, harder to direct and harder to act. The timing necessary in 'The 'Front Page' is tremendously challenging to all of us. It's a lot trickier than drama." Lemmon was called back for the next take, which required him to sit on the back of a chair and look supremely uninterested while everyone else in the press room screamed into their telephones about the escaped killer. He is uninterested because he has just told Walter Burns, in graphic detail, what he can do with his job, and how. Among the actors playing the other reporters were suitably fasttalking types likeAllen Garfield, who was a fight writer for the Newark StarNews before he got into acting, andDick O'Neill, who had the title role in the Chicago production of Mike Royko's "Boss," and plays Buddy McHugh in the movie. "The first time somebody said, 'What about the Mayor?' I thought they were talking about me," O'Neill confided). Wilder, his hat pushed as always to the back of his head, stuffed in more gum and prepared to shoot. The set was in controlled chaos, and someone asked him how his fellow director from Austria,Otto Preminger, would have handled the scene. Wilder, who is as well known for being relaxed as Preminger is for exploding, smiled and told everyone a story. "I saw Otto directing himself once," Wilder said. "First there was a scene with another actor. Otto shot it 27 times until it satisfied him. The other actor was in collapse. Then it was time for Otto's own scene. Otto stood in front of the camera. He said 'Camera! Action!' Then he said his line. Then he said, 'Cut. Print. Excellent!' Then he turned to the actor and said, 'You see how easy?' I think the guy could have committed murder...." Now it was time to shoot. Wilder called for action. Lemmon sat on his chair back and nonchalantly exhaled cigar smoke into the thick air. The reporters raced to the windows. Searchlights searched and sirens screamed. The reporters raced back to their telephones and began shouting the good old standbys: Give me city desk! Stop the presses! Tear up the front page! "Cut," said Wilder. He patted in his pockets for another stick of gum. "That was beautiful! That was terrific! That was nothing short of adequate!" Wilder's Uneven Film of 'Front Page':The Cast By VINCENT CANBY Published: December 19, 1974 It had to happen sooner or later that Billy Wilder, one of the most astringent wits of the American cinema, would make a movie out of "The Front Page," the great nineteen-twenties Chicago newspaper farce by Ben Hecht and Charles MacArthur. No matter that it's been very well made before—in 1931 by Lewis Milestone and in 1940 by Howard Hawks, who turned the play into his own movie classic. The property is a natural for Mr. Wilder and his screenwriting, collaborator, I.A.L. Diamond, who, despite all their comparatively "nice" hits ("Love in the Afternoon," "Some Like It Hot," "The Apartment" and "The Private Life of Sherlock Holmes"), have a special (and, to my mind, very appealing) appreciation for vulgar, brilliant con artists of monumental tackiness. This appreciation has resulted in at least one Wilder movie of such bad taste that its gaffs became its gaudy style ("Kiss Me, Stupid") and in another movie that ranks among their very best, "The Fortune Cookie." "The Front Page," which opened yesterday at the Coronet and Little Carnegie Theaters, falls somewhere between these two extremes. Even though the mechanics and demands of movie-making slow what should be the furious tempo, this "Front Page" displays a giddy bitterness that is rare in any films except those of Mr. Wilder. It is also, much of the time, extremely funny. The orginal place and time (Chicago in the late twenties) have been preserved, as well as the principal setting, the press room in Chicago's ancient Criminal Courts Building, The Wilder-Diamond screenplay updates and makes somewhat rougher the original tough-guy dialogue and wisecracks, but the story has not been violated. It's still about the efforts of Chicago's most brilliant, most ruthless managing editor, Walter Burns (Walter Matthau) to keep his star reporter, Hildy Johnson (Jack Lemmon), on the job long enough to cover the impending execution of a poor, shy left - wing innocent whom Chicago's yellow press has turned into a Red Menace from Moscow. The film contains at least two marvelous performances, Mr. Matthau's