Billy Wilder (22 June 1906 – 27 March 2002) was an Austro-Hungarian born American filmmaker, screenwriter, producer, artist, and journalist, whose career spanned more than 50 years and 60 films. He is regarded as one of the most brilliant and versatile filmmakers of Hollywood's golden age. Wilder is one of only five people to have won Academy Awards as producer, director, and writer for the same film (The Apartment).
Wilder became a screenwriter in the late 1920s while living in Berlin. After the rise of Nazi Party, Wilder, who was Jewish, left for Paris, where he made his directorial debut. He relocated to Hollywood in 1933, and in 1939 he had a hit when he co-wrote the screenplay to the screwball comedy Ninotchka. Wilder established his directorial reputation after helming Double Indemnity (1944), a film noir he co-wrote with mystery novelist Raymond Chandler. Wilder earned the Best Director and Best Screenplay Academy Awards for the adaptation of a Charles R. Jackson story The Lost Weekend, about alcoholism. In 1950, Wilder co-wrote and directed the critically acclaimed Sunset Boulevard.
From the mid-1950s on, Wilder made mostly comedies.[1] Among the classics Wilder created in this period are the farces The Seven Year Itch (1955) and Some Like It Hot (1959), satires such as The Apartment (1960), and the drama comedy Sabrina (1954). He directed fourteen different actors in Oscar-nominated performances. Wilder was recognized with the American Film Institute (AFI) Life Achievement Award in 1986. In 1988, Wilder was awarded the Irving G. Thalberg Memorial Award. In 1993, he was awarded the National Medal of Arts. Wilder has attained a significant place in the history of Hollywood censorship for his role in expanding the range of acceptable subject matter.
Born Samuel Wilder to a Jewish family in Sucha Beskidzka, Austria-Hungary (now Poland) to Max Wilder and Eugenia Dittler, Wilder was nicknamed Billie by his mother (he changed that to "Billy" after arriving in America). 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 to Vienna, where Wilder attended school. Instead of attending the University of Vienna Wilder became a journalist. To advance his career Wilder decided to move to Berlin, Germany. While in Berlin, before achieving success as a writer, Wilder allegedly worked as a taxi dancer.[2][3]
After writing crime and sports stories as a stringer for local newspapers, he was eventually offered a regular job at a Berlin tabloid. Developing an interest in film, he began working as a screenwriter. He collaborated with several other tyros (with Fred Zinnemann and Robert Siodmak on the 1929 feature People on Sunday). He wrote the screenplay for the 1931 film adaptation of a novel by Erich Kästner, Emil and the Detectives. After the rise of Adolf Hitler, Wilder, a Jew, left for Paris, where he made his directorial debut with the 1934 film Mauvaise Graine. He relocated to Hollywood prior to its release. As Austrian Wilder-biographer Andreas Hutter found out in 2011 in Polish and Israeli archives, his mother, grandmother, and stepfather did not perish in the Auschwitz concentration camp as assumed and passed on for decades: Mother Gitla Siedlisker was murdered in 1943 in the Plaszow concentration camp (known from Schindler's List), stepfather Bernard (Berl) Siedlisker died in 1942 in the Belzec concentration camp, grandmother Balbina Baldinger in 1943 in the ghetto of Nowy Targ.[4]
After arriving in Hollywood in 1933, Wilder continued his career as a screenwriter. He became a naturalized citizen of the United States in 1934. Wilder's first significant success was Ninotchka in 1939, a collaboration with fellow German immigrant Ernst Lubitsch. This screwball comedy starred Greta Garbo (generally known as a tragic heroine in film melodramas), 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 first Academy Award nomination, which he shared with co-writer Charles Brackett (although their collaboration on Bluebeard's Eighth Wife and Midnight had been well received). For twelve years Wilder co-wrote many of his films with Brackett, from 1938 through 1950. He followed Ninotchka with a series of box office hits in 1942, including his Hold Back the Dawn and Ball of Fire, as well as his directorial feature debut, The Major and the Minor.
