Billy Wilder - News Poster


Pixar’s Ralph Eggleston to Receive 2019 View Conference’s Visionary Award

  • Variety
The 2019 View Conference will present its Visionary Award to Pixar’s Ralph Eggleston.

Eggleston, who won an Oscar in 2002 for his animated short “For the Birds,” has worked on such Pixar hits as “Toy Story,” “Finding Nemo,” “Wall-e,” and “Inside Out.”

“I’ve long been a fan of the View Conference. It’s a great gathering place for creative minds and meaningful discussion and it attracts some of the top professionals in the industry,” Eggleston says. “So for me to receive their Visionary Award is an incredible honor. To be recognized before colleagues whose work I’ve long admired is truly humbling.”

Brad Bird, who has worked with Eggleston on both “The Incredibles” and “Incredibles 2” calls Eggleston “an artistic whirlwind who takes in all kinds of visual information from disparate but relevant sources and blows them in to your film, enriching it in the process. He has a tremendous
See full article at Variety »

Dolemite Is My Name Review

When the magnetic profanity and jolting energy effortlessly diffuse onto the big screen, it becomes clear that Eddie Murphy’s church of comedy was sorely missed. Fortunately, its reunion takes the form of Dolemite Is My Name, Craig Brewer’s glistening and hilarious odyssey of artistic determination, Black creativity, and pop culture on the brink of representative transformation. Telling the outrageously true story of one of the most successful blaxploitation films of the 1970s – Rudy Ray Moore’s madcap, wonky yet wildly adored action caper, Dolemite – Murphy projects the cult classic creator with every comedic tactic he’s got. And though the film as a whole sometimes feels generic, we let the red carpet roll for Murphy’s raw, untamed talent.

Of course, movies celebrating the clunky conception of outsider cinema have become a subgenre in their own right, often featuring a robust lead to orbit around. Most recently joining
See full article at We Got This Covered »

‘Dolemite Is My Name’ Film Review: Eddie Murphy Is a Soulfully Vulgar Blast as Comedy Legend Rudy Ray Moore

  • The Wrap
‘Dolemite Is My Name’ Film Review: Eddie Murphy Is a Soulfully Vulgar Blast as Comedy Legend Rudy Ray Moore
Like the aroma of any home-cooked favorite wafting from a kitchen long unused, watching Eddie Murphy’s beautifully funny and exuberant performance in “Dolemite Is My Name” playing bootleg-to-blaxploitation entertainer Rudy Ray Moore — the reclusive megastar’s first worthy comedy lead in ages — amounts to a longing well and truly satisfied.

Murphy’s resplendent turn anchors a true if predictably told story of showbiz aspirations and can-do spirit, but in the great whoosh of majestically profane, beaming energy he provides from beginning to end, it’s clear that his brand of electrifying, in-the-moment comedy has sorely been missed.

The fit of This Legend playing That Legend (one comedy giant cosplaying his forebear) is so perfect that it lifts director Craig Brewer’s rudimentary handling of Scott Alexander & Larry Karaszewski’s affectionately raucous if predictable script into a joyful realm. (It’s a reminder of how great comedy stars always plugged
See full article at The Wrap »

Eddie Murphy’s Back — Front-and-Center and Full Force — in ‘Dolemite Is My Name’

Eddie Murphy’s Back — Front-and-Center and Full Force — in ‘Dolemite Is My Name’
In Dolemite Is My Name, Eddie Murphy lets fly with all the comic and dramatic ammo in his acting arsenal. No more lobbing softballs in such family-friendly blockbusters as Dr. Dolittle and Daddy Day Care. Murphy, 58, is raw again, reason enough to be delirious. Dolemite gives Murphy his best and juiciest role since his Oscar-nominated turn in 2006’s Dreamgirls (he should have won that sucker, but that’s another story). In Dolemite Is My Name, Murphy plays real-life club comic Rudy Ray Moore, whose mouth was bigger than his talent.
See full article at Rolling Stone »

James Cagney in Billy Wilder’s One, Two, Three Screening Friday at Webster University

” Some of the East German police were rude and suspicious. Others were suspicious and rude. “

James Cagney in Billy Wilder’s One, Two, Three (1961) will be screening at Webster University Friday October 5th at Webster University’s Moore Auditorium (470 East Lockwood). The Film starts at 7:30 pm. There will be an intro and post-film discussion by Cliff Froehlich, Executive Director of Cinema St. Louis and Adjunct Professor of Film Studies at Webster University. A Facebook invite can be found Here