snarling, monomaniacal editor ("I picked you up when you were nothing—covering Polack weddings on the South Side!") and Austin Pendleton as the-condemned revolutionary who got his start stuffing fortune cookies with messages demanding freedom for Sacco and Vanzetti. Mr. Lemmon is comparatively reserved as the flamboyant Hildy, never quite letting go of his familiar comic personality to become dominated by the lunacies of the farce. He always remains a little outside it, acting. Carol Burnett has an even tougher time as Molly Malloy, the self-described $2 Clark Street whore who loves Mr. Pendleton. This role may well be impossible, however, since it requires the actress to play for straight melodrama while everyone around her is going for laughs. Two lines sum up the difficulty of the role as they define the spirit of the movie. When Molly, in a desperate effort to save her lover, jumps out the courthouse window to what could be her death, one reporter shakes his head and says, "All whores are a little goofy," while another races to his telephone to report, "Shady lady leaps for love!" Mr. Wilder has great fun with the period newspaper detail—such as human interest stories about Admiral Byrd and penguins—and admires his various supporting actors to such an extent that he allows them to play as broadly as they could possibly desire. Some are better than others. I particularly liked Vincent Gardenia as an inefficient sheriff, Martin Gabel as a mad Viennese alienist and David Wayne as a prissy Chicago Tribune reporter, a performance that may bring down the wrath of the Gay Activists Alliance though it seems as much of a comment on what was considered funny in the twenties as it is a replayed homosexual stereotype. The hysteria is not as consistent as one might wish, nor, indeed, as epic as in Mr. Wilder's own "One, Two, Three." The cohesive force is, instead, the director's fondness for frauds, which, I suspect, is really an admiration for people who barrel on through life completely intimidating those who should know better. The Cast THE FRONT PAGE,directed by Billy Wilder; screenplay by Mr. Wilder and I. A. L. Diamond, based on the play by Ben Hecht and Charles MacArthur; produced by Paul Monash; executive producer, Jennings Lang; director of photography, Jordan S. Cronenweth; editor, Ralph E. Winters; music adaptation, Billy May; distributed by Universal Pictures. Running time: 105 minutes. At the Coronet Theater, Third Avenue near 59th Street, and Little Carnegie Theater, 57th Street east of Seventh Avenue. This film has been rated PG. Hildy Johnson . . . . . Jack Lemmon Walter Burns . . . . . Walter Matthau Mollie Malloy . . . . . Carol Burnett Peggy Grant . . . . . Susan Sarandon Sheriff . . . . . Vincent Gardenia Bensinger . . . . . David Wayne Kruger . . . . . Allen Garfield Earle Williams . . . . . Austin Pendleton Murphy . . . . . Charles Durning Schwartz . . . . . Herbert Edelman Dr. Eggelhofer . . . . . Martin Gabel Mayor . . . . . Harold Gould Jacobi . . . . . Cliff Osmond Rudy Keppler . . . . . Jon Korkes Jennie . . . . . Doro Merande Billy June 22, 1906[1]– March 27, 2002) was an Austrian-born American filmmaker, screenwriter, producer, artist and journalist, whose career spanned more than fifty years and sixty films. He is regarded as one of the most brilliant and versatile filmmakers of Hollywood's golden age. WithThe Apartment, Wilder became the first person to win Academy Awards as producer, director and screenwriter for the same film.[2] Wilder became a screenwriter in the late 1920s while living inBerlin. After the rise of theNazi Party, Wilder, who wasJewish, left forParis, where he made his directorial debut. He moved toHollywoodin 1933, and in 1939 he had a hit when he co-wrote the screenplay for the screwball comedyNinotchka. Wilder established his directorial reputation withDouble Indemnity(1944), afilm noirhe co-wrote with crime novelistRaymond Chandler. Wilder earned theBest DirectorandBest ScreenplayAcademy Awardsfor the adaptation of aCharles R. JacksonstoryThe Lost Weekend(1945), about alcoholism. In 1950, Wilder co-wrote and directed the critically acclaimedSunset Boulevard. From the mid-1950s on, Wilder made mostly comedies.