He had a major impact his third film as director with Double Indemnity (1944), a film noir, nominated for Best Director and Screenplay, which was co-written with mystery novelist Raymond Chandler; the two men though did not get along. Double Indemnity not only set conventions for the noir genre (such as "venetian blind" lighting and voice-over narration), but was also a landmark in the battle against Hollywood censorship. The original James M. Cain novel Double Indemnity featured 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 the Hays Code, because adultery was central to its plot. Double Indemnity is credited by some as the first true film noir, combining the stylistic elements of Citizen Kane with the narrative elements of The Maltese Falcon (1941). Wilder was the Editors Supervisor in the 1945 US Army Signal Corps documentary/propaganda film Death Mills.
Two years later, Wilder earned the Best Director and Best Screenplay Academy Awards for the adaptation of a Charles R. Jackson story The Lost Weekend (1945), the first major American film to make a serious examination of alcoholism, another difficult theme under the Production Code. In 1950, Wilder co-wrote and directed the dark and cynical and critically acclaimed Sunset Boulevard, which paired rising star William Holden with Gloria Swanson. Swanson played Norma Desmond, a reclusive silent film star who dreams of a comeback; Holden is an aspiring screenwriter who becomes a kept man.
In 1951, Wilder followed Sunset Boulevard with Ace in the Hole (aka The Big Carnival), a tale of media exploitation of a caving accident. It was a critical and commercial failure at the time, but its reputation has grown over the years. In the fifties, Wilder also directed two adaptations of Broadway plays, the prisoner of war drama Stalag 17 (1953), which resulted in a Best Actor Oscar for William Holden, and the Agatha Christie mystery Witness 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 star Laurel and Hardy. He then held discussions with Groucho Marx concerning a new Marx Brothers comedy, tentatively titled "A Day at the U.N." This project was abandoned when Chico Marx died in 1961.[5]
From the mid-1950s onwards, Wilder made mostly comedies.[1] Among the classics Wilder created in this period are the farces The Seven Year Itch (1955) and Some Like It Hot (1959), satires such as The Apartment (1960), and the romantic comedy Sabrina (1954). Wilder's humor is sometimes sardonic. In Love in the Afternoon (1957), a young and innocent Audrey Hepburn does not wish to be young or innocent with playboy Gary Cooper, and pretends to be a married woman in search of extramarital amusement. The film was Wilder's first collaboration with writer-producer I. A. L. Diamond, an association that continued until the end of both men's careers.
In 1959, United Artists released Wilder's Prohibition-era farce Some Like It Hot without a Production Code seal of approval, withheld due to the film's unabashed sexual comedy, including a central cross-dressing theme. Jack Lemmon and Tony Curtis play musicians who disguise themselves as women to escape pursuit by a Chicago gang. Curtis's character courts a singer played by Marilyn Monroe, while Lemmon is wooed by Joe 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". The film's box-office success, record-breaking for a comedy, is widely considered to be one of the final nails in the coffin of the Hays code. After winning three Academy Awards for 1960's The Apartment (for Best Picture, Director, and Screenplay), Wilder's career slowed. His Cold War farce One, Two, Three (1961) featured a rousing comic performance by James Cagney, but was followed by apparently lesser films but now of cult status such as Irma la Douce and Kiss Me, Stupid. Wilder gained his last Oscar nomination for his screenplay The Fortune Cookie (UK: Meet Whiplash Willie) (1966). His 1970 film The Private Life of Sherlock Holmes was intended as a major roadshow release, but was heavily cut by the studio and has never been fully restored. Later films such as Fedora (1978) and Buddy Buddy (1981) failed to impress critics or the public.
After that Wilder never ceased to complain that Hollywood was making a big mistake by not giving him any films to direct. He did so at film festivals, in interviews, on television, and whenever he had the opportunity. He often hinted that he was being discriminated against, due to his age. His complaining did not help: 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 Webber stage musical version of Sunset Boulevard. The musical itself had an uneven success and is generally considered to be one of the least of Webber's musicals.