Thirty years after making his name in the iconic gangster movie The Public Enemy, Jimmy Cagney collaborated with the master Billy Wilder on this comedy, which wound up prompting Cagney to retire from acting after its completion (though he did still manage to pop up a couple more times in the remaining decades in his life). Here Cagney plays Mac, a Coca-Cola executive in West Berlin just before the Berlin Wall is constructed,
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Some Like Them Young in Wilder’s “The Major and the Minor” (1942) | Blu-ray Review

Billy Wilder became an indelible fixture of American cinema with his iconic noir masterpiece, 1944’s Double Indemnity, going on to direct some of the studio era’s finest crafted films. A trio of films just prior to that seem to have been obscured or forgotten, such as the WWII Franchot Tone headlined thriller Fives Graves to Cairo (1943), which was Oscar nominated for Art Direction and Cinematography, and his 1934 French language comedy Bad Seed, a debut which featured Danielle Darrieux. But it’s his 1942 sophomore film and English language debut The Major and the Minor which seems like the sterling Wilder comedy we’ve all been missing out on, which provides a template for the identity crisis semantics which would later be utilized to subversive maxims in 1959’s Some Like It Hot.…
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The Major and the Minor

This can’t-lose comedy is ace writer-director Billy Wilder’s first solo directing credit; he and writing partner Charles Brackett concoct a side-splitting crowdpleaser guaranteed to secure his Hollywood future. Ginger Rogers was never more adept, playing a fake 11 year-old in a farce that’s both code-iffy and censor proof; Ray Milland shines as well with the limitlessly clever and witty screenplay. And look out for Diana Lynn, the terrific teenage comedienne that Wilder found before Preston Sturges did.

The Major and the Minor


Arrow Academy

1942 / B&w / 1:37 Academy / 100 min. / Street Date September 24, 2019 / Available from Arrow Video / 39.95

Starring: Ginger Rogers, Ray Milland, Diana Lynn, Rita Johnson, Robert Benchley.

Cinematography: Leo Tover

Film Editor: Doane Harrison

Original Music: Robert Emmett Dolan

Written by Charles Brackett, Billy Wilder from a story and a play by Fanny Kilbourne, Edward Childs Carpenter

Produced by Arthur Hornblow, Jr.

Directed by Billy Wilder

See full article at Trailers from Hell »

AFI Conservatory Celebrates 50th Anniversary With Big Reunion Drawing Some Very Famous Graduates

  • Deadline
The AFI Conservatory, one of the crown jewels of the American Film Institute, celebrated its 50th anniversary in style Thursday night at the place where it all started, the fabled Greystone Mansion in Beverly Hills. One of the first “colleges” for filmmakers (there were only four at the time), it opened at Greystone in 1969 and stayed there until 1981 ,when it moved to Griffith Park, where it still stands at the former Immaculate Heart campus.

The students — or fellows, as they are called for that first class — included future Oscar- nominated legends like Terrence Malick, Paul Schrader, and cinematographer Caleb Deschanel, the latter among many alumni who returned to the original campus for a class-reunion-of-all-class-reunions Thursday. Others attending included three-time Oscar nominee and 2019 Honorary Academy Award winner David Lynch from the class of 1970, Pieter Jan Brugge (Class of 1979), Jay Cassidy (1976), Susannah Grant (1991), Liz Hannah (2009), Marshall Herskovitz (1975), Mel Jones (2010), Matthew Libatique (1992), Melina
See full article at Deadline »

90° in the Shade

Everyday Noir in Prague: a one-of-a-kind Czech/Brit coproduction teams fine British actors with the home-grown star Rudolf HruSínský, and the result is neither murder nor mayhem, but a real everyday tragedy that might happen anywhere. The bright B&w images chart an unhappy illicit romance, and a petty crime with awful consequences.

90° in the Shade

All-region Blu-ray

Powerhouse Indicator

1965 / B&w / 2:39 widescreen / 91 min. / + second version Tricet jedna ve stínu 83 min. / Street Date September 23, 2019 / available from Powerhouse Films UK / £15.99

Starring: Anne Heywood, James Booth, Rudolf HruSínský, Ann Todd, Sir Donald Wolfit, Jirina Jirásková, Jorga Kotrbová, Vladimír Mensík.

Cinematography: Becrich Batka

Film Editors: Jan Chaloupek, Russell Lloyd

Original Music: Ludek Hulan

Written by David Mercer story by Jirí Mucha, Jirí Weiss

Produced by Raymond Stross

Directed by Jirí Weiss

(note: a Czech friend who long ago helped me with research for Ikarie Xb-1 advised me not to even Try spelling Czech with full diacritical remarks.
See full article at Trailers from Hell »

Tiff Review: ‘Dolemite Is My Name’ Reliably Coasts When it Could Soar

The opening scene of Dolemite Is My Name shows promise: future Blaxploitation legend Rudy Ray Moore (Eddie Murphy) is trying to shuck an old record he recorded to a radio DJ (Snoop Dogg); Murphy’s iconic fast-talking quality is on display, but with a strong edge of desperation. You’re reminded of the star’s talent, and how it would be great for it to mature with him. So there comes some expectation for this film to resurrect the once-great performer. If to compare the once “the funniest man alive” Murphy who could breeze through a Carson interview in the 80s to the awkward, uncomfortable one struggling through a Letterman appearance to promote Tower Heist in 2011, one can easily see a kind of shared middle-aged malaise between him and Moore as we meet him in the film.

