Billy Wilder


Director, Screenwriter
Billy Wilder

About

Also Known As
Samuel Wilder, Billie Wilder
Birth Place
Austria
Born
June 22, 1906
Died
March 27, 2002
Cause of Death
Pneumonia

Biography

First and foremost a writer, Billy Wilder became, by his own admission, a director in an effort to protect his scripts from directors who he felt misinterpreted his work. Sometimes criticized for tempering the harshness of his vision in deference to commercial needs, Wilder operated with assurance across all genres, compiling an impressive body of work featuring dialogue over character -...

Photos & Videos

Ace in the Hole - Lobby Cards
Sunset Blvd. - Publicity Stills
Sabrina - Movie Posters

Family & Companions

Judith Coppicus Iribe
Wife
Married in 1936; divorced; one daughter together.
Audrey Wilder
Wife
Actor. Born c. 1923; married in 1949; was the brunette at the opera with Gary Cooper in "Love in the Afternoon" (1957).

Bibliography

"Conversations With Wilder"
Cameron Crowe (1999)
"On Sunset Boulevard: The Life and Times of Billy Wilder"
Ed Sikov, Hyperion (1998)
"Wilder Times"
Kevin Lally, Henry Holt & Co (1996)
"Billy Wilder in Hollywood"
Maurice Zolotow, G.P. Putnam's Sons (1977)

Notes

"People will do anything for money. Except some people. They will do almost anything for money." --Billy Wilder.

"All that's left on the cutting-room floor when I'm through are cigarette butts, chewing gum wrappers and tears. A director must be a policeman, a midwife, a psychoanalyst, a sycophant, and a bastard." --Billy Wilder.

Biography

First and foremost a writer, Billy Wilder became, by his own admission, a director in an effort to protect his scripts from directors who he felt misinterpreted his work. Sometimes criticized for tempering the harshness of his vision in deference to commercial needs, Wilder operated with assurance across all genres, compiling an impressive body of work featuring dialogue over character - its wit and astringent bite setting his oeuvre refreshingly apart from mainstream Hollywood fare. With the help of co-writer Raymond Chandler, he directed a masterpiece of film noir, "Double Indemnity" (1944), which he followed with "The Lost Weekend" (1945), a social drama that delivered an uncompromising look at alcoholism. After the great war drama "Stalag 17" (1953), Wilder created a variation on the comedy of manners and seduction in films such as "Sabrina" (1954) and "Love in the Afternoon" (1957), mixed black comedy and farce for "Some Like It Hot" (1959 - his most entertaining movie - and alienated Hollywood with the cruel and haunting "Sunset Boulevard" (1950). Wilder had long collaborations with writers Charles Brackett and I.A.L. Diamond, and directed his greatest achievement, "The Apartment" (1960), in partnership with the latter. After the comedies "One, Two, Three" (1961) and "Irma La Douce" (1963), Wilder spent the next decade and a half in a career slide that ended with the slight "Buddy, Buddy" (1981), his last directing effort. Though away for the camera for the next two decades, Wilder lived on as one of classic Hollywood's most accomplished directors.

Born on June 22, 1906 in Sucha, Galicia, Austria, Wilder was raised in a Jewish family by his father, Max, a successful businessman and hotel proprietor who owned a popular cake shop in his hometown's train station, and his mother, Eugenie, a homemaker who later died at the Auschwitz concentration camp during the Holocaust. Unable to be lured into the family business, Wilder instead chose the path of becoming a writer and dropped out of the University to work as a journalist at the tabloid Die Stunde, where he wrote interviews, as well as crime and sports stories. He moved to Berlin when he was 20 years old and continued working as a stringer for various local newspapers while allegedly moonlighting as a dancer. At this time, Wilder began moving toward screenwriting and co-wrote "Menschen am Sonntag" ("People on Sunday") (1929), which brought him into collaboration with future Hollywood players Robert and Curt Siodmak, Edgar G. Ulmer and Fred Zinnemann. That same year, he joined his collaborators at UFA, Germany's premiere film studio at the time, where Wilder enjoyed a number of successes, including Gerhard Lamprecht's "Emil und die Detektive" (1931) and "Der Mann, der Seinen Morder Sucht" (1931), which reunited him with Siodmak. In 1933, Wilder fled Germany after Adolf Hitler's rise to power and settled for a short time in Paris, where he directed his first film, "Mauvaise Graine" ("Bad Blood") (1934), a comedy about a carefree young man (Pierre Mingland) who falls out of favor with his wealthy father and becomes involved in a gang of car thieves, particularly with their decoy (Danielle Darrieux). Wilder left Paris for Hollywood before the film's release, where he continued working as a screenwriter, receiving his first American credit on "Adorable" (1933).