Wilder's directorial choices reflected his belief in the primacy of writing. He avoided the exuberant cinematography of Alfred Hitchcock and Orson Welles because, 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 was 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.[6] Wilder was skilled at working with actors, coaxing silent era legends Gloria Swanson and Erich von Stroheim out of retirement for roles in Sunset Boulevard. For Stalag 17, Wilder squeezed an Oscar-winning performance out of a reluctant William Holden (Holden wanted to make his character more likeable; Wilder refused). Wilder sometimes cast against type for major parts such as Fred MacMurray in Double Indemnity and The 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 Bogart shed his tough guy image to give one of his warmest performances in Sabrina. James Cagney, not usually known for comedy, was memorable in a high-octane comic role for Wilder's One, Two, Three. Wilder coaxed a very effective, and in some ways memorable performance out of Marilyn Monroe in Some Like It Hot.
In total, he directed fourteen different actors in Oscar-nominated performances: Barbara Stanwyck in Double Indemnity, Ray Milland in The Lost Weekend, William Holden in Sunset Boulevard and Stalag 17, Gloria Swanson in Sunset Boulevard, Erich von Stroheim in Sunset Boulevard, Nancy Olson in Sunset Boulevard, Robert Strauss in Stalag 17, Audrey Hepburn in Sabrina, Charles Laughton in Witness for the Prosecution, Elsa Lanchester in Witness for the Prosecution, Jack Lemmon in Some Like It Hot and The Apartment, Jack Kruschen in The Apartment, Shirley MacLaine in The Apartment and Irma la Douce and Walter Matthau in The Fortune Cookie. Milland, Holden and Matthau won Oscars for their performances in Wilder films. Wilder mentored Jack Lemmon and was the first director to pair him with Walter Matthau, in The 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 critic David Thomson, author of A Biographical Dictionary of Film, and other works. Thomson summarizes his attitude toward Wilder by saying, "I remain skeptical."[7] 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 critic Andrew Sarris did not approve of Wilder for a long time but then changed his attitude much later.[8]
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. Of the blacklisted 'Hollywood Ten' Wilder famously quipped, "Of the ten, two had talent, and the rest were just unfriendly". Wilder reveled in poking fun at those who took politics too seriously. In Ball of Fire, his burlesque queen 'Sugarpuss' points at her sore throat and complains "Pink? It's as red as the Daily Worker and twice as sore." Later, she gives the overbearing and unsmiling housemaid the name "Franco". Wilder is sometimes confused with director William Wyler; the confusion is understandable, as both were German-speaking Jews with 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 and film noir type dramas.
Wilder was recognized with the AFI Life Achievement Award in 1986. In 1988, Wilder was awarded the Irving G. Thalberg Memorial Award. In 1993, he was awarded the National Medal of Arts. He has a star on the Hollywood 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 80’s, “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.” [9] A few years before he died, Wilder agreed to a sale of most of the collection at an auction, netting a very large sum of money. He said that he was not selling the art to make money, but that he had enjoyed it as much as he could; he wanted others to have a chance to own it.
Wilder’s artistic ambitions led him to create a series of works all his own. By the early 90’s, Wilder had amassed a beguiling assortment of plastic-artistic constructions, many of which were made in collaboration with artist Bruce Houston. In 1993, art dealer Louis Stern, a long time friend, helped organize an exhibition of Wilder’s work at his Beverly Hills gallery. The exhibition was entitled Billy Wilder’s Marché aux Puces and the Variations on the Theme of Queen Nefertete segment was an unqualified crowd pleaser. This series featured busts of the ravishing Egyptian queen wrapped a la Christo or splattered a la Jackson Pollock or sporting a Campbell’s soup can in homage to Warhol.[10]
Wilder died in 2002 of pneumonia at the age of 95 after battling health problems, including cancer, in Los Angeles, California and was interred in the Westwood Village Memorial Park Cemetery in Westwood, Los Angeles, California near Jack Lemmon. Marilyn Monroe's crypt is located in the same cemetery. Wilder died the same day as two other comedy legends: Milton Berle and Dudley Moore. The next day, French newspaper Le Monde titled its first-page obituary, "Billy Wilder dies. Nobody's perfect", quoting the final gag line in Some Like It Hot.