[3]Among the classics Wilder created in this period are the farcesThe Seven Year Itch(1955) andSome Like It Hot(1959), satires such asThe Apartment(1960), and the romantic comedy-dramaSabrina(1954). He directed fourteen different actors in Oscar-nominated performances. Wilder was recognized with theAmerican Film Institute(AFI) Life Achievement Award in 1986. In 1988, Wilder was awarded theIrving G. Thalberg Memorial Award. In 1993, he was awarded theNational Medal of Arts. Contents [hide] · 1Life and career o 1.1Austria and Germany o 1.2Hollywood career o 1.3Directorial style o 1.4Later life · 2Personal life · 3Death o 3.1Legacy · 4Filmography · 5Awards o 5.1Academy Award nominations § 5.1.1Directed Academy Award performances o 5.2Major awards for directed films · 6See also · 7References · 8Further reading · 9External links Life and career[edit] Austria and Germany[edit] BornSamuel Wilderto aJewishfamily inSucha Beskidzka,Austria-Hungary, to Max and Eugenia (née Dittler) Wilder, he was nicknamed Billie by his mother (he changed that to "Billy" after arriving in America). He had an elder brother,William Lee Wilder(1904–1982), who also became a screenwriter, film producer and director. His parents had a successful and well-known cake shop in Sucha Beskidzka's train station and unsuccessfully tried to persuade their son to join the family business. Soon the family moved toVienna, where Wilder attended school. Instead of attending theUniversity of Vienna, Wilder became a journalist. To advance his career Wilder decided to move toBerlin, where, before achieving success as a writer, he allegedly worked as ataxi dancer.[4][5] After writing crime and sports stories as astringerfor local newspapers, he was eventually offered a regular job at a Berlintabloid. Developing an interest in film, he began working as a screenwriter. He collaborated with several other tyros (withFred ZinnemannandRobert Siodmakon the 1929 featurePeople on Sunday). He wrote the screenplay for the 1931 film adaptation of a novel byErich Kästner,Emil and the Detectives. After therise of Adolf Hitler, Wilder, Jewish, left for Paris, where he made his directorial debut with the 1934 filmMauvaise Graine. He relocated to Hollywood prior to its release.[citation needed] Wilder's mother, grandmother and stepfather all perished in theHolocaust. For decades it was assumed that it happened at Auschwitz, but while researching Polish and Israeli archives, his Austrian biographer Andreas Hutter discovered in 2011 that they were murdered at different and disparate places: his mother, Eugenia "Gitla" Siedlisker - in 1943 atPlaszow; his stepfather, Bernard "Berl" Siedlisker, in 1942 atBelzecand his grandmother, Balbina Baldinger, died in 1943 in the ghetto inNowy Targ.[6] Hollywood career[edit] Charles Brackett After arriving inHollywoodin 1933, Wilder continued his career as a screenwriter. He became anaturalizedcitizen of the United States in 1934. Wilder's first significant success wasNinotchkain 1939, a collaboration with fellow German immigrantErnst Lubitsch. Thisscrewball comedystarredGreta Garbo(generally known as atragicheroine in filmmelodramas), and was popularly and critically acclaimed. With the byline, "Garbo Laughs!", it also took Garbo's career in a new direction. The film also marked Wilder's firstAcademy Awardnomination, which he shared with co-writerCharles Brackett(although their collaboration onBluebeard's Eighth WifeandMidnighthad been well received). For twelve years Wilder co-wrote many of his films with Brackett, from 1938 through 1950. He followedNinotchkawith a series of box office hits in 1942, including hisHold Back the DawnandBall of Fire, as well as his directorial feature debut,The Major and the Minor. His third film as director,Double Indemnity(1944) was a major hit. Afilm noir, nominated for Best Director and Screenplay, it was co-written with mystery novelistRaymond Chandler, although the two men did not get along.Double Indemnitynot only set conventions for thenoirgenre (such as "venetian blind" lighting and voice-over narration), but was also a landmark in the battle against Hollywood censorship. The originalJames M. CainnovelDouble Indemnityfeatured two love triangles and a murder plotted for insurance money. While the book was highly popular with the reading public, it had been considered unfilmable under theHays Code, because adultery was central to its plot.Double Indemnityis credited by some as the first true film noir, combining the stylistic elements ofCitizen Kanewith the narrative elements ofThe Maltese Falcon(1941). During the liberation of concentration camps in 1945, thePsychological Warfare Department(PWD) of the United States Department of War produced an American propaganda documentary film directed by Billy Wilder. The film known asDeath Mills, orDie Todesmühlen, was intended for German audiences to educate them about the atrocities committed by the Nazi regime. For the German version, Die Todesmühlen, Hanuš Burger is credited as the writer and director, while Wilder supervised the editing. Wilder is credited with the English-language version.