Billy Wilder

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Just as Wilder kicks off Sunset Boulevard with a dead man's voice-over, I’m opening this thread with a photo of Wilder's grave—to be honest, the epitaph says everything you need to know about Billy Wilder himself.

If I were forced to pick my favorite auteur from the Hollywood Golden Age, it would likely be Billy Wilder. He was just another director who wasn't born in the States but left an indelible mark on American cinema. Born in 1906 in what is now Poland, he lived in Berlin before fleeing to Paris after Adolf Hitler rose to power, where he filmed his first movie. But even before that debut hit screens, Wilder had already made his way to Hollywood to begin a career that would prove to be both incredibly long and remarkably successful.

For me, the standout element in his films is always the dialogue. Don't get me wrong, Wilder wasn't lacking in any other area of writing or directing, but it’s those sharp lines and the overall tight scripting that really stick with you. Whether he’s diving into the dark shadows of a noir like Double Indemnity or Sunset Boulevard, or hitting the comedic notes in The Apartment or something like IT hot, Wilder hits his stride perfectly. Given how easily he pivots between genres—ranging from courtroom dramas to comedies and noirs—you could easily put him in the same league as versatile masters like Kubrick or Hawks.

I’ve also attached an article about Wilder from Senses of Cinema, which offers a deep dive by some real experts: Great Directors: Billy Wilder. You can find links to other pieces on Wilder at the bottom of that page.

I tried searching for an existing thread using both the forum search and the Family search tool, but came up empty. If I somehow missed it, my apologies; I didn't mean to duplicate anything.

When you think about names like Howard Hawks or Hitchcock, Wilder’s name immediately jumps to the front of my mind as a titan of the Hollywood Golden Age—and that’s saying something given how much competition there was back then. Honestly, if I were putting together a personal top 10 list of the greatest directors of all time, he’d definitely be on it.

Wilder’s films just don't age. Even today, ''Double Indemnity'' stands tall as a premier crime thriller. It’s incredibly gripping, thanks to that smart use of flashbacks paired with internal monologue, and of course, that razor-sharp script where Wilder introduces us to a cynical protagonist caught up with the unforgettable femme fatale Barbara Stanwyck. All of this was brought to life by the brilliant cinematographer John F. Seitz.

''The Lost Weekend'' is another absolute masterpiece. It probably features Raya Milland's most memorable performance (aside from her role in ''to call m for murder''), and she had already teamed up with Wilder previously in ''The Major and The Minor''. It’s a profound psychological drama, driven by Wilder’s masterful direction and Seitz’s camera work, which builds this intense atmosphere as we watch the protagonist struggle against himself and his environment.

We’ve lost count of how many times we've praised ''Sunset Boulevard'' here on the forum, agreeing that it’s easily one of the greatest films ever made.

For me, Wilder’s ''Ace in the Hole'' hits especially hard, featuring a powerhouse performance by Kirk Douglas as the greedy, ruthless reporter Chuck Tatum.

Then there’s the unforgettable war film ''Stalag 17'', where William Holden (who actually fought against taking the part) plays the cynical Sefton. Much like how he cast Eric von Stroheim in ''Sunset Boulevard'', he brought in noir contemporary Otto Preminger here, which gives the movie its own unique charm.

And that’s just the tip of the iceberg.

If anyone is looking to dive into the world of classic cinema, Billy Wilder is an essential starting point. He didn't churn out as many movies as some of the other giants of that era, but the quality is undeniable—it stays with you.

To be honest, I’m not particularly well-versed in Wilder's filmography just yet. Right now, my top tier of directors consists of Hitchcock, Ford, Lang, and Kurosawa. Once I finally sit down to properly appreciate Wilder, and I have a strong feeling he'll resonate with me, he might just stand on equal footing with those legends. Of course, one can't forget Hawks or Welles either...

I've recently immersed myself in the world of film noir, so if anyone could offer a few Wilder recommendations, I would truly appreciate it.🙂

Frank Lee10 said:I've fallen down the noir rabbit hole lately, so I could use some solid recommendations from Wilder. Any suggestions?🙂

Whether it's Double Indemnity, Sunset Boulevard, or even Ace in the Hole—you really can't go wrong.🙂

neonsurfer6 said:Between Double Indemnity, Sunset Boulevard, and even Ace in the Hole, you really can't go wrong.🙂

I'm with you on this one.🙂

I didn't exactly see this influx coming, but hey, let's not be too hard on ourselves... only four posts about Wilder?

I have only seen Double Indemnity, Sunset Boulevard, and The Lost Weekend from this gentleman, along with Stalag 17.

I can say that The Lost Weekend left the deepest impression on me; William Holden's performance stands as one of the most powerful acting feats I have ever witnessed. At times, the film itself begins to take on elements of horror, which conveys the terrors of alcoholism far more effectively than if it had merely settled for simple pity for the protagonist. As I mentioned, Holden is masterful; at certain moments, he evokes Jack Nicholson's archetype of the cynical rogue who cares little for tomorrow, yet in others, he embodies a martyred soul, crippled by his own weakness and a nearly childlike helplessness to change or escape his greatest enemy: himself.

Sunset Boulevard disappointed me; from the very introduction involving an orator speaking from beyond the grave—narrative approaches of that sort have never appealed to me—to the lead protagonist, with whom I failed to connect at any single point; neither with her nor with the story as a whole.

Stalag 17 and Double Indemnity were enjoyable; both held my attention, and I watched them in a single sitting. What makes them inferior to The Lost Weekend in my estimation is simply that I feel no urge to revisit them anytime soon, unlike the latter.

