A poignant and profound study of loneliness and conformism, Billy Wilder’s 1960 The Apartment showcases two actors – who would eventually become stars – at the top of their games, with Lemmon as naïve and vulnerable as much as MacLaine is smart and luminous.
The two leading actors in this Billy Wilder’s masterpiece – these two great performers and iconic stars – transform two common lives into case studies of uniqueness. C. C. Baxter and Fran Kubelik might be suckers for authority, deeply conformist and self-interested people, but they aren’t your regular guys. Lemmon and MacLaine manage to bring to the fore their characters’ idiosyncratic traits while maintaining the overall feeling that these people are like those office colleagues who annoy us for their unashamedly deference and blind submission. Continue reading
Simultaneously dark, caustic and humorous, and yet all too real, Billy Wilder’s 1950 Sunset Boulevard, one the greatest of its director’s many masterpieces and arguably the finest film noir of all time, remains fresh as a portrait of desperation, delusion and dependence.
Sunset Boulevard is not only one of the finest film noirs of all time but also, arguably, the greatest and darkest movie about Hollywood to ever appear on the silver screen – a master class by a filmmaker who has made an incredible number of great films. But despite the movie’s focus on the film industry, the story of Sunset Blvd. deals with universal themes and the human condition. In every corner of every city in the world there’s always an aspiring (and yet needy) artist ready to sell his soul to the first devil who offers enough choices to change his life. Continue reading
A pivotal, quintessential and seminal work of film noir cinema, Billy Wilder’s 1944 Double Indemnity, with the preeminent femme fatale at the centre of its story, parades a collection of immoral behaviour and provides a realistic and yet bleak opinion on the human condition.
Is the sexy and conniving Phyllis, with her beautiful legs and pretty anklet, simply the object of male desires and nothing else? Is she a cardboard-type character, who flirts, seduces and schemes like the devil, but has no dimension beyond this stereotypical representation of the blonde woman? Is she empowered or disenfranchised by such a representation? Interesting questions raised by this masterpiece of a film. Continue reading