Billy Wilder Books

I bought this DVD for my boyfriend for a Christmas present with my fingers crossed. It's impossible to describe how movie-centric he is... we've chosen vacation destinations based on movies. It was a HUGE hit! He's watched all of the extras at least once now, and he loved the creative way Criterion made the front insert look like an old newspaper. It's gritty, ahead of it's time, and Kirk Douglas is a true star! Criterion wins again (as if anyone thought it'd be otherwise!).

Ace in the Hole (Billy Wilder, 1951)

Thank heaven (or Criterion) for a release of Billy Wilder's notorious and brilliant Ace in the Hole for the home video market. As topical as it may have been fifty-six years ago, today it has an unprecedented relevance to American society. It's rare that a film's importance grows over time. This is one of those cases.

The story centers around Chuck Tatum (Kirk Douglas in the performance of his career), a disgraced newspaper reporter who finds himself working in the backwoods world of Albuquerque journalism, covering compelling news stories like a rattlesnake contest. While on his way to cover one such story with cub photographer Herbie Cook (Green Grass of Wyoming's Robert Arthur), he stumbles into something much bigger: Leo Minosa (Richard Benedict), who owns a service station/knickknack shop in the dusty little town of Los Barios, has gotten himself trapped in a mine collapse while looking for Indian relics in a cliff dwelling to sell to tourists. Rather than simply helping the guy out, getting one story, and going on with his life, Tatum-- desperate to get back in the good graces of the Eastern papers with a strong series of stories-- concocts a plan with the corrupt local Sheriff (Ray Teal) to keep the story alive for a week. In the process, he manipulates everyone around him, including Leo's cynical yet naïve wife (Jan Sterling).

Wilder takes the idea of the media circus to new heights here (including having an actual circus on the grounds during the latter half of the film). Ace in the Hole is a relentlessly pessimistic film in which no one cares about Leo Minosa the human being, only about Leo Minosa the story and what each person can get out of it. Leo's wife wants a way out of hicksville, as does Tatum (and, to a lesser extent, Herbie); the sheriff wants re-elected; the head engineer of the rescue team wants an exclusive on the fat contracts that come with the sheriff's re-election; even the competing papers' journalists, who are the only people in the film kinda-sorta set up as the good guys, just want the story, and their editors eventually want Tatum. After a while, news stops being news and starts being entertainment. (Note that Wilder has no illusions about this from the get-go; the first story Tatum files has less to do with Leo Minosa than the Indian curse that Minosa believes trapped him in the shaft.) This, of course, is exactly what's been happening to American culture since not long after Watergate.

Topicality, though, is not the only reason to watch Ace in the Hole. Wilder was one of those great directors, now an endangered species, who could do anything (and often did); the melodramatic Ace in the Hole was bookended by Sunset Blvd., the finest piece of film noir of all time, and Stalag 17, the movie that (loosely) formed the basis of the television show Hogan's Heroes. Imagine a modern director filming three so widely differing movies in a row, not to mention having all three of the movies, fifty years later, being known as timeless classics of filmdom. Wilder got the most out of every actor he ever cast in a movie, and knew where to put the cameras and how to film the shots so that all that acting talent could be showcased in the finest possible way. A Billy Wilder movie is filmmaking at its best, and Ace in the Hole, finally available again after languishing in obscurity so long, is ample evidence of that. **** ½

Ace In The Hole (aka The Big Carnival) was directed by my hero, Billy Wilder. He is the genius who gave us Double Indemnity, Sunset Boulevard and Some Like It Hot - three of my all-time favorite films. Ace In The Hole, however, suffers from the over-the-top performance of Kirk Douglas who manages to play every scene with clenched teeth and boiling-point anger. His early scenes in the small newspaper office in Albuquerque are so over-played that he comes off like a man in need of a straight-jacket rather than a job. I believe it would be a more powerful film if his character were a little more sympatetic initially, thereby shocking us once his dark side is fully revealed. As it stands now, we are not surprised at the depth of his depravity because of Douglas' inability to bring some subtlety to his performance. Having said all that, there is much here to recommend...some solid acting performances and a powerful story of greed and power and how contagious corruption is. Jan Sterling stands out as the cold and indifferent wife of the man trapped in the cave. She delivers the only funny line in the movie, "I don't go to church. Kneeling bags my nylons." She can be seen in Caged and in her Oscar-nominated performance in The High And The Mighty. In closing, I would like to say that I think William Holden would have brought more subtley and dimension to the lead role. However, it is what it is and I my hope is that this review has peaked your curiosity and you will watch the film and decide for yourself.