Desperation is certainly a quality that can separate a great “bad-movie biopic” (Ed
See full article at The Film Stage »

‘Dolemite Is My Name’ Review: Eddie Murphy Goes Off in Netflix’s Balls-to-the-Wall Biopic

  • Indiewire
‘Dolemite Is My Name’ Review: Eddie Murphy Goes Off in Netflix’s Balls-to-the-Wall Biopic
It’s safe to assume that Eddie Murphy has always worshipped at the altar of “Dolemite” mastermind Rudy Ray Moore, as the lewd, brash, and infectiously self-possessed blaxploitation icon blazed the trail that Murphy later followed to his own fame. At the very least, Moore’s foul-mouthed comedy records (e.g. “Eat Out More Often”) and his total disregard for white audiences helped light the way forward. But Murphy, who was a Hollywood-minted star by the time he was 25, probably never thought he would relate to Moore’s hardscrabble career quite as much as he has in recent years. Once you get paid $15 million to star in “Beverly Hills Cop III,” you can only have so much in common with a pioneer who self-financed his most famous movie, cast it full of strippers he found at a local club, and four-walled it into a single Indianapolis theater.

But Murphy is
See full article at Indiewire »

Billy Wilder, John Ford, and Douglas Sirk: Three Underappreciated Works Get New Life on Blu-ray

While it sometimes comes across platitudinous and trite, one cannot stay in any conversation about arthouse film more than five minutes without hearing the phrase “auteur” tossed out. It has become a tad sterile, but, as Andrew Dudley pointed out in The Major Film Theories, it is a valid form of critical theory. So for an August Blu-ray round-up, the conversation will revolve around three classic Hollywood “auteurs” and films from each that often go overlooked. Kino Lorber released Billy Wilder’s critique of war-time Hollywood, A Foreign Affair; the Warner Archive presented John Ford’s passion project Wagon Master; and Criterion added Douglas Sirk’s first foray into widescreen Technicolor, Magnificent Obsession, to their illustrious collection. While each release is a fairly underrated title in their director’s larger filmography, a close watch unveils tricks and tropes that each respective filmmaker would later use in their more popular works.
See full article at The Film Stage »

Ginger Rogers in The Major And The Minor Available on Blu-ray September 24th From Arrow Academy

Ginger Rogers in The Major And The Minor will be available on Blu-ray September 24th From Arrow Academy

From one of Hollywood s most acclaimed auteurs, Billy Wilder, comes the charming comedy classic The Major and the Minor.

Legendary actress and dancer Ginger Rogers (Monkey Business) stars as Susan Applegate, a struggling young woman who pretends to be an 11-year old girl in order to buy a half-price train ticket. Fleeing the conductors, she hides in the compartment of Major Philip Kirby. The Major believes Susan is a child and takes her under his wing, but when they arrive at the military academy where Kirby teaches, his fiancée (Rita Johnson) grows suspicious of Susan’s ruse…

Co-written by Wilder and Charles Brackett (Hold Back the Dawn), The Major and the Minor assumes the guise of a light romance narrative in order to cleverly explore themes of identity and deception. Wilder
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Wilder Concocts an Affair to Remember in Underrated A Foreign Affair (1948) | Blu-ray Review

One of a handful of Billy Wilder’s underrated films is the dark romantic comedy A Foreign Affair (1948), which was filmed in the bombed-out hull of Berlin during the earlier days of the city’s reconstruction following the end of WWII. A German émigré himself of Jewish heritage, both Wilder and his star Marlene Dietrich were aggressively and quite vocally anti-Fascist, with the latter famously crusading on the front-lines entertaining Us troops throughout the war—which makes this film even more of a surprise to see Dietrich deigning to play a chanteuse struggling to survive amongst the wreckage whilst eluding her Nazi past.…
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The Top 25 Best Picture Winners To Date

