“One, Two, Three” (1961) is a good showcase of what writers Billy Wilder and I.A.L. Diamond can do with quick-hitting language. Though it is stagier
Billy Wilder and I.A.L. Diamond conclude their screenwriting careers in the most appropriate and hilarious way with “Buddy Buddy” (1981), which also features a legendary
“The Lost Weekend” (1945) must have been striking upon its release for its matter-of-fact portrayal of alcoholism. The Forties were the decade of film noir,
“Ace in the Hole” (1951) is a kind of silly, rather entertaining, certainly unusual piece in Billy Wilder’s catalog. Driven by a muscular, over-the-top performance
Billy Wilder was influenced by Ernst Lubitsch more than any other director, so “Ninotchka” (1939) is among the most important films to watch wherein Wilder
“Stalag 17” (1953) is – thankfully for viewers who struggle with war and/or prison movies – another example of Billy Wilder’s ability to meld two
Billy Wilder’s direction and Miklós Rózsa’s bass-driven string music hold a viewer in thrall in “Fedora” (1978), despite a story that draws parallels to a
“The Major and the Minor” (1942) is, upon reflection, a major movie because it marks Billy Wilder’s American directorial debut. But it’s a minor entry
“People on Sunday” (1930) is a historically fascinating – and to a lesser but not inconsequential degree, cinematically fascinating – curiosity from early in Billy
Charles Lindbergh’s biography is so fascinating that his 1927 New York-to-Paris flight is arguably not even the craziest event. That event is the entire purview