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 in Double Indemnity and Sunset Boulevard. Along with Woody Allen and the Marx Brothers, he leads the list of films on the American Film Institute's list of 100 funniest American films with 5 films written and holds the honor of holding the top spot with Some Like it Hot. Also on the list are The Apartment and The Seven Year Itch which he directed, and Ball of Fire and Ninotchka which he co-wrote. The American Film Institute has ranked four of Wilder's films among their top 100 American films of the 20th century: Sunset Boulevard (no. 12), Some Like It Hot (no. 14), Double Indemnity (no. 38) and The Apartment (no. 93). For the tenth anniversary edition of their list, the AFI moved Sunset Blvd. to #16, Some Like it Hot to #22, Double Indemnity to #29 and The Apartment to #80.
Spanish filmmaker Fernando Trueba said in his acceptance speech for the 1993 Best Non-English Speaking Film Oscar: "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 filmmaker Michel Hazanavicius also thanked Billy Wilder in the 2012 Best Picture Oscar acceptance speech for The Artist by 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 12 Academy Award nominations for screenwriting were a record until 1997 when Woody Allen received a 13th nomination for Deconstructing Harry.
With eight nominations for Academy Award for Best Director, Wilder is the second most nominated director in the history of the Academy Awards, behind William Wyler. Out of these nominations, Wilder won two Oscars.
Writers Guild of America west (WGAw) - Laurel Award, 1957 (with Charles Brackett) and 1980 (with I.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's The 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 Hot and The Apartment); twice as a director (The Lost Weekend and Sunset Boulevard), and once as a screenwriter (Sabrina, but this award wasn't presented from 1955 to 1965, during Wilder's most successful years).
In 1993, Wilder was awarded with an Honorary Golden Bear at the 43rd Berlin International Film Festival.[11]
| Year |
Award |
Film |
Result |
| 1939 |
Best Writing, Screenplay |
Ninotchka |
Sidney Howard – Gone with the Wind |
| 1941 |
Best Writing, Screenplay |
Hold Back the Dawn |
Sidney Buchman and Seton 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 Butler and Frank 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 Boulevard |
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 |
- -- Only Golden Globe winners reported in these years
- ^ a b Cook, David A. (2004). A History of Narrative: Film Fourth Edition. W. W. Norton & Company. ISBN 0-393-97868-0.
- ^ Philips, Alastair. City of Darkness, City of Light: Emigre Filmmakers in Paris, 1929-1939. Amsterdam University Press, 2004. Page 190.
- ^ Silvester, Christopher. The Grove Book of Hollywood. Grove Press, 2002. Page 311
- ^ Andreas Hutter and Heinz Peters: Gitla stand nicht auf Schindlers Liste. (Gitla did not make it on Schindler's List) In: Neue Zuercher Zeitung (Zurich, Switzerland) October 6th 2011.
- ^ Gore, Chris (1999). The Fifty Greatest Movies Never Made, New York: St. Martin's Griffin
- ^ "One Head Is Better than Two," in Films and Filming (London), February 1957.
- ^ David Thomson A Biographical Dictionary of Film, London: Little, Brown, 2002, p.936
- ^ Andrew Sarris, in The American Cinema: Directors and Directions 1929-1968 (Da Capo, 1996 [originally published in 1968], p.166) commented that Wilder is too "cynical to believe even his own cynicism" and referred to the "superficial nastiness of his personality". "You Ain't Heard Nothin' Yet": The American Talking Film, History and Memory, 1927-1949 (1998) contains Sarris's revised opinion.
- ^ On Sunset Boulevard – the Life and Times of Billy Wilder, Ed Sikov, “ In Turnaround”, pg. 582.
- ^ Nobody’s Perfect, Billy Wilder – A Personal Biography, Charlotte Chandler, “Nefertete”, pg. 317.