Mark Wood79 said:I didn't exactly see this surge coming, but come on guys, don't be so stingy! Only four posts about Billy Wilder? That's it?

You've hit the nail on the head. You said it all!
I’d personally pin this thread to the top of the forum. Let's get some more eyes on Wilder—people really need to see his work! 😁 One of the greatest directors out there... For me, he’s right at the peak of American cinema, and honestly, world cinema too. He's easily in my top 20.
Most of what he captured is absolutely fantastic! Beyond the "must-see" classics you all mentioned, I’d definitely add these to the list:
The Apartment. Truly a masterpiece. Billy Wilder just knew how to capture the grind of the American dream with such bittersweet perfection. It’s smart, it’s sharp, and it hits home every single time. Just brilliant.
Sabrina
Witness for the Prosecution
The Private Life of S. H.

There’s really no point in debating if he’s one of the greats because everyone already agrees on that. The only thing we can actually fight about is which of his films hits the hardest 😁

I’ve sat through about fifteen of them, and honestly, not a single one let me down. Now, most people would probably jump to say Sunset Boulevard is his peak, but personally? I’m leaning toward Double Indemnity and Stalag 17. Oh, and if we’re talking about those later screwball comedies that haven't come up yet, I'd go with One, Two, Three 🙂

I have a deep appreciation for Billy Wilder, but even with a heavy hitter like Sunset Boulevard, it doesn't quite reach the heights of Double Indemnity, Witness for the Prosecution, or Ace in the Hole. I recall thinking that final scene—that descent down the stairs—was a bit much.

One, Two, Three is also a bit over the top, as is Irma la Douce.

Just finished watching Double Indemnity.

It truly saddens me that our major networks seem to have completely lost touch with the masterpieces produced during the 30s, 40s, and 50s. I believe everyone should take the time to experience this particular film, as its sheer tension keeps you absolutely glued to the screen.🙏

I find myself quite fond of Billy Wilder—really, deeply fond of his work. Today I am diving into Stalag 17, and I expect to follow that up with two more of his films tomorrow, after which I shall share my thoughts. Even now, I can clearly perceive what a profound artist he was; the framing, the composition, everything is so intelligently orchestrated...

And then, when someone tells me that Gibson belongs among the greatest🤦—it truly feels like a sacred truth, even if the man only directed four films; regardless, he remains among the best.🤦

Let's see, I've already checked out Sabrina, Some Like It Hot 😍, The Seven Year Itch, The Apartment, and Love in the Afternoon... now I'm totally gonna binge on Sunset Boulevard, and then maybe circle back to those other classics too. Man, he's just such an incredible guy!

Without a doubt, he is my absolute favorite director and screenwriter. If I were putting together a marathon, I’d definitely start with The Lost Weekend before moving on to Double Indemnity and then Sunset Boulevard, just letting the greatness unfold one masterpiece at a time!

It’s probably one of the most iconic movie scenes ever made.

I’ve only actually sat through about 7 or 8 Billy Wilder films, so I probably shouldn't act like an expert here, but I will say that Ace in the Hole was definitely my favorite.

One of my absolute favorite directors. I’ve sat through almost his entire filmography (except for his final outings, The Emperor Waltz and Buddy, Buddy).

Since Billy Wilder cut his teeth as a screenwriter, it’s no mystery why his films possess such incredible narrative backbone. Both he and I share a deep reverence for Ernst Lubitsch—a director the younger generation probably hasn't even heard of. They say Wilder actually kept a sign in his office that asked, "What would Lubitsch do?"

In my book, his best work falls before 1960. The Apartment stands as his last truly massive hit, though compared to other heavyweights, his other films still hold up as masterpieces. I have a soft spot for his version of Fedor, even if, objectively speaking, it isn't exactly a masterpiece; I just love that nostalgic look at an era of Hollywood that is gone forever. Speaking of his more obscure titles, does anyone else here actually enjoy Five Graves to Cairo as much as I do?

Hold Back the Dawn, Aris, My Love, Ninotchka, Midnight, Bluebeard's Eighth Wife—these are some of the films he penned but didn't direct, and any true fan should give them a shot. It's a glimpse of a younger Wilder, stripped of all that cynicism that started bleeding into his later scripts.

Nobody even mentioned his "One, two, three..." line!
http://www.imdb.com/title/tt0055256/?ref_=nm_flmg_wr_16
It’s definitely not one of those instant classics that jumps to mind immediately—but thanks to HBO, I finally sat down and watched it...
It probably didn't get much airtime back then because of all the Cold War tension between East and West Berlin, or maybe it just slipped under my radar before the fall of the Wall.
Then, after the Wall came the wars, the economic recovery, and eventually a whole new wave of cable networks and their big hits...
Honestly, I feel like HBO is one of the last true guardians of real film and TV culture left on our airwaves.

Edward Peterson4 said:And nobody even bothered to mention his "One, two, three"...

That’s easily my second favorite Billy Wilder film.

Ray Milland in The Lost Weekend, William Holden in Sunset Boulevard, and Jack Lemmon in The Apartment or something like IT hot...

Is there actually anything in modern cinema that can even come close to those kinds of masterclass performances?

Honestly, one of the most tedious directors from Hollywood's golden age.

Boring? Please. This is easily one of the most engaging lists out there, given the sheer variety of films.

analogbear40 said:Ray Milland in The Lost Weekend, William Holden in Sunset Boulevard, and Jack Lemmon in The Apartment / something like IT hot...

Is there actually anything in modern cinema that can even come close to those kinds of masterclass performances?

Leonardo DiCaprio in every single movie. ☕