After a rough start due to his lack of English, Wilder effectively launched his Hollywood career with "One Exciting Adventure" (1934) and "Music in the Air" (1934), starring Gloria Swanson. He had his first taste of success when Paramount producer Arthur Hornblower matched him with veteran screenwriter Charles Brackett on Ernst Lubitsch's "Bluebeard's Eighth Wife" (1938), inaugurating a storied partnership that would go on to produce 14 screenplays and earn the pair two shared Academy Awards. Running his innumerable ideas past Brackett - the more gentlemanly of the two who often bristled at his more profane partner - Wilder enjoyed an incredibly volatile relationship with his co-writer behind closed doors, but the two joined forces to terrorize Paramount's front office and make life miserable for actors and directors who took liberties with their scripts. In the end, however, their personal and cultural differences proved too insurmountable and the pair disbanded in 1950. Wilder and Brackett wrote a second screenplay for Lubitsch, "Ninotchka" (1939), which provided German-born star Greta Garbo with the wonderfully comic role of an icy Russian agent who melts for a playboy (Melvyn Douglas) who makes her famously laugh onscreen. The hit film earned the two writers their first Academy Award nomination. They went on to earn two more nominations for Howard Hawks' "Ball of Fire" (1941) and Mitchell Leisen's "Hold Back the Dawn" (1941) - the latter director Wilder deemed incompetent.

Itching to try his hand at directing again, Wilder was given his chance with "The Major and the Minor" (1942), a sparkling farce about a young woman (Ginger Rogers) who pretends to be a 12-year-old to save train fare and finds herself under the wing of an Army major (Ray Milland) who protects her from the unwanted romantic intentions, only to find her falling in love with him. The picture proved to be a hit with audiences and critics, allowing Wilder to make his second picture, "Five Graves to Cairo" (1943), a war-time thriller starring Erich von Stroheim as German Field Marshal Rommel that proved to be another box office success and firmly established Wilder as a director to watch. Wilder went from promising new talent to irrefutable legend with his next picture, "Double Indemnity" (1944), often hailed as the greatest example of film noir ever made. Co-written with Raymond Chandler, the sharply focused study of human weakness in the face of lust and greed starred Fred MacMurray as a morally weak insurance salesman who is lured into an illicit affair with a calculating married woman (Barbara Stanwyck), only to find himself embroiled in a plot to killer her oil baron husband for the insurance money. Cynical and unsentimental, "Double Indemnity" featured superb performances from MacMurray, Stanwyck and Edward G. Robinson - all of whom were playing uncharacteristic roles - and earned seven Academy Award nominations. Despite not winning any, the film came to define film noir and lived on as an all-time classic. Wilder followed with "The Lost Weekend" (1945), a stark drama about a hopeless alcoholic writer (Ray Milland) who sees his life spiral out of control on a weekend bender. This time Wilder went home with Oscars for Best Picture, Best Director and Best Screenplay, the last he shared with Brackett.

Immediately following the conclusion of World War II, Wilder returned to Germany as a civilian with the rank of colonel to serve in the Psychological Warfare Division of the U.S. Army and, while working under CBS president William Paley, wrote a 400-page manual to help reconstruct the German film industry. The bewildering moral climate of the late 1940s was brilliantly captured in his biting political satire "A Foreign Affair" (1948), starring Marlene Dietrich as a torch singer with a Nazi past and straight-arrow Jean Arthur investigating black marketeering in post-war Berlin. Apparently, the post-war public was not ready to face such irreverence with wounds still fresh, which left Wilder's cynical film largely forgotten. Following his one and only try at musical comedy with "The Emperor Waltz" (1948), starring Bing Crosby and Joan Fontaine, Wilder directed arguably his best film, "Sunset Boulevard" (1950), a stunning film noir with deadpan humor about Joe Gillis, a struggling Hollywood writer (William Holden) hired by an aging silent screen star (Gloria Swanson) to writer her comeback picture, only to find himself a virtual prisoner in her gloomy 1920s mansion. Filmed in almost musty film noir black-and-white, "Sunset Boulevard" brilliantly featured Swanson's faded star Norma Desmond - allegedly named after scandal-laden stars Mabel Normand and William Desmond Taylor - as wallowing in isolation and delusion with endlessly quotable lines like "I am big! It's the pictures that got small!" and "Mr. DeMille, I'm ready for my close-up" as she descended the staircase the in the film's closing moment, accused of Gillis' murder. Nominated for 11 Academy Awards, Wilder and Brackett won for Best Screenplay, though it would be their last collaboration together.