- ^ "Berlinale: 1993 Prize Winners". berlinale.de. http://www.berlinale.de/en/archiv/jahresarchive/1993/03_preistr_ger_1993/03_Preistraeger_1993.html. Retrieved 2011-05-29.
- Phillips, Gene D., "Some Like it Wilder" (The University Press of Kentucky: 2010)
- Armstrong, Richard, Billy Wilder, American Film Realist (McFarland & Company, Inc.: 2000)
- Dan Auiler, "Some Like it Hot" (Taschen, 2001)
- Chandler, Charlotte, Nobody's Perfect. Billy Wilder. A Personal Biography (New York: Schuster & Schuster, 2002)
- Crowe, Cameron, Conversations with Wilder (New York: Knopf, 2001)
- Guilbert, Georges-Claude, Literary Readings of Billy Wilder (Newcastle: Cambridge Scholars Publishing, 2007)
- Hermsdorf, Daniel, Billy Wilder. Filme - Motive - Kontroverses (Bochum: Paragon-Verlag, 2006)
- Hopp, Glenn, Billy Wilder (Pocket Essentials: 2001)
- Hopp, Glenn / Duncan, Paul, Billy Wilder (Köln / New York: Taschen, 2003)
- Horton, Robert, Billy Wilder Interviews (University Press of Mississippi, 2001)
- Hutter, Andreas / Kamolz, Klaus, Billie Wilder. Eine europäische Karriere (Vienna, Cologne, Weimar: Boehlau, 1998)
- Gyurko, Lanin A., The Shattered Screen. Myth and Demythification in the Art of Carlos Fuentes and Billy Wilder (New Orleans: University Press of the South, 2009)
- Jacobs, Jérôme, Billy Wilder (Paris: Rivages Cinéma, 2006)
- Lally, Kevin, Wilder Times: The Life of Billy Wilder (Henry Holt & Co: 1st ed edition, May 1996)
- Sikov, Ed, On Sunset Boulevard. The Life and Times of Billy Wilder (New York: Hyperion, 1999)
- Neil Sinyard & Adrian Turner, "Journey Down Sunset Boulevard" (BCW, Isle of Wight, UK, 1979)
- Tom Wood, The Bright Side of Billy Wilder, Primarily (New York: Doubleday & Company, Inc, 1969)
- Zolotow, Maurice, Billy Wilder in Hollywood (Pompton Plains: Limelight Editions, 2004)
- Hellmuth Karasek, Billy Wilder, eine Nahaufnahme (Heyne, 2002)
|
Films directed by Billy Wilder
|
|
| 1930s |
|
|
| 1940s |
|
|
| 1950s |
|
|
| 1960s |
|
|
| 1970s |
|
|
| 1980s |
|
|
|
Awards for Billy Wilder
|
|
|
|
|
| 1990 |
|
|
| 1991 |
|
|
| 1992 |
|
|
| 1993 |
|
|
| 1994 |
|
|
| 1995 |
|
|
| 1996 |
|
|
| 1997 |
|
|
| 1998 |
|
|
| 1999 |
|
|
|
|
|
|
|
| Persondata |
| Name |
Wilder, Billy |
| Alternative names |
Wilder, Samuel |
| Short description |
Austrian-born, Jewish-American journalist, screenwriter, film director, and producer |
| Date of birth |
June 22, 1906 |
| Place of birth |
Sucha, Galicia, Austria-Hungary (now Sucha Beskidzka, Poland) |
| Date of death |
March 27, 2002 |
| Place of death |
Beverly Hills, California, U.S. |
![Death Mills [Todesmuehlen] (1945).](http://web.archive.org./web/20130807061052im_/http://i.ytimg.com/vi/m1ES8MiK5zA/default.jpg "Death Mills [Todesmuehlen] (1945).")
![Veronika Voss (1982) Fassbinder [English Subtitles]](http://web.archive.org./web/20130807061052im_/http://i.ytimg.com/vi/4N4duda5ei8/default.jpg "Veronika Voss (1982) Fassbinder [English Subtitles]")
.jpg)