"Don't worry, Leo. I'm your pal." That's Chuck Tatum speaking. He's a hot-shot big city reporter who has been fired from every top paper he's ever worked for. Now he's hit bottom. He works for the Albuquerque Sun=Bulletin, a small town daily which puts yard sales on its front page. Tatum needs the job, but he's determined to find that one big ticket story that'll put him back in New York. The man he's talking to is going to be that big ticket. His name is Leo Mimosa, owner of the desolate, dusty Mimosa's Indian Curios ("Gas and Oil, Drinks on Ice") in Escudero, in New Mexico's high desert. Leo is currently 300 feet underground, trapped in a cave-in while looking for ancient Indian pots he can sell for a few hundred dollars. In the next 111 minutes, covering five or so days, we're going to experience so much corruption of the soul, misplaced trust and consuming ambition...leavened by so little humanity...that we'll want to take a bath afterwards. This is one of director Billy Wilder's greatest pictures. For me, it's permeated not by Wilder's famously sardonic outlook toward humanity but by the inevitability of commonplace tragedy. That there are only one or two people we might think well of isn't so much a limitation as an element that sharpens the fascination with great story-telling combined with vivid acting.

While Tatum controls his big story, and while Leo becomes increasingly desperate, to the point of believing Tatum is his only friend, we encounter a cast of characters who are either stupid and venal or sly and venal. Top of the list is Tatum, himself. Kirk Douglas gives an utterly believable portrait of a man, excellent at his job, who can taste the big-time again and is determined to do whatever it takes to achieve it. "I'm on my way back to the top," he says, "and if it takes a deal with a crooked sheriff, that's alright with me! And if I have to fancy it up with an Indian curse and a broken hearted wife for Leo, then that's alright too!" Close behind is Jan Sterling as Leo Mimosa's wife. Lorraine Mimosa wants out...out of Escudero, out of New Mexico and out of her marriage with Leo. She's a pouty bleached blonde, callous and discontented. Gus Kretzer, the local sheriff, is corrupt and more than willing to work with Tatum to insure he gets the kind of news coverage he needs for his re-election. And there are all those visitors to the cave where Leo is trapped...gawkers, thrill seekers, whole families out to set up camp and see what happens. Food booths and a carnival keep them contented while a drill pounds away at the rock to reach Leo. It's the slow way which Tatum has maneuvered to insure his exclusive coverage of Leo's predicament can play out over the next few days. Leo literally is Tatum's ace in the hole. The conclusion is as depressing as Wilder's depiction of human character. The movie's whole set-up, in fact, is designed to make us feel uncomfortable at what we're seeing. If we've ever slowed down to get a better view of a traffic accident, if we've ever watched with fascinated revulsion as a snake swallows down a live mouse or a mantis gnaws at a struggling lizard, we have to recognize that in spirit we're also part of the crowd eager to see what happens.

