Tag Archives: Billy Wilder

229 – Fedora

Listen on the players above, on Apple Podcasts, or on Spotify.

Stardom, beauty, the machinery of Hollywood, madness, age – 1978’s Fedora sees Billy Wilder occupying much of the same thematic territory of his 1950 classic, Sunset Boulevard. William Holden’s has-been film producer attends the funeral of Fedora, a reclusive former film star, and thinks back on the recent trip he took to Corfu, attempting to track her down and coax her out of retirement. What unravels is a mystery, a conspiracy, a twisted mother-daughter relationship, and another in Mubi’s strand of “perfect failures”.

Wilder’s struggle to finance Fedora is apparent, José suggesting that in every part one can imagine a superior actor. Though that’s perhaps scant defence of the tedious visual design – Dutch angles don’t cost money, and the film is crying out for more visual expression than it offers. Mike explains his problem with the plot structure and particularly his dislike of “two weeks earlier” hooks, and we consider the way in which we’re asked to believe in Fedora’s incredible stardom while not really having it explained to us satisfactorily. And José takes particular issue with the casting of Michael York as himself, finding him a blank, while Mike is more content with it, but perhaps that’s largely because whenever someone says “Michael York” it makes him laugh.

Despite the film’s many problems, it remains an intriguing exploration of stardom, identity, the lengths to which people will go to support their own delusions. Mike suggests that Fedora and Sunset Boulevard share a low opinion of women, that their themes of self-obsession, fame and beauty are particularly aligned with their stars’ gender. José describes Fedora‘s relationship to reality, in particular the ways in which it echoes Marlene Dietrich’s extraordinary fame and subsequent withdrawal from the public eye, and how Wilder’s experience and understanding of this and other inside stories informs the film.

And finally, Mike takes a moment to bring up two things he doesn’t like about Sunset Boulevard, because he wouldn’t be doing his job if he didn’t take one look at a great masterpiece of cinema and explain what’s rubbish about it.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

135 – Double Indemnity

The film noir to end films noir, Billy Wilder’s classic crime drama Double Indemnity made its way to The Electric in Birmingham for a one-off screening, where a packed cinema ensured a great atmosphere. Mike, as usual, hadn’t seen it, while José is very familiar with it, even having taught it before.

Mike didn’t entirely click with it, though he’s able to appreciate much of what makes it a classic. Perhaps the stylistic and thematic elements that identify film noir are so perfectly employed by Double Indemnity that it leads to an ironic, detached mode of viewing – the genre, though it has existed since its inception, is strongly connected to its classical era of the Forties and Fifties, and has been parodied and pastiched more than most, burdening the film with unfair baggage to audiences not in that frame of mind. José, on the other hand, relishes the chance to see it with a paying, enthusiastic audience, finding that he notices different details and appreciates the film differently outside of an academic setting.

Unquestionable is the strength of Barbara Stanwyck’s seductive performance as the femme fatale, her Phyllis Dietrichson the archetype of the dangerous woman who bewitches her doomed victim, in this case a chump played with distracting self-importance by Fred MacMurray. And every time Edward G. Robinson appears on screen he lights it up, capturing the audience, whether with the array of witty retorts and bon mots with which the script furnishes him, or dialogue as ostensibly dull as a recitation of an actuarial table for types of suicide.

With all of this in mind, Mike is sure that a second run at the film would help him appreciate it more. There’s no doubting its place in cinema history, and that it continues to pack out cinemas with eager filmgoers is testament to that.

The podcast can be listened to in the players above or on iTunes.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.