Sans Brackett, Wilder was responsible for one of the darkest pictures ever to come from a commercial studio, "Ace in the Hole " (1951), starring Kirk Douglas as an embittered reporter who stumbles on the story of a man trapped in a cave-in and ruthlessly exploits the human interest angle by postponing a rescue for six days. As vast crowds and a carnival gather, the trapped man dies - a result of Wilder offering not one shred of human compassion or hope. The film was a flop, perhaps because its cynical tone was decades ahead of its time. He next directed the seminal World War II drama, "Stalag 17" (1953), which starred William Holden as an antisocial prisoner suspected of being an informer inside a Nazi camp. Wilder earned an Oscar nomination for Best Director, while Holden went on to win for Best Actor. The film itself was hailed by critics as one of the greatest World War II POW movies ever made. The director found himself nominated for Best Director and Best Screenplay once again for the lighthearted romantic comedy, "Sabrina" (1954), which starred Audrey Hepburn as the daughter of a wealthy family's chauffeur who goes away to school in Paris and returns a blossomed young woman, which leads to the family's two sons (Holden and Humphrey Bogart) to vie for her amorous attention. Though a bit more superficial and certainly not cynical like his best work, "Sabrina" nonetheless possessed his typically witty dialogue and a fairy-tale sense of possibility. With "Sabrina," Wilder entered a creative period in which he left behind his downbeat cynicism in favor of more lighthearted comedies that delivered some of the best movies he had to offer. He collaborated for the first time with Marilyn Monroe on "The Seven Year Itch" (1955), which featured the buxom bombshell as a naive model who attracts the attention of a book publisher (Tom Ewell) alone in Manhattan and fantasizing about his new neighbor after his family has been packed off for summer vacation. Both a big hit and positively received by critics, "Seven Year Itch" offered one of cinema's most iconic images, that of Monroe's white dress blowing up above her knees as she stood over a subway grate.

Wilder followed up that success with "The Spirit of St Louis" (1957), a rather uneven biopic of Charles Lindbergh (James Stewart) that was a commercial failure, and the better received courtroom drama "Witness for the Prosecution" (1957), starring Tyron Power, Marlene Dietrich and Charles Laughton. Wilder began his second great writing partnership with I.A.L. Diamond - a collaboration that lasted 12 films over the course of 24 years - on the elegant romantic comedy "Love in the Afternoon" (1957), an emphatic tribute to Ernst Lubitsch that showcased Gary Cooper as a wealthy businessman and Audrey Hepburn as a private eye's daughter whose snooping leads to her masquerading as a wealthy girl to attract his charms. The second project between Wilder and Diamond was the delightful, gender-bending comedy of errors, "Some Like It Hot" (1959), which starred Jack Lemmon and Tony Curtis as two bumbling musicians who accidentally witness the St. Valentine's Day mob murders and go on the lam disguised as women with an all-female band, with both ultimately falling for their sultry singer (Marilyn Monroe). A monster success at the box office, "Some Like It Hot" offered Monroe the best role of her career while earning six Academy Award nominations, including another nod for Wilder as Best Director. The film was a screwball masterpiece right to the end when Lemmon, taking off his wig and declaring himself a man to stop from marrying an amorous millionaire (Joe E. Brown), prompts the famous last line, "Well, nobody's perfect," thus capping a film widely considered one of the greatest comedies ever made.

Although Wilder and Diamond would co-write all the director's subsequent work, they reached their pinnacle - both awards-wise and creatively - on "The Apartment" (1960), a quiet, sad, often bitter comedy about the perennial conflict between love and money that earned Wilder three Academy Awards for producing, directing and writing. Art director Alexander Trauner, a collaborator on five other Wilder efforts, contributed handsomely, picking up an Oscar for designing the dehumanizing interior of the vast insurance office with its geometric rows of desks and clicking business machines. Again on display was the moral frailty of the cheating boss (MacMurray) and the spineless insurance clerk (Lemmon) who lends out his apartment to his superiors for their extra-marital affairs, obtaining a promotion and the coveted key to the executive washroom. Love wins out in the end, however, when Lemmon gets his girl, the pixie-ish Shirley MacLaine, showing for the first time the depth of her talent as MacMurray's discarded mistress. MacMurray received so much negative mail as the perfect heel that he never again took a role where his character could be questioned. Wilder's hot streak continued with the machine-gun paced comedy "One, Two, Three" (1961), starring James Cagney as a West Berlin-based Coca-Cola executive, and "Irma La Douce" (1963), the overly-long, but still successful music-less film based on a French musical about an inept cop (Lemmon) who falls for a prostitute (MacLaine). "Kiss Me, Stupid" (1964), condemned by the Catholic Legion of Decency for allowing adultery to go unpunished, began his commercial slide and marked the end to a fruitful period the likes of which few, if any directors before or since have experienced. With the improbably positive ending of the otherwise savage satire "The Fortune Cookie" (1966), some critics had declared that Wilder's time had passed. Still, the film was notable for being the first onscreen pairing between Jack Lemmon and Walter Matthau, the latter of whom suffered a heart attack during production, shutting down the film for weeks.

After working as an uncredited writer on the James Bond spoof, "Casino Royale" (1967), he directed "The Private Life of Sherlock Holmes" (1970), a mystery that focused less on the plot of a murder and more on the sordid details of Holmes' personal foibles. Though well-received by critics, the film failed at the box office. Throughout the 1970s, Wilder struggled to write and direct another financial hit, though the films he directed in this waning period grew in stature over time. His amusing comedy "Avanti!" (1972), about a wealthy American businessman (Lemmon) traveling to Italy to claim his father's dead body, only to fall for his father's mistress (Juliet Mills), earned mild critical praise and several Golden Globe nominations. Working again with Lemmon and Matthau, Wilder directed "The Front Page" (1974), a remake of the 1931 Lewis Milestone comedy that earned mixed reviews and little fanfare.