What makes the movie stand apart from so much of Wilder's skilled cynicism in some of his other films, I think, are two elements. First, Wilder plays this story straight. There's no sardonic comedy or witty, misogynistic lines. He serves us up a serious, well-acted drama and then compels us to take it seriously while he makes us squirm a little. Second, he includes two characters that give us some relief from Tatum's ambition and our own unease. First is Herbie Cook, played by Robert Arthur, the young photographer from the newspaper. Herbie is a graduate of a journalism school, a little naive and so innocent-looking you want to protect him from Tatum's manipulations. Second, and most important, is Jacob Boot, played by that fine character actor, Porter Hall. Boot is in some ways our conscience, the serious, realistic publisher and owner of the Sun=Bulletin who has the quaint idea that telling the truth is important. Boot is able, although not by much, to show us that people come in all flavors, and that venality is only one of them, no more or less than trying to do the right thing also is. In Ace in the Hole, however, nothing good happens in time. As Tatum said earlier, "It's a good story today. Tomorrow, they'll wrap a fish in it." Same with people.

Some call Ace in the Hole a noir. I'm not one of them. For me, it's a powerful drama, and it transcends genre classification. We might as well call Macbeth a noir simply because Macbeth has a tragic hero, a femme fatale, death and the inevitability of fate. The two-disc Criterion release features an excellent black-and-white picture transfer and several extras which include interviews with Kirk Douglas, Billy Wilder and screenwriter Walter Newman. There is an audio commentary by Neil Sinyard, identified as a film scholar. Amusingly, the booklet insert which has essays by Molly Haskell and Guy Madden is in the form of an edition of the Albuquerque Sun=Bulletin.

Ignored, unappreciated, even despised by the majority upon its initial release, Ace in the Hole is a bold social critique that pulls no punches. This movie holds up the public mirror and tries to make people see just how much they suck.
Kirk Douglas delivers another fearless performance as Charles Tatum, a shameless big-city reporter that has been exiled from several lucrative jobs. So he retreats to a small town newspaper gig in New Mexico, in order to reestablish his career.
Tatum hates his new job, and desperately searches for the big break that will propel him back into the limelight. That moment eventually comes when a mine collapses, trapping a worker inside. Tatum takes charge of all the relief efforts, not out of concern for the desperate man inside, but for the fame that accompanies this tragedy. A media frenzy ensues.
One moment that illustrates Tatum's arrogance--other reporters try to move in and capture some of the news coverage. One says "We're all in the same boat". Tatum's cynical response was "No, I'm in the boat. You're in the water."
This movie is an excellent display of humanity's overall decline of morality. How vanity supersedes compassion. How humanity has lost touch with one another. I'm not trying to sound judgemental, heck I'm ignoring all company policies and personal job responsibilities by writing this review. Nobody's perfect. But this is a great movie, with powerful but controlled acting and a significant message.
So now, go hug a stranger. No, on second thought you better not. You'll probably get punched.

Billy Wilder adapted the stage play of STALAG 17 and improved it every way he could. This is a copy of the original screenplay for the movie so all of the scenes are here, including a few snippets that were deleted in the final version of the film. The story is brilliantly put together and it only takes about an hour to ninety minutes to read the whole thing, including the informative introduction. This is a wonderful example to explore for anyone who wants to write or is writing screenplays and it is also great for any movie buff or fan of Wilder.

If you enjoyed just one episode of Hogans Heroes then you will love Stalag 17, which was the inspiration of that show. Although I must admit that I am not a big fan of the Animal character the script itself is darn close to perfection. Stalag 17 is one of the funniest films of all time. The plot is simple and is basically just several episodes in a german prisoner of war camp in world war II as the prisoners suspect that they have an informer in their midst. The scene where they find out who the informer actually is, is one the best scenes that you can watch or read. William Holden won the best actor oscar for his performance in this film and with material like this too work from it is not hard to understand why.

Wilder is one of the best screenwriter/directors that there has ever been. His partnership with Diamond reached its creschendo with this magnificent screenplay. Winner of the best screenplay in 1960 The Apartment is one of the funniest films that has ever been made. It is the best example of how to weave drama and comedy into a seamless whole. After this Billy Wilders career never reached the same heights. Which is unfortunate because while you are reading The Apartment you realise just how truly great he was. The film was named in the AFI 100, just read the screenplay and wish you could write anything half this good.