[citation needed] Two years later, Wilder earned theBest DirectorandBest ScreenplayAcademy Awardsfor the adaptation of aCharles R. JacksonstoryThe Lost Weekend(1945), the first major American film to make a serious examination of alcoholism, another difficult theme under theProduction Code. In 1950, Wilder co-wrote and directed the dark and cynicalSunset Blvd., which paired rising starWilliam HoldenwithGloria Swanson. Swanson played Norma Desmond, a reclusive silent film star who, with delusions of her greatness from a bygone era, dreams of acomeback. Holden portrays an aspiring screenwriter who can't make ends meet and becomes akept manto her. It was critically acclaimed. In 1951, Wilder followedSunset Blvd.withAce in the Hole(a.k.a.The Big Carnival), a tale of media exploitation of a caving accident. The idea for the film was pitched over the phone to Wilder's secretary by Victor Desny. Desny successfully sued Wilder for breach of an implied contract in the influential California copyright case Wilder v Desny.[7]Although a critical and commercial failure at the time, its reputation has grown over the years. In the fifties, Wilder also directed two adaptations of Broadway plays, the prisoner of war dramaStalag 17(1953), which resulted in a Best Actor Oscar forWilliam Holden, and theAgatha ChristiemysteryWitness for the Prosecution(1957). In the mid-1950s, Wilder became interested in doing a film with one of the classic slapstick comedy acts of the Hollywood Golden Age. He first considered, and rejected, a project to starLaurel and Hardy. He then held discussions withGroucho Marxconcerning a newMarx Brotherscomedy, tentatively titled "A Day at the U.N." This project was abandoned whenChico Marxdied in 1961.[8] From the mid-1950s onwards, Wilder made mostly comedies.[3]Among the classics Wilder created in this period are the farcesThe Seven Year Itch(1955) andSome Like It Hot(1959), satires such asThe Apartment(1960), and the romantic comedySabrina(1954). Wilder's humor is sometimes sardonic. InLove in the Afternoon(1957), a young and innocentAudrey Hepburndoes not wish to be young or innocent with playboyGary Cooper, and pretends to be a married woman in search of extramarital amusement. The film was Wilder's first collaboration with writer-producerI. A. L. Diamond, an association that continued until the end of both men's careers. In 1959, United Artists released Wilder's Prohibition-era farceSome Like It Hotwithout aProduction Codeseal of approval, withheld due to the film's unabashed sexual comedy, including a central cross-dressing theme.Jack LemmonandTony Curtisplay musicians who disguise themselves as women to escape pursuit by a Chicago gang. Curtis's character courts a singer played byMarilyn Monroe, while Lemmon is wooed byJoe E. Brown—setting up the film's final joke in which Lemmon reveals that his character is a man and Brown blandly replies "Well, nobody's perfect". After winning threeAcademy Awardsfor 1960'sThe Apartment(for Best Picture, Director, and Screenplay), Wilder's career slowed. HisCold WarfarceOne, Two, Three(1961) featured a rousing comic performance byJames Cagney. It was followed by apparently lesser films that now are of cult status, such asIrma la DouceandKiss Me, Stupid. Wilder gained his last Oscar nomination for his screenplayThe Fortune Cookie(UK:Meet Whiplash Willie) (1966). His 1970 filmThe Private Life of Sherlock Holmeswas intended as a majorroadshow release, but was heavily cut by the studio and has never been fully restored. Later films such asFedora(1978) andBuddy Buddy(1981) failed to impress critics or the public. After that Wilder complained, futilely, that he was being discriminated against, due to his age. For whatever reason, the studios were unwilling to hire him. One "consolation" which Wilder had in his later years, besides his art collection (see "Later Life," below), was the Andrew Lloyd Webberstage musicalversion ofSunset Blvd..