After reuniting with Holden in the old-fashioned drama, "Fedora" (1978), Wilder directed his final film, "Buddy, Buddy" (1981), an unfocused comedy with Lemmon and Matthau bumbling about as a failed suicide and a hitman, respectively, that failed at the box office and put an end to Wilder's career. The string of financial disappointments forced a reluctant Wilder into retirement, though he remained a vibrant link to classic Hollywood, always ready to oblige with a trademark quip, especially when accepting the many lifetime achievement awards that came his way, including the AFI Life Achievement Award and the Irving G. Thalberg Memorial Award. In fact, Wilder stayed visible - and alive - for the next two decades, living until he was 95, when he died on March 27, 2002 from pneumonia while battling a number of ailments, including cancer. A marvelous director of actors, he coaxed career performances out of Milland, Swanson, Holden, Curtis, Lemmon, Monroe and Rogers, and brought to the screen a sharp satirical eye for absurdity and cruelty. Whether they where dark and cynical or lighthearted and carefree, his movies were all marked by intelligence and affection, leaving no doubt that Wilder was a master storyteller with a great ear for a memorable line.

By Shawn Dwyer

Filmography

 

Director (Feature Film)

Buddy, Buddy (1981)
Director
Fedora (1978)
Director
The Front Page (1974)
Director
Avanti! (1972)
Director
The Private Life of Sherlock Holmes (1970)
Director
The Fortune Cookie (1966)
Director
Kiss Me, Stupid (1964)
Director
Irma La Douce (1963)
Director
One, Two, Three (1961)
Director
The Apartment (1960)
Director
Some Like It Hot (1959)
Director
The Spirit of St. Louis (1957)
Director
Love in the Afternoon (1957)
Director
Witness for the Prosecution (1957)
Director
The Seven Year Itch (1955)
Director
Sabrina (1954)
Director
Stalag 17 (1953)
Director
Ace in the Hole (1951)
Director
Sunset Blvd. (1950)
Director
A Foreign Affair (1948)
Director
The Emperor Waltz (1948)
Director
The Lost Weekend (1945)
Director
Double Indemnity (1944)
Director
Five Graves to Cairo (1943)
Director
The Major and the Minor (1942)
Director
Mauvaise Graine (1934)
Director

Cast (Feature Film)

The Shoe Store (1998)
Himself
Fred Macmurray: The Guy Next Door (1996)
Interviewee
Jack Lemmon: America's Everyman (1996)
Interviewee
A Personal Journey with Martin Scorsese Through American Movies (1995)
Himself
Audrey Hepburn: Remembered (1993)
Infant of Paradise: Alexandre Trauner & the Development of Film Production Design (1993)
Himself
The Exiles (1989)
Himself
Portrait of a 60% Perfect Man (1980)
Himself

Writer (Feature Film)

Sabrina (1995)
From Story
Witness for the Prosecution (1982)
From Screenplay ("Witness For The Prosecution")
Buddy, Buddy (1981)
Screenwriter
Fedora (1978)
Screenplay
The Front Page (1974)
Screenplay
Double Indemnity (1973)
From Screenplay ("Double Identity")
Avanti! (1972)
Screenwriter
The Private Life of Sherlock Holmes (1970)
Screenwriter
Casino Royale (1967)
Additional Dialogue
The Fortune Cookie (1966)
Screenwriter
Kiss Me, Stupid (1964)
Screenwriter
Irma La Douce (1963)
Screenwriter
One, Two, Three (1961)
Screenwriter
The Apartment (1960)
Writer
Some Like It Hot (1959)
Screenwriter
Love in the Afternoon (1957)
Screenwriter
Witness for the Prosecution (1957)
Screenwriter
The Spirit of St. Louis (1957)
Screenwriter
The Seven Year Itch (1955)
Screenwriter
Sabrina (1954)
Written for Screen by
Stalag 17 (1953)
Written for Screen by
Ace in the Hole (1951)
Writer
Sunset Blvd. (1950)
Writer
A Song Is Born (1948)
Based on the story "From A to Z" by
A Foreign Affair (1948)
Screenwriter
The Emperor Waltz (1948)
Writer
The Lost Weekend (1945)
Screenwriter
Double Indemnity (1944)
Screenwriter
Five Graves to Cairo (1943)
Screenwriter
Ball of Fire (1942)
Original Story
Ball of Fire (1942)
Screenwriter
The Major and the Minor (1942)
Written by
Hold Back the Dawn (1941)
Wrt by
Arise, My Love (1940)
Screenwriter
Rhythm on the River (1940)
Story
Ninotchka (1939)
Screenwriter
Midnight (1939)
Screenwriter
What a Life (1939)
Screenwriter
That Certain Age (1938)
Contract Writer
Bluebeard's Eighth Wife (1938)
Screenwriter
Champagne Waltz (1937)
Story
Lottery Lover (1935)
Screenwriter
Thunder in the Night (1935)
Contr to Screenplay const
Under Pressure (1935)
Revisions and addl dial
Music in the Air (1934)
Screenwriter
Mauvaise Graine (1934)
Screenwriter
Der Mann, der Seinen Morder Sucht (1931)
Screenwriter
People on Sunday (1930)
Screenplay
Der Teufelsreporter (1929)
Screenwriter