Winner of the Oscar for best screenplay (also Wilders first oscar for best screenplay)Lost Weekend is one of the most powerful movies of all time. It has not dated at all and its importance has not faded. It is the ultimate example of how the hollywood system of the forties traded realism and then placed a hokum ending that just doesn't ring true, but even with this fault the screenplay is almost perfect, if only they wrote more films like this today, the emotional impact of leaving las vegas is nothing compared to the punch packed into this classic piece of moviemaking and screenwriting, read this and see Billy at his best.

I think the way Billie Wilder expresses the life of a washed up actress and the life of a starving screnwriter is a wonderful interpratations of life ever. i loved the musical although I found it far fetched from the book.

Though less clear than Truffaut's book on Hitchcock (mainly because of Wilder's lack of interest in explaining himself) 'Conversations with Wilder' does echo that landmark book. Not as tightly structured as Truffaut/Hitchcock, but also a book about a Directing God, written by an admiring younger director, who wants to go through the whole career of the maestro, hoping to understand some of the magic. A must read for every Wilder fan, something every film maker (and film lover) should be. Wilder (who at first is uninterested to cooperate) seems a bit more humble than the Master of Suspence, so he tells less tricks and other details. He is far more eager to talk about his most succesful films and prefers to leave the films he regards as failures alone. Crowe however tries to come back to them, every now and then, but Wilder is a smart converser. This leads to a fun book, which perhaps shows more of the psyche of Wilder than the film technical (in the broadest sence) side of him. As a film maker you can perhaps learn more directly from Hitchcock's approach, as a film lover this is just as much fun to read. Wilder's honousty is charming and in no way a danger to the grand status of the film maker. Knowing how wonderful his masterpieces are, it is perhaps even more impressive to read how easy it seemed for Wilder to make them. Wilder is never showing off, never full of himself and always entertaining. A true genius who made some of the best films ever.

This book really allows the reader to visualize the type of person Wilder is. His character shines through in his words. Cameron Crowe succeeds in getting that more personal story behind the director by asking tougher questions. It is also very entertaining to read because of the endless stories that Billy Wilder tells about "behind the scenes" of the making of his movies.

Enthusiastically recommended by Robert Osborne of Turner Classic Movies, the Hollywood Reporter, et.al.

If you want to get on track to one day being a happy, laughing, feisty old man, buy this book. The amazing director Billy Wilder speaks freely and delightfully with Mr. Crowe about all the things that went right, and the many, many other things that went wrong with films from "Some Like It Hot" to "Sabrina" to "The Seven Year Itch," and much more. Hundreds of photos evoke the points of discussion (or is it, thousands of photos?). Close-up discussions of Marilyn Monroe, Audrey Hepburn, Marlene Dietrich, and much more.

You may come to see Mr. Wilder as a blind date who showed up on your doorstep: a funny little German man, and not the suave genius your mother had promised at all. He spends the entire book giving you reasons why he is most certainly not the movies' knight in shining armor, but in the end (despite all his excited, hilarious minor outrages) he only proves that he is that knight, after all.

An outstanding companion to Truffaut's indespensible book on Hitchcock, but very different. Both are "interview" books, and each paints a very lively picture of its subject. But where Hitchcock comes off as a man left at the bus stop, like his cameo in "North By Northwest," with his career somehow fallen from his fingertips too soon, Wilder seems like a grandfather surrounded by delighted children in the twilight of his years. He shows us how to laugh, and roll our eyes at both success and failure, through the international language of film.

With this book, you see what a huge difference great writing makes when it comes to films. Crowe and Wilder are both articulate, thoughtful, and in love with film and words. The care in this book shows. You don't just get a thorough knowledge of Wilder straight from the man himself, but you get a glimpse into Crowe and Wilder's developing relationship. It's an amazing, moving book, and it made me want to go out and rent every Wilder film I could get my hands on.

In the tradition of Hitchcock/Truffaut, a young master of the craft interviews an old one. One difference from the earlier book, Wilder's productive career was over, so covered entirely if not exhaustively by this book. After a slow start, a little too much of how Crow got to do this, the book jumps into an anecdotal, charming and literate discussion of Wilder's movies, Wilder's career and Hollywood movie-making. If you have any interest at all in these areas, this is a must read book.

