By Georges-Claude Guilbert
Billy Wilder, hailed via such a lot as a good filmmaker, frequently thought of himself essentially as a author. but to this present day no writer had suggestion healthy to unlock literary interpretations of his paintings. Such an pastime was once in actual fact lacking. the assumption of this ebook is to supply educational yet non airtight readings of 9 of his most important movies, knowledgeable by means of literary feedback, Gender experiences, semiotics, movie stories, and the creative sensibility of its members. Literary Readings of Billy Wilder should still please movie scholars, English scholars and Wilder fanatics alike.
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Additional resources for Literary Readings of Billy Wilder
That is Gordon Cole in his office. And that is Cecil B. DeMille, with his regular cast and crew, on the set of Samson and Delilah—the kind of biblical hokum he made in his silent days, and which can only give credence to Norma’s belief that he will direct Salome. Stronger attention only increases this slippage between fiction and fact, between movies being made and already made, movies now and movies forgotten, moves imagined and those yet to come. Betty and Joe stroll through the set of Washington Square, used the year before in William Wyler’s The Heiress, which starred Montgomery Clift, whose success in it made him first choice to play Joe Gillis.
He thought Sunset Boulevard was too ghastly. He won an Oscar for it, but he wanted nothing to do with it. 19 Asked how his relationship with Brackett ended, Wilder relates how: We were having a discussion one day in a car, parked at the studio. Nothing to do with pictures—a personal discussion about his grandson, I think. Then it turned. He kind of flew off the handle. He just… (Pauses, admits thoughtfully:) I kind of made him dismiss me. And that’s how it ended… on a discussion of something personal.
44. 26 Ibid. 27 Mann, p. 206. 25 ISN’T IT ROMANTIC? SOME SHOTS FROM SABRINA ROBERT F. GROSS, HOBART AND WILLIAM SMITH COLLEGES Shot #1 The last scene of the film unfolds in a single shot. The setting is the deck of an ocean liner. The camera tracks along the empty deck chairs and stops at the figure of a melancholy young woman, stylishly dressed, coiffed, and made up, accompanied by a French poodle that has been groomed with equal meticulousness and seems to exist as an easily managed wardrobe accessory rather than a living creature.