[citation needed] Directorial style[edit] Wilder's directorial choices reflected his belief in the primacy of writing. He avoided, especially in the second half of his career, the exuberant cinematography ofAlfred HitchcockandOrson Wellesbecause, in Wilder's opinion, shots that called attention to themselves would distract the audience from the story. Wilder's pictures have tight plotting and memorable dialogue. Despite his conservative directorial style, his subject matter often pushed the boundaries of mainstream entertainment. Once a subject was chosen, he would begin to visualize in terms of specific artists. His belief was that no matter how talented the actor, none were without limitations and the end result would be better if you bent the script to their personality rather than force a performance beyond their limitations.[9]Wilder was skilled at working with actors, coaxingsilent eralegendsGloria SwansonandErich von Stroheimout of retirement for roles inSunset Blvd. ForStalag 17, Wilder squeezed an Oscar-winning performance out of a reluctantWilliam Holden(Holden had wanted to make his character more likeable; Wilder refused). Wilder sometimes cast against type for major parts such asFred MacMurrayinDouble IndemnityandThe Apartment. MacMurray had become Hollywood's highest-paid actor portraying a decent, thoughtful character in light comedies, melodramas, and musicals; Wilder cast him as a womanizing schemer.Humphrey Bogartshed his tough-guy image to give one of his warmest performances inSabrina.James Cagney, not usually known for comedy, was memorable in a high-octane comic role for Wilder'sOne, Two, Three. Wilder coaxed a very effective performance out ofMarilyn MonroeinSome Like It Hot.[citation needed] In total, he directed fourteen different actors in Oscar-nominated performances:Barbara StanwyckinDouble Indemnity,Ray MillandinThe Lost Weekend,William HoldeninSunset Blvd.andStalag 17,Gloria SwansoninSunset Blvd.,Erich von StroheiminSunset Blvd.,Nancy OlsoninSunset Blvd.,Robert StraussinStalag 17,Audrey LaughtoninWitness for the Prosecution,Elsa LanchesterinWitness for the Prosecution,Jack LemmoninSome Like It HotandThe Apartment,Jack KruscheninThe Apartment,Shirley MacLaineinThe ApartmentandIrma la DouceandWalter MatthauinThe Fortune Cookie. Milland, Holden and Matthau won Oscars for their performances in Wilder films. Wilder mentoredJack Lemmonand was the first director to pair him with Walter Matthau, inThe Fortune Cookie(1966). Wilder had great respect for Lemmon, calling him the hardest working actor he had ever met. Lemmon starred in seven of Wilder's films. Wilder's work has had to meet some critical challenges. Although he is admired by many critics and filmgoers, he has not won approval from noted criticDavid Thomson, author ofA Biographical Dictionary of Film, and other works. Thomson summarizes his attitude toward Wilder by saying, "I remain skeptical."[10]Thomson emphasizes that, although Wilder created some brilliant films, he also directed some poor ones, especially at the end of his career. Thomson notes that criticAndrew Sarrisdid not approve of Wilder for a long time but then changed his attitude much later.[11] Some[citation needed]say that Wilder's films often lacked any discernible political tone or sympathies, which was not unintentional. He was less interested in current political fashions than in human nature and the issues that confronted ordinary people. He was not affected by the Hollywood blacklist, and had little sympathy for those who were.[citation needed]Of the blacklisted 'Hollywood Ten' Wilder famously quipped, "Of the ten, two had talent, and the rest were just unfriendly". In general, Wilder had an intense dislike for formula and genre films.