Producer (Feature Film)

Fedora (1978)
Producer
Avanti! (1972)
Producer
The Private Life of Sherlock Holmes (1970)
Producer
The Fortune Cookie (1966)
Producer
Kiss Me, Stupid (1964)
Producer
Irma La Douce (1963)
Producer
One, Two, Three (1961)
Producer
The Apartment (1960)
Producer
Some Like It Hot (1959)
Producer
The Spirit of St. Louis (1957)
Producer
Love in the Afternoon (1957)
Producer
The Seven Year Itch (1955)
Producer
Sabrina (1954)
Producer
Stalag 17 (1953)
Producer
Ace in the Hole (1951)
Producer

Production Companies (Feature Film)

Irma La Douce (1963)
Company

Misc. Crew (Feature Film)

The Shoe Store (1998)
Other
A Personal Journey with Martin Scorsese Through American Movies (1995)
Other
Infant of Paradise: Alexandre Trauner & the Development of Film Production Design (1993)
Other
Chicago Joe and the Showgirl (1990)
Other
The Exiles (1989)
Other
The Man Who Envied Women (1986)
Other
Marlene (1984)
Other
Dead Men Don't Wear Plaid (1982)
Other
The Man You Loved To Hate (1979)
Other

Cast (Special)

AFI's 100 Years... 100 Laughs (2000)
Gloria Swanson: The Greatest Star (1997)
Interviewee
The Kennedy Center Honors: A Celebration of the Performing Arts (1990)
The 18th Annual American Film Institute Life Achievement Award: A Salute to Sir David Lean (1990)
Performer
The 60th Annual Academy Awards Presentation (1988)
Performer
The American Film Institute Salute to Barbara Stanwyck (1987)
Performer
The 58th Annual Academy Awards Presentation (1986)
Presenter
Directed By William Wyler (1986)
Himself
The American Film Institute Salute to Billy Wilder (1986)
Performer

Misc. Crew (Special)

Directed By William Wyler (1986)
Other

Life Events

1914

Moved to Vienna at age 8 (date approximate)

1929

Worked as a screenwriter for UFA; among his sound pictures was Gerhard Lamprecht's version of "Emil and the Detectives" (1931)

1929

First film as co-screenwriter (with Curt Siodmak), the pseudo-documentary "Menschen am Sonntag/People on Sunday", co-directed by Robert Siodmak and Edgar G Ulmer

1933

Fled from Nazi Germany to Paris

1933

In France, made co-directing debut with Alexander Esway on "Mauvaise Graine/Bad Blood"; also co-wrote script

1933

First Hollywood credit, "Adorable", (shared a "from story" credit as film was based on 1931 German picture "Ihre Hoheit befiehlt")

1934

First screen credits after moving to Hollywood; "One Exciting Adventure" (co-story) and "Music in the Air" (as co-writer, billed as 'Billie Wilder'), latter starred Gloria Swanson

1934

Moved to Hollywood via Mexico; shared a room and "a can of soup a day" with actor Peter Lorre

1936

Teamed with Charles Brackett; first produced script, Ernst Lubitsch's "Bluebeard's Eighth Wife" (1938)

1939

With Brackett and Walter Reisch, co-wrote Lubitsch's "Ninotchka"; received first of 20 Academy Award nominations

1941

Scripted (with Brackett) Howard Hawks' "Ball of Fire"; Oscar-nominated for Best Original Story; also received Best Screenplay nomination (shared with Brackett) for "Hold Back the Dawn"

1942

Hollywood directing debut (also co-writer with Brackett), "The Major and the Minor", starring Ray Milland and Ginger Rogers

1943

First film directing actor Erich von Stroheim, "Five Graves to Cairo"

1944

Co-author (with Raymond Chandler) and director of "Double Indemnity", starring Barbara Stanwyck and Fred MacMurray; received first Best Director Academy Award nomination; also shared Best Screenplay nomination

1945

Captured first two Oscars for direction and script (written with Brackett) for "The Lost Weekend", starring Milland as an alcohlic in relentless pursuit of the next drink

1945

Returned to Berlin as colonel in charge of US Army Psychological Warfare Division

1948

Savagely sent-up America's military presence in post-World War II Berlin in "Foreign Affair"

1950

Directed last collaboration with Charles Brackett, "Sunset Boulevard", collecting two more Oscar nominations (and a win for Best Screenplay), starred Swanson, William Holden and von Stroheim

1951

First film as producer, "Ace in the Hole/The Big Carnival"; also directed and co-wrote

1953

Directed first of three successive adaptations of stage plays, "Stalag 17", picking up an Oscar nomination for Best Director; second film with Holden (who picked up a Best Actor statue)