Alas. All good things must come to an end at some point. Yes folks, this is the final installment of the second go-around of this series of mine, and as such, it’s (hopefully) a bit of a doozy…the Best Picture field. Without a doubt, this is the big one, so it’s the one where the list will be the most important and I hope interesting to look at as well. Hopefully you’ve all been looking forward to it as well. Obviously, I could go on and on in preparation right now, waxing poetic and teasing, but at this point I know how the game works here for everyone. You all just want to see the lists that I do anyhow, so I have no problem obliging you good people there in that particular regard one more time. All you have to do is just be patient
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The Private Life of Sherlock Holmes

Billy Wilder’s elegant take on Arthur Conan Doyle’s enduring sleuth never reached theaters in its intended 3-hour Roadshow form, but still ranks as one of the most memorable Holmes outings. It’s fairly obscure these days, but perhaps the box office success of the recent Robert Downey Jr. series will lead viewers back to sample the remains of what was certainly one of Wilder’s best pictures.

The post The Private Life of Sherlock Holmes appeared first on Trailers From Hell.
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A Foreign Affair

If you like Billy Wilder but haven’t seen everything he’s done, this is the film for you, a sparkling but typically sharp-tongued comedy-drama set in the last place expected in 1948 — bombed-out Berlin, rumored to be awash in corruption. Jean Arthur is the Iowa congresswoman out to clean up the town, and Marlene Dietrich a war survivor with a highly suspect past. Underrated John Lund is the Romeo with Captain’s stripes, brushing up on his (click) umlaut. And Millard Mitchell, of all people, steals the movie. Great cabaret songs by Friedrich Hollander, and an A-class commentary by Joseph McBride.

A Foreign Affair


Kl Studio Classics

1948 / B&w / 1:37 flat Academy / 116 min. / Street Date August 6, 2019 / available through Kino Lorber / 29.95

Starring: Jean Arthur, Marlene Dietrich, John Lund, Millard Mitchell, Peter von Zerneck, Stanley Prager.

Cinematography: Charles Lang

Original Music: Friedrich Hollander

Written by Charles Brackett, Billy Wilder, Richard L. Breen; adaptation Robert Harari,
See full article at Trailers from Hell »

The Abyss at 30: why James Cameron's sci-fi epic is really about love

The director’s underwater folly might have flopped on release in 1989 but in the years since, various new cuts have granted it many more lives

James Cameron’s The Abyss was released in theaters on 9 August 1989. Exactly three months later, the Berlin Wall was demolished, putting a symbolic end to the Soviet bloc and the decades-long tensions that went along with it. It’s easy to forgot how closely these two events coincided, perhaps because Cameron’s films have always seemed directed toward the future, deploying technologies that wouldn’t take hold in the industry for years later. But The Abyss is as old to us now as Alfred Hitchcock’s North By Northwest or Billy Wilder’s Some Like It Hot was to audiences in 1989, and it is the product of a generation that grew up fearing nuclear annihilation. Expected it, even.

Related: The 'Burbs at 30: how the
See full article at The Guardian - Film News »

The Forgotten: This Is a Raid!

  • MUBI
Razzia is a rather snazzy German police thriller from the post-war years, covering comparable territory to Billy Wilder's A Foreign Affair and Carol Reed's The Third Man: it deals with the then-current European crime wave known as the black market.The director Werner Klingler's career might well repay study, as it leaps around so oddly. In 1929 he was in America and acted in Von Sternberg's Viennese-set melodrama The Case of Lena Smith, now seemingly a lost film apart from one ten-minute fragment. He also played Germans for James Whale in Journey's End and Hell's Angels. Returning to Germany he became an assistant director (S.O.S. Iceberg) and then a director, mainly of lightweight thrillers, passing from the Hitler era through to the post-war denazification seemingly without a hitch.Klingler would make Eddie Constantine vehicles and a Mabuse sequel (when the once-feared embodiment of the zeitgeist
See full article at MUBI »

4 Great Films About Hollywood (That Aren’t Once Upon a Time… in Hollywood)

Graeme Robertson with four great films about Hollywood (that aren’t Once Upon a Time… in Hollywood)…

Quentin Tarantino is back in our cinemas with his latest cinematic opus Once Upon a Time… in Hollywood, his love letter to the Hollywood of the 1960s in all its glitzy, reference heavy and presumably (this is Tarantino after all) foul-mouthed and self-indulgent glory.

With that in mind, I’ve decided to mark the return of one of cinema’s most acclaimed cinematic troublemakers my own rather self-indulgent look at what happens when Hollywood in its infinite wisdom decides to turn its cameras back onto itself.

So, join me won’t you as we take a spotlight 4 Great Films About Hollywood (That Aren’t Once Upon a Time… in Hollywood)…

Sunset Boulevard (1950)

To kick off our trip into at what happens when Hollywood turns its cameras on itself we’re taking a look at a true classic.
See full article at Flickeringmyth »
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