If you are interested in screenwriting this isn't a must read book, this is part of the bible.

Superb. Exhaustive and well-written. This book provides a view into one of the greats. I had seen a number of Billy Wilder movies before reading the book, but now I have much more appreciation of the man and his accomplishments. After finishing this biography, I have resolved to watch as many of his movies as I can.

If you want to learn about how one individual can go from a rural outpost of a decaying empire to a preeminent position in the center of the world's image maker, read this book. A compelling story of a compelling life.

I decided to read this, because I just read the New York Times Rewview of Ed Sikov's new book about Peter Sellers.
The part of the book I enjoyed the most was from the beginning to World War II. The later in his life it got, the denser and more academic it became. Mr. Sikov teaches film and it got more like a textbook.
The end of the book, I have to agree with the reviewer from Vienna. It was more a book for film students. The beginning in Europe was a great look through a certain person into another time. Make Billy Wilder fictional and you have a great historical fiction piece.

This bio of Billy Wilder is a totally fascinating one, filled with both world and cinematic history. Billy Wilder, a Polish Jew, proves to be a man of unique intuition and fast thinking as he rises from the ranks of stringer journalist to screenwriter in pre-World War II Europe, escapes the Nazis, gets a U.S. resident visa and, without speaking English, is hired to write for the movies. The author beautifully captures the ambiance of pre-war Europe and a Hollywood filled with emigres. Ultimately, the book left me sad, as Wilder ages, his friends die one by one, and he is unable to keep up with the times in terms of the types of properties to which he's attracted, how Hollywood works, and what the public wants. However, there is no denying his fantastic track record, his six Oscars, and the amazing legacy of brilliance he left behind. The rollercoaster ride of Wilder's life is well chronicled in this very satisfying, thought-provoking book.

This is a very good biography of Billy Wilder. It revealed a lot about him and his career I didn't know. I disagreed with Sikov on his evaluations of a few films (I like "Love in the Afternoon" much better than he, but Sikov really seems to hate Gary Cooper) but we agreed on a lot. (Heck, we even liked the same scenes in "Fedora.")

I gave the book five stars, but I have a few reservations. My problems came when Sikov went beyond Wilder's career -- or didn't. His descriptions of politics in Interwar Europe struck me as okay, but superficial. Okay, this book will be nobody's first choice to learn about such matters, but a little more polish here would have helped. Then, toward the end of the book, Sikov keeps mentioning that Wilder was out of step with Hollywood. However, there is really nothing about what the rest of Hollywood was doing, namely how Wilder stacked up against Mel Brooks or Woody Allen in this era. I would have liked to have seen that issue addressed.

However, as a "life" of Wilder and not a study of his "times", this is a great book. Fans of Wilder's films will greatly enjoy it.

Last week marked the passing of a true Hollywood heavyweight, a man who excelled as a writer, director, and producer, who left his mark in just about every film genre, except the Western - the one and only Billy Wilder.

Wilder's death at the age of 95 will no doubt bring renewed interest in his long and varied career. It is an irony that would have brought a wry smile to Wilder, and undoubtedly one of his biting remarks. Nevertheless, if you are looking for a comprehensive study of the life and art of Billy Wilder, you should look no further than Ed Sikov's brilliant "On Sunset Boulevard."

Sure, if you're looking for an extended interview with Billy Wilder himself, there's that other book ... but like the more famous, or rather infamous Hitchcock/Truffaut sessions that inspired it ... it can only be one sided.

Ed Sikov doesn't merely tell you to take Billy Wilder at his word. He conducted original interviews with scores of Wilder's colleagues and friends, dug through production archives, scripts, notes, and film footage to assemble not only a fascinating study of a filmmaking genius, but the conclusive portrait of the man behind that genius.