1954

Helmed and co-adapted "Sabrina", earning Academy Award nominations for Best Director and Best Screenplay; third film with Holden

1955

First time directing Marilyn Monroe, "The Seven Year Itch"

1957

First collaboration with co-writer and producer I.A.L. Diamond, "Love in the Afternoon"; has been called "Wilder's most emphatic tribute to Lubitsch," a romantic comedy of the greatest elegance and charm

1957

Picked up Oscar nomination for directing "Witness for the Prosecution", adapted from the play by Agatha Christie

1959

Received Oscar nominations for directing and co-writing (with Diamond) "Some Like It Hot", starring Monroe, Tony Curtis and Jack Lemmon

1960

Won three Academy Awards, Best Picture, Best Director and Best Original Screenplay (shared with Diamond) for "The Apartment", which reunited him with MacMurray and Lemmon; first screen collaboration with Shirley MacLaine

1963

Reteamed with MacLaine and Lemmon for "Irma la Douce", his last box-office hit

1964

"Kiss Me Stupid" condemned by the Legion of Decency

1966

Final Oscar nomination for writing (with Diamond) "The Fortune Cookie", starring Lemon; also directed; Walter Matthau received Best Supporting Actor Oscar

1968

"Promises, Promises", a musical by Neil Simon, Burt Bacharach and Hal David based on "The Apartment", opened on Broadway; produced by David Merrick

1970

Extremely personal Wilder film, "The Private Life of Sherlock Holmes", received only a moderately warm reception at the time of its release

1972

"Sugar", an ill-fated musical adaptation of "Some Like It Hot" with a score by Jule Styne, opened on Broadway; produced by Merrick

1972

Helmed, produced and co-wrote (with Diamond) the underrated comedy "Avanti!", starring Lemmon and Juliet Mills

1974

Reunited with Lemmon and Matthau for ill-fated remake of "The Front Page"

1978

Mined the themes of "Sunset Boulevard" in "Fedora", starring Holden as fading producer Dutch Detweiler; adapted from a short story by Tom Tryon about a Garboesque star

1981

Final film as writer-director, "Buddy Buddy", starring Lemmon and Matthau

1993

Andrew Lloyd Webber's stage musical based on "Sunset Boulevard" returned Wilder to public consciousness

1995

Approached by director Cameron Crowe to play cameo role of a legendary agent (Dickie Fox) and mentor to "Jerry Maguire"; Wilder refused role

Photo Collections

Ace in the Hole - Lobby Cards
Here are several Lobby Cards from Ace in the Hole (1951 - aka The Big Carnival). Lobby Cards were 11" x 14" posters that came in sets of 8. As the name implies, they were most often displayed in movie theater lobbies, to advertise current or coming attractions.
Sunset Blvd. - Publicity Stills
Sunset Blvd. - Publicity Stills
Sabrina - Movie Posters
Here are a few original-release movie posters from Billy Wilder's Sabrina (1954), starring Audrey Hepburn, Humphrey Bogart, and William Holden.
The Apartment - Lobby Card Set
The Apartment - Lobby Card Set
Irma La Douce - Movie Posters
Here are a variety of American movie posters for Billy Wilder's Irma La Douce (1963), starring Jack Lemmon and Shirley MacLaine.
A Foreign Affair - Pressbook
A Foreign Affair - Pressbook
A Foreign Affair - Lobby Cards
A Foreign Affair - Lobby Cards
A Foreign Affair - Behind-the-Scenes Photos
A Foreign Affair - Behind-the-Scenes Photos
Witness for the Prosecution - Movie Posters
Witness for the Prosecution - Movie Posters
Kiss Me, Stupid - Movie Poster
Here is the American one-sheet movie poster for Billy Wilder's Kiss Me, Stupid (1965), starring Dean Martin and Kim Novak. One-sheets measured 27x41 inches, and were the poster style most commonly used in theaters.
The Fortune Cookie - Lobby Card Set
Here is a set of Lobby Cards from Billy Wilder's The Fortune Cookie (1966), starring Jack Lemmon and Walter Matthau. Lobby Cards were 11" x 14" posters that came in sets of 8. As the name implies, they were most often displayed in movie theater lobbies, to advertise current or coming attractions.
Double Indemnity - Lobby Card
Here is a Lobby Card from Billy Wilder's Double Indemnity (1944). Lobby Cards were 11" x 14" posters that came in sets of 8. As the name implies, they were most often displayed in movie theater lobbies, to advertise current or coming attractions.
Five Graves to Cairo - Behind-the-Scenes Photos
Here are some photos taken behind-the-scenes during production of Paramount's Five Graves to Cairo (1943), directed by Billy Wilder.
Five Graves to Cairo - Movie Posters
Here are a variety of American and International movie posters for Paramount's Five Graves to Cairo (1943), directed by Billy Wilder.
The Fortune Cookie - International Movie Posters
Here are some international movie posters for Billy Wilder's The Fortune Cookie (1966), starring Jack Lemmon and Walter Matthau. The British pressbook cover features an alternate title, Meet Whiplash Willie.
Love in the Afternoon - Lobby Card
Here is a lobby card from Billy Wilder's Love in the Afternoon (1957), starring Audrey Hepburn and Gary Cooper. Lobby Cards were 11" x 14" posters that came in sets of 8. As the name implies, they were most often displayed in movie theater lobbies, to advertise current or coming attractions.
The Fortune Cookie - Pressbook
Here is the campaign book (pressbook) for Billy Wilder's The Fortune Cookie (1966), starring Jack Lemmon and Walter Matthau. Pressbooks were sent to exhibitors and theater owners to aid them in publicizing the film's run in their theater.