[12] Others say that his films derive their parodies from the politics of the world around him, capitalist and Communist, and that Wilder opposed the House Un-American Activities Committee (HUAC). He co-created the “Committee for the First Amendment”, of 500 Hollywood personalities and stars to “support those professionals called upon to testify before the HUAC who had classified themselves as hostile with regard to the interrogations and the interrogators”. Some anti-Communists wanted those in the cinema industry to take oaths of allegiance. The Screen Directors Guild had a vote by show of hands. Only John Huston and Wilder opposed. Huston said, “I am sure it was one of the bravest things that Billy, as a naturalized German, had ever done. There were 150 to 200 directors at this meeting, and here Billy and I sat alone with our hands raised in protest against the loyalty oath”.[13] Wilder reveled in poking fun at those who took politics too seriously. InBall of Fire, hisburlesquequeen 'Sugarpuss' points at her sore throat and complains "Pink? It's as red as theDaily Workerand twice as sore." Later, she gives the overbearing and unsmilinghousemaidthe name "Franco". Wilder is sometimes confused with directorWilliam Wyler; the confusion is understandable, as both were German-speakingJewswith similar backgrounds and names. However, their output as directors was quite different, with Wyler preferring to direct epics and heavy dramas and Wilder noted for his comedies andfilm noirtype dramas. Later life[edit] Wilder was recognized with theAFILife Achievement Award in 1986. In 1988, Wilder was awarded theIrving G. Thalberg Memorial Award. In 1993, he was awarded theNational Medal of Arts. He has a star on theHollywood Walk of Fame. Wilder became well known for owning one of the finest and most extensive art collections in Hollywood, mainly collecting modern art. As he described it in the mid 80s, "It's a sickness. I don't know how to stop myself. Call it bulimia if you want – or curiosity or passion. I have some Impressionists, some Picassos from every period, some mobiles by Calder. I also collect tiny Japanese trees, glass paperweights and Chinese vases. Name an object and I collect it."[14]Wilder's artistic ambitions led him to create a series of works all his own. By the early 90s, Wilder had amassed a beguiling assortment of plastic-artistic constructions, many of which were made in collaboration with artist Bruce Houston. In 1993, art dealerLouis Stern, a longtime friend, helped organize an exhibition of Wilder's work at his Beverly Hills gallery. The exhibition was titledBilly Wilder's Marché aux Pucesand theVariations on the Theme of Queen Nefertetesegment was an unqualified crowd pleaser. This series featured busts of the ravishing Egyptian queen wrappeda laChristoor splattereda laJackson Pollockor sporting a Campbell's soup can in homage toWarhol.[15] Personal life[edit] Wilder married Judith Coppicus on December 22, 1936. The couple had twins, Victoria and Vincent (born 1939), but Vincent died shortly after birth. They divorced in 1946. Wilder met Audrey Young atParamount Pictureson the set ofThe Lost Weekendin 1945 and she became his second wife on June 30, 1949. Death[edit] Wilder died in 2002 ofpneumoniaat the age of 95 after battling health problems,[16]including cancer, in Los Angeles and was interred in theWestwood Village Memorial Park CemeteryinWestwood, Los AngelesnearJack LemmonandWalter Matthau.Marilyn Monroe's crypt is located in the same cemetery. Wilder died the same day as two other comedy legends:Milton BerleandDudley Moore. The next day, French newspaperLe Mondetitled its first-page obituary, "Billy Wilder dies. Nobody's perfect", quoting the final gag line inSome Like It Hot. Legacy[edit] Wilder's gravestone Wilder holds a significant place in the history of Hollywood censorship for expanding the range of acceptable subject matter. He is responsible for two of the film noir era's most definitive films inDouble IndemnityandSunset Blvd.Along withWoody Allenand theMarx Brothers, he leads the list of films on theAmerican Film Institute's list of 100 funniest American filmswith 5 films written and holds the honor of holding the top spot withSome Like it Hot. Also on the list areThe ApartmentandThe Seven Year Itchwhich he directed, andBall of FireandNinotchkawhich he co-wrote. TheAmerican Film Institutehas ranked four of Wilder's films among theirtop 100 American films of the 20th century:Sunset Blvd.