Sikov's analyses of Wilder's films are fresh and exciting, and his prose leaps off the page. You know instantly that Sikov knows his stuff, and that it's a subject close to his heart.

If you love movies, you will adore this book and have a vacation every time you read it. My only problem is the weight (it must weigh 10 lbs) so you don't want to shlep it around, but it is a GREAT read. Refreshing in every way.

I received this book as a gift from my wonderful husband (thanks dear!) after putting it on my wish list as soon as I heard about it. I love this book and this is one of my top two movies of all time! I am very impressed with all that this book entails. Marilyn Monroe's prompt book is my favorite part but the whole book is fantastic and very worth every penny. (And a pretty penny it was!) A must for every huge fan of the movie or for people who collect movie memorabilia and items on Marilyn Monroe, Jack Lemmon, or Tony Curtis. I am thrilled to own it!

Dan Auiler has created a masterpiece in coffee table books. This book has replaced all others on my table!! "Some Like It Hot" is a whimsical movie and this book immulates the style and impromptu spirit of Billy Wilder's movie. The interviews and photography are marvelous and take me back to the first time I viewed this movie. Congradulations, Mr. Auiler, on catching both the spirit of Marilyn and allowing the movie to live on through the pages of your book.

Wow, this has to be the most beautiful book I've ever owned. I'm not exactly sure why the authors have chosen this particular film to give such treatment to (I find the film amusing, but not a museum piece), but I love the treatment. From it's sumptious leather cover with stylized typeface to the cute Billy Wilder bookmark, Marilyn's prompt book which fits just so in the back cover, to the detailed presentation of the scripts, the color photographs, and the press materials it's all a great package. I'm guessing this was published by a German publishing house because there are German, French and other language translations after the chapters and along the margins with the script. I can't say as though I would have spent [price] on this, but it was a fabulous gift that I will treasure.

Received this as a gift this Christmas and must say I was disappointed all things considered. I found it lovely to look at, but not much beyond that.

Billy Wilder may not have been born in America, but he knew America inside and out, from the vernacular of the ordinary folks to the sleezy ambitions and passions of the middle class. He captured all of that in his brilliant screenplay for DOUBLE INDEMNITY, turning the novel into a masterpiece of what has come to be known as Film Noir. He always stressed structure when he talked about his scripts and this is perfectly structured, tightly coiled like a spring, with the suspense building moment by moment -- along with the decaying relationships. Brilliant.

Double Indemnity is one of Billy Wilders best films. The screenplay is taut and extremely well written. You cannot miss this opportunity to read the master at the top of his game. Among the many highlights is the supermarket scene between the two conspirators. An absolute must read

Nearly everyone who is likely to view this page knows and loves the movie, and would most likely prefer watching it to reading it. This leaves devoted fans of Wilder and Chandler to consider it, as well as perhaps students of the form.

The screenplay itself is an unquestioned masterpiece, and has not even the movie's very very few faults (poor acting by secondary characters, etc.). So I will limit my comments to my assertion that this edition GREATLY underestimates the contributions of Chandler, going so far as to paint him as a pasty fussbudget ignorant of the craft of writing. Not true, bud, not by a long shot.

Wilder and Chandler got along like cats and dogs. That's no secret. Yet while Chandler had his faults, Wilder seemed to live to antagonize him, and quite uncharitably described him in some comments reprinted here. Saying how the married Chandler envied Wilder for "having all the pretty girls at Paramount" is one example of how cheap and childish the director's opinion of his co-writer was, as stated in this edition, quoting Wilder's bio. Either Wilder or Meyers had some crude bias against Chandler, if the introduction of this tome is to be believed at all. Because it's not even an accurate presentation of what Wilder really felt, as quoted in Chandler's own hit-and-miss bio written by Tom Hiney.

Anyway, much of the *structure* of the screenplay- the flashbacks, the additional scenes, the ebb and flow- is Wilder's tremendous savvy. But the things film historians seem to treasure above all else in this movie are the rapid-fire, crudely poetic, vernacular dialogue, as well as the feeling of cynical decay wrapped around the doomed couple's whole misbegotten endeavor like a shroud. And for those, I propose, Chandler must be given the majority of the credit. His novels are too sad and complex and perfect, providing ample evidence that he could not have been the doofus this book portrays.