Videos

Movie Clip

Ball Of Fire (1942) - Just Another Apple Stripper Sugarpuss (Barbara Stanwyck) surprises grammar Professor Potts (Gary Cooper), ready to begin her interview right away, his colleagues, modeled on the Seven Dwarves, supporting the idea, in Howard Hawks' Ball Of Fire, 1942.
Ball Of Fire (1942) - Shove In Your Clutch Sugarpuss (Barbara Stanwyck) briefed backstage by thugs Pastrami (Dan Duryea) and Asthma (Ralph Peters), all of them mistaking Professor Potts (Gary Cooper) for a lawman, in Howard Hawks' Ball Of Fire, 1942, from an original script by Billy Wilder and Charles Brackett.
Ball Of Fire (1942) - Two And Two Are Five Allen Jenkins is the garbage man, seeking trivia help from encyclopedia-writing professors (Oscar Homolka, Aubrey Mather, Richard Haydn, S.Z. Sakall et al), Potts (Gary Cooper) committing to new research, in Howard Hawks' Ball Of Fire, 1942.
Ace In The Hole (1951) - Maybe He'd Like A Little Raw Hamburger New Mexico highway cafe business booming for Lorraine (Jan Sterling) as word of her husband trapped in the cave spreads, scheming reporter Tatum (Kirk Douglas) recruits the sheriff (Ray Teal) who joins him pressuring the engineer (Frank Jaquet), in Billy Wilder's Ace In The Hole 1951.
Ace In The Hole (1951) - Pretty Albuquerque Hard-luck big city newsman Tatum (Kirk Douglas) has rolled into Albuquerque, because his car broke down, introducing himself to local editor Boot (Porter Hall) with a proposition, opening Billy Wilder's Ace In The Hole, 1951.
Ace In The Hole (1951) - Mr. Federber Genuine New Mexico newsman Bob Bumpas reporting as director Billy Wilder's "everyman" Ferderber (Frank Cady) and wife (Geraldine Hall) are interviewed, circus atmosphere growing in Ace In The Hole, 1951, starring Kirk Douglas.
Ace In The Hole (1951) - Mountain Of The Seven Vultures Enterprising newsman Tatum (Kirk Douglas) emerging from the New Mexico cave where a tourist-trap operator is stuck, tangling with a deputy (Gene Evans) then the wife (Jan Sterling), and calling his editor, in Billy Wilder's Ace In The Hole, 1951.
Ace In The Hole (1951) - We Had A Cave-In Jaded reporter Tatum (Kirk Douglas) and cub Herbie (Bob Arthur) have stumbled into a story headed west from Albuquerque, meeting Lorraine (Jan Sterling), her father-in-law (John Berkes) and a deputy sheriff (Gene Evans), early in Billy Wilder’s Ace In The Hole, 1951.
Irma La Douce (1963) - Stomach Of Paris A portion of Louis Jourdan's opening narration from the Billy Wilder-I.A.L. Diamond script, introducing the Rue Casanova, Shirley MacLaine (title character) and her "Mec" Hippolyte (Bruce Yarnell), in Wilder's Irma La Douce, 1963.
Irma La Douce (1963) - Green Underwear Introduced by narration as an honest policeman, first scene for Nestor (Jack Lemmon), discovering the red-light district and it's leading citizen Shirley MacLaine (title character), in Billy Wilder's Irma La Douce, 1963.
Irma La Douce (1963) - He Can Take Care Of Himself New-on-the-beat Paris cop Nestor (Jack Lemmon) has herded all the girls into the paddy wagon, unaware of the police sanction for prostitution, only Shirley MacLaine (title character) showing any sympathy, in Billy Wilder's Irma La Douce, 1963.
Irma La Douce (1963) - Can I Take Your Stockings Off? Having bested her pimp in a comic fistfight, newly-fired ingenue policeman Nestor (Jack Lemmon) is invited by Shirley MacLaine (tite character) to her non-work Paris address, in Billy Wilder's Irma La Douce, 1963.