(no. 12),Some Like It Hot(no. 14),Double Indemnity(no. 38) andThe Apartment(no. 93). For thetenth anniversary edition of their list, the AFI movedSunset Blvd.to No. 16,Some Like it Hotto No. 22,Double Indemnityto No. 29 andThe Apartmentto No. 80. Spanish filmmakerFernando Truebasaid in his acceptance speech for the 1993 Best Non-English Speaking FilmOscar: "I would like to believe in God in order to thank him. But I just believe in Billy Wilder... so, thank you Mr. Wilder." According to Trueba, Wilder called him the day after and told him: "Fernando, it's God." French filmmakerMichel Hazanaviciusalso thanked Billy Wilder in the 2012 Best PictureOscaracceptance speech forThe Artistby saying "I would like to thank the following three people, I would like to thank Billy Wilder, I would like to thank Billy Wilder, and I would like to thank Billy Wilder." Wilder's 12Academy Awardnominations for screenwriting were a record until 1997 whenWoody Allenreceived a 13th nomination forDeconstructing Harry. Filmography[edit] Main article:Billy Wilder filmography Awards[edit] Wilder received a total of twenty-one Academy Award nominations; eight for Best Director, twelve for writing, and one as the producer of Best Picture. With eight nominations forAcademy Award for Best Director, Wilder is, together withMartin Scorsese, the second most nominated director in the history of the Academy Awards, behindWilliam Wyler, and the second most nominated screenwriter behindWoody Allen. Wilder won a total of six Oscars: Best Director forThe Lost WeekendandThe Apartment, Best Screenplay for The Lost Weekend,Sunset Blvd.and The Apartment, and Best Picture for The Apartment. In addition, he received theIrving G. Thalberg Memorial Awardin 1988. · Writers Guild of America west (WGA/W) –Screen Laurel Award, 1957 (withCharles Brackett) and 1980 (withI.A.L. Diamond). In addition to the career awards, Wilder was nominated 15 times for WGA Screenplay awards, winning five times, despite the fact that the award was not offered until 1948. · Directors Guild of America (DGA) – D.W. Griffith Award, 1985 (renamed the DGA Lifetime Achievement Award in 1999). In addition to the career award, Wilder was nominated eight times for the DGA Screen Director award, winning for 1960'sThe Apartment. · WGAw/DGA – Preston Sturges Award, 1991 · Golden Globes: Wilder won five Golden Globes after the awards started in 1944: twice as the producer of Best Picture winners (Some Like It HotandThe Apartment); twice as a director (The Lost WeekendandSunset Blvd.), and once as a screenwriter (Sabrina, but this award wasn't presented from 1955 to 1965, during Wilder's most successful years). · Honorary Golden Bear at the43rd Berlin International Film Festival(1993).[17] Academy Award nominations[edit] Year Award Film Result 1939 Best Writing, Screenplay Ninotchka Sidney Howard–Gone with the Wind 1941 Best Writing, Screenplay Hold Back the Dawn Sidney BuchmanandSeton I. Miller–Here Comes Mr. Jordan Best Writing, Original Story Ball of Fire Harry Segall–Here Comes Mr. Jordan 1944 Best Director Double Indemnity Leo McCarey–Going My Way Best Writing, Screenplay Frank ButlerandFrank Cavett–Going My Way 1945 Best Director The Lost Weekend Won Best Writing, Screenplay Won 1948 Best Writing, Screenplay A Foreign Affair John Huston–The Treasure of the Sierra Madre 1950 Best Director Sunset Blvd. Joseph L. Mankiewicz–All About Eve Best Writing, Story and Screenplay Won 1951 Best Writing, Story and Screenplay Ace in the Hole Alan Jay Lerner–An American in Paris 1953 Best Director Stalag 17 Fred Zinnemann–From Here to Eternity 1954 Best Director Sabrina Elia Kazan–On the Waterfront Best Writing, Screenplay George Seaton–The Country Girl 1957 Best Director Witness for the Prosecution David Lean–The Bridge on the River Kwai 1959 Best Director Some Like It Hot William Wyler–Ben-Hur Best Writing, Screenplay Based on Material from Another Medium Neil Paterson–Room at the Top 1960 Best Motion Picture The Apartment Won Best Director Won Best Writing, Story and Screenplay Written Directly for the Screen Won 1966 Best Writing, Story and Screenplay Written Directly for the Screen The Fortune Cookie Claude Lelouch–A Man and a Woman 1987 Irving G. Thalberg Memorial Award Won Directed Academy Award performances[edit] Year Performer Film Result Academy Award for Best Actor 1945 Ray Milland The Lost Weekend Won 1950 William Holden Sunset Blvd. Nominated 1953 William Holden Stalag 17 Won 1957 Charles Laughton Witness for the Prosecution Nominated 1959 Jack Lemmon Some Like It Hot Nominated 1960 Jack Lemmon The Apartment Nominated Academy Award for Best Actress 1944 