There's my speech. Take it for what it's worth. The book is a good buy for serious students. But Chandler fans will be ticked off.

For those who already purchased the Library of America edition of "Raymond Chandler : Later Novels and Other Writings" (which contains the screenplay of "Double Indemnity"), here are two reasons why you should buy THIS edition of the "Double Indemnity" screenplay:

1. Unlike most other screenplays published in book form, this edition of "Double Indemnity" appears to be a facsimile of the original screenplay; It's not just a book, but a relic of classic film.

2. This edition also has the alternate/deleted "Gas Chamber" ending which the Library of America edition is lacking.

If it were not for the above two qualities, I would recommend any Chandler fan to purchase the Library of America edition of Chandler's work that contains the "Double Indemnity" screenplay instead of this one. Here's why:

In this edition, Chandler's name does NOT appear on the cover; only Bill Wilder is credited on the cover. However, Chandler's name DOES appear on the title page and first page of the screenplay (the Amazon scans of the book illustrate this curiosity). Why the exclusion of Chandler from the cover?!
Answer: This book was published while Billy Wilder was still alive and he was able to steal the limelight from Raymond Chandler one last time. Well done, Mr. Wilder.

As for the screenplay itself, I've read a lot of screenplays of movies that I have liked and "Double Indemnity" reads better than most. The voice-over dialogue for Neff (written by Chandler) is the best part of the screenplay and is worth having in print. Whether you're a fan of classic Film Noir or an aspiring screenwriter, this is a must-have for your bookshelf. As for Chandler fans, it's only a matter of which edition.

For more information on Raymond Chandler's involvement in "Double Indemnity", I recommend the book "Creatures of Darkness: Raymond Chandler, Detective Fiction, and Film Noir". After reading, you will see why I and other readers are so incensed by the exclusion of Chandler's credit from the cover.

To me, Billy Wilder is synonymous with the best of what Hollywood offered during the mid-century golden era. A consummate screenwriter, who eventually evolved into one of the leading directors and producers, Wilder has made film classics that have endured into our collective consciousness. Author Glenn Hopp does a nice job following Wilder's career from his birth in Austria in 1906 to his escape from the Nazi uprising in Germany to his eventual settlement in Hollywood. He started writing for his mentor, Ernst Lubitsch, penning the scripts for lovely confections such as "Bluebeard's Eighth Wife" and the Garbo classic, "Ninotchka". Then he made his directorial debut with a Ginger Rogers romper, "The Major and the Minor" in 1942. After that film he had a string of critical and commercial hits - "Double Indemnity", "The Lost Weekend", "Sunset Boulevard", "Stalag 17", "Sabrina", "Love in the Afternoon", "Witness for the Prosecution", and arguably his high-water marks, "Some Like It Hot" and "The Apartment", both non-coincidentally starring a never-better Jack Lemmon. Wilder continued into the 1980`s, but he became less assured with his later films. The book covers each film and provides tantalizing glimpses into the stars involved. It also has some interesting inserts on the visual style he displayed in certain films like "The Apartment", the use of minor characters, and most interesting, deleted scenes like a shot of Fred MacMurrray facing the gas chamber at the end of "Double Indemnity".

For those who want a more critical and detailed assessment of Wilder's career, this is not it. The book breezes through much of his history, but the photographs are wonderful, some familiar, many completely new to me, for example, color shots on the set of "Some Like It Hot". But if you are looking for a more comprehensive view of his work and his filmmaking process, as well as more on his personal life and dealings with his casts, then I suggest you pick up Ed Sikov's "On Sunset Boulevard: The Life and Times of Billy Wilder", a fairly thorough, even-handed biography. As with most of the Taschen books, this is well worth getting simply for the plentiful photographs beautifully presented.