Trailer

Lost Weekend, The - (Original Trailer) Academy Awards® for Best Picture, Actor, Director and Screenplay went to this groundbreaking study of alcoholism.
Stalag 17 -- (Re-issue Trailer) He's a cynic but is he a traitor? William Holden won a Best Actor award as the hard-boiled POW running scams in Billy Wilder's Stalag 17 (1953).
Witness For The Prosecution - (Original Trailer) A British barrister gets caught up in a couple's tangled marital affairs when he defends the husband for murder in Witness for the Prosecution (1957).
Foreign Affair, A - (Original Trailer) A prim Congresswoman (Jean Arthur) gets caught up in the romantic decadence of post-war Germany. Directed by Billy Wilder.
Five Graves to Cairo - (Original Trailer) A British corporal goes undercover to infiltrate Field Marshall Rommel's command in Billy Wilder's Five Graves to Cairo (1943).
Avanti! - (Original Trailer) A stuffy businessman (Jack Lemmon) discovers his father died having an affair, then meets his mistress' daughter in Billy Wilder's Avanti! (1972).
Kiss Me, Stupid - (Original Trailer) A roadside waitress (Kim Novak) is set as bait for a barely disguised Dean Martin in Billy Wilder's Kiss Me, Stupid (1964).
Front Page, The (1974) - (Original Trailer) Jack Lemmon and Walter Matthau star in Billy Wilder's version of the classic newspaper comedy The Front Page (1974).
Ball Of Fire - (Original Trailer) A stuffy professor (Gary Cooper) takes in a sexy showgirl (Barbara Stanwyck) to study her syntax in Howard Hawks' Ball Of Fire (1942).
Private Life of Sherlock Holmes, The - (Original Trailer) Director Billy Wilder provides a pair of revealing adventures concerning the world's greatest consulting detective.
Fortune Cookie, The -- (Original Trailer) A crooked lawyer trumps up an insurance case for a cameraman injured at a pro football game in The Fortune Cookie (1966), directed by Billy Wilder and starring Jack Lemmon and Walter Matthau.
Buddy, Buddy - (Original Trailer) A suicidal neurotic (Jack Lemmon) keeps getting between a hit man (Walter Matthau) and his job in Buddy, Buddy (1981).

Promo

Family

Eugenie Wilder
Mother
Killed by Nazis.
Max Wilder
Father
Hotel proprietor, businessman. Died in 1928.

Companions

Judith Coppicus Iribe
Wife
Married in 1936; divorced; one daughter together.
Audrey Wilder
Wife
Actor. Born c. 1923; married in 1949; was the brunette at the opera with Gary Cooper in "Love in the Afternoon" (1957).

Bibliography

"Conversations With Wilder"
Cameron Crowe (1999)
"On Sunset Boulevard: The Life and Times of Billy Wilder"
Ed Sikov, Hyperion (1998)
"Wilder Times"
Kevin Lally, Henry Holt & Co (1996)
"Billy Wilder in Hollywood"
Maurice Zolotow, G.P. Putnam's Sons (1977)

Notes

"People will do anything for money. Except some people. They will do almost anything for money." --Billy Wilder.

"All that's left on the cutting-room floor when I'm through are cigarette butts, chewing gum wrappers and tears. A director must be a policeman, a midwife, a psychoanalyst, a sycophant, and a bastard." --Billy Wilder.

In late 1989, Wilder put 94 works of art (many by modern masters) up for auction at Christie's in New York City.

Awarded the Grand National Prize of Austria in October 1985.

On working with Marilyn Monroe in "Some Like It Hot": "You can learn to live with an actress who is tempermental, if she is consistent as well as tough. But Marilyn would throw you for a loop. She would have a week where she was flawless, never missed a mark or forgot a line. Then, the next week, a total mental block would descend on her. She'd look at me and say, 'What's the name of the picture?'"After redoing the same shot 42 times I took her aside and hugged her and said, to calm her down, 'Don't worry, Marilyn,' and she looked at me with wide-open eyes and said, 'Don't worry about what?'"But she was absolutely unique. They try to imitate her. It's not the same."She had something like Garbo had: When she was on-screen, the voltage increased tenfold ... Her simplest lines have a third dimension of sensuality.

"She could give a great delivery of a joke. She would stand there with those cement boobs of hers and the innocence in her eyes. The mouth-watering flesh package. She would look around in amazement and ask, 'Why do people look at me?' And, like Garbo, on celluloid it comes out amplified. Damn thing just jumps off the screen at you." --Billy Wilder quoted in New York Newsday, May 10, 1991.

At the 1994 Academy Awards ceremony, Fernando Trueba, director of the winning contender for Best Foreign-Language Film, "Belle Epoque", tipped his hat to his guru by saying, "I would like to believe in God so that I could thank Him, but I just believe in Billy Wilder. So thank you, Billy Wilder." Wilder called him the next day and said "It's God!" --and later told the Los Angeles Times "I wish he hadn't said that [because] people start crossing themselves when they see me!" --From GQ, October 1994.

About serving with the Psychological Warfare Division in Germany after World War II: "One day a letter came from the director of the Passion Play in Oberammergau. He was requesting permission to perform the play, with Anton Lang as Jesus. I translated the letter and was asked my opinion. Anton Lang was a Nazi, so I said, 'Permission granted, but the nails have to be real.'" --Billy Wilder to Los Angeles Times, February 17, 1997.

In March 2000, Wilder was presented with the Federal Republic of Germany's Knight Commander's Cross (badge and star).