Barbara Stanwyck Double Indemnity Nominated 1950 Gloria Swanson Sunset Blvd. Nominated 1954 Audrey Hepburn Sabrina Nominated 1960 Shirley MacLaine The Apartment Nominated 1963 Shirley MacLaine Irma la Douce Nominated Academy Award for Best Supporting Actor 1950 Erich von Stroheim Sunset Blvd. Nominated 1953 Robert Strauss Stalag 17 Nominated 1960 Jack Kruschen The Apartment Nominated 1966 Walter Matthau The Fortune Cookie Won Academy Award for Best Supporting Actress 1950 Nancy Olson Sunset Blvd. Nominated 1957 Elsa Lanchester Witness for the Prosecution Nominated Major awards for directed films[edit] Year Film Academy Award Noms. Academy Award Wins Golden Globe Noms. Golden Globe Wins (beg. 1943) DGA Award (beg. 1948) WGA Award (beg. 1948) 1934 Mauvaise Graine 1942 The Major and the Minor 1943 Five Graves to Cairo 3 * 1944 Double Indemnity 7 * 1945 The Lost Weekend 7 4 * 3 1948 The Emperor Waltz 2 * Nominated A Foreign Affair 2 * Nominated 1950 Sunset Blvd. 11 3 7 4 Nominated Won 1951 Ace in the Hole 1 1953 Stalag 17 3 1 * Nominated Nominated 1954 Sabrina 4 1 * 1 Nominated Won 1955 The Seven Year Itch * 1 Nominated Nominated 1957 The Spirit of St. Louis 1 Love in the Afternoon 3 Nominated Won Witness for the Prosecution 6 5 1 Nominated 1959 Some Like It Hot 6 1 3 3 Nominated Won 1960 The Apartment 10 5 4 3 Won Won 1961 One, Two, Three 1 2 Nominated 1963 Irma la Douce 3 1 3 1 Nominated 1964 Kiss Me, Stupid 1966 The Fortune Cookie 4 1 1 Nominated 1970 The Private Life of Sherlock Holmes Nominated 1972 Avanti! 6 1 Nominated 1974 The Front Page 3 Nominated 1978 Fedora 1981 Buddy Buddy · Only Golden Globe winners reported in these years ***The Sheepmanis a tongue-in-cheek 1958Western filmdirected byGeorge Marshalland starringGlenn Ford,Shirley MacLaine, andLeslie Nielsen. Contents 1 Plot 2 Cast 3 Box office 4 Award nominations 5 See also 6 References 7 External links Plot[edit] Gambler Jason Sweet (Ford) wins a herd of sheep in a poker game and proceeds to take them by train into the middle of cattle country. Before long, the townsfolk take notice (and object), but Sweet is more than up to the challenge. The first thing he does is pick a fight with the roughest, toughest man around, "Jumbo" McCall (Mickey Shaughnessy), and beat him up. He also reveals himself to be an expert with a gun. Dell Payton (Shirley MacLaine) does not know what to make of him, but is attracted to him, as is he to her. Her fiancé, local cattle baron "Colonel" Steven Bedford (Nielsen), is troubled by this and also because Sweet and he know each other. The newcomer recognizes Bedford as an old acquaintance, Johnny Bledsoe, a card sharp and gunfighter gone respectable. When Bedford finds himself losing their battle for domination, despite initially having the whole town behind him, he sends for professional gunman Chocktaw Neal (Pernell Roberts). Chocktaw and his two buddies all have grudges against Sweet. Chocktaw tries to goad Sweet into a shootout, but Sweet spots Chocktaw's friends, aiming at him with their rifles. Dell and Milt Masters (Edgar Buchanan) are able to disarm them, and Sweet is quicker to the draw than Chocktaw. The final showdown comes down to Bedford and Sweet. Sweet is faster and smarter, and Bedford ends up dead. Then, to Dell's utter astonishment, Sweet sells the sheep so he can buy cattle. He explains he only kept them because he refused to be pushed around by anybody. The couple then rides away together. Cast[edit] Glenn Fordas Jason Sweet Shirley MacLaineas Dell Payton Leslie Nielsenas "Colonel" Stephen Bedford / Johnny Bledsoe Mickey Shaughnessyas "Jumbo" McCall Edgar Buchananas Milt Masters Willis Boucheyas Frank Payton, Dell's father Pernell Robertsas Chocktaw Neal Slim Pickensas Marshal, who goes fishing whenever there is likely to be trouble Robert 'Buzz' Henryas Red Pedro Gonzalez Gonzalezas Angelo, one of Sweet's shepherds Box office[edit] According to MGM records, the film earned $1,535,000 in the US and Canada and $2.2 million elsewhere, resulting in a profit of $976,000.[1] Award nominations[edit] William BowersandJames Edward Grantwere nominated for anAcademy Award for Best Writing, Story and Screenplay - Written Directly for the Screen. The twoBAFTAnominations were: Best Film from any source, and Glenn Ford for Best Foreign Actor. 3496



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