Billy Wilder

Directorial style[edit]

Wilder's directorial choices reflected his belief in the primacy of writing. He avoided, especially in the second half of his career, the exuberant cinematography of Alfred Hitchcock and Orson Welles because, in Wilder's opinion, shots that called attention to themselves would distract the audience from the story. Wilder's films have tight plotting and memorable dialogue. Despite his conservative directorial style, his subject matter often pushed the boundaries of mainstream entertainment. Once a subject was chosen, he would begin to visualize in terms of specific artists. His belief was that no matter how talented the actor, none were without limitations and the result would be better if you bent the script to their personality rather than force a performance beyond their limitations.^[31] Wilder was skilled at working with actors, coaxing silent era legends Gloria Swanson and Erich von Stroheim out of retirement for roles in Sunset Boulevard. Regarding Wilder's more comedic films, Roger Ebert wrote: "he took the characters seriously, or at least as seriously as the material allowed, and got a lot of the laughs by playing scenes straight."^[32]


For Stalag 17, Wilder squeezed an Oscar-winning performance out of a reluctant William Holden (Holden had wanted to make his character more likable; Wilder refused). At a casting meeting, Wilder reportedly said, "I'm tired of clichéd typecasting—the same people in every film."^[33] An example of this is Wilder's casting of Fred MacMurray in Double Indemnity and The Apartment. MacMurray had become Hollywood's highest-paid actor portraying a decent, thoughtful character in light comedies, melodramas, and musicals; Wilder cast him as a womanizing schemer. Humphrey Bogart shed his tough-guy image to give one of his warmest performances in Sabrina. James Cagney, not usually known for comedy, was memorable in a high-octane comic role for Wilder's One, Two, Three. Wilder coaxed a very effective performance out of Monroe in Some Like It Hot.


In total, he directed fourteen different actors in Oscar-nominated performances: Barbara Stanwyck in Double Indemnity, Ray Milland in The Lost Weekend, William Holden in Sunset Boulevard and Stalag 17, Gloria Swanson, Erich von Stroheim and Nancy Olson in Sunset Boulevard, Robert Strauss in Stalag 17, Audrey Hepburn in Sabrina, Charles Laughton in Witness for the Prosecution, Elsa Lanchester in Witness for the Prosecution, Jack Lemmon in Some Like It Hot and The Apartment, Jack Kruschen in The Apartment, Shirley MacLaine in The Apartment and Irma la Douce and Walter Matthau in The Fortune Cookie. Wilder mentioned Lemmon, and was the first director to pair him and Matthau in The Fortune Cookie. Wilder and Lemmon worked on seven films.


Wilder opposed the House Un-American Activities Committee (HUAC). He co-created the "Committee for the First Amendment", of 500 Hollywood personalities and stars to "support those professionals called upon to testify before the HUAC who had classified themselves as hostile with regard to the interrogations and the interrogators". Some anti-Communists wanted those in the cinema industry to take oaths of allegiance. The Screen Directors Guild had a vote by show of hands. Only John Huston and Wilder opposed. Huston said, "I am sure it was one of the bravest things that Billy, as a naturalized German, had ever done. There were 150 to 200 directors at this meeting, and here Billy and I sat alone with our hands raised in protest against the loyalty oath."^[34]


Wilder was not affected by the Hollywood blacklist. Of the blacklisted 'Hollywood Ten' he said, "Of the ten, two had talent, and the rest were just unfriendly."^[34] In general, Wilder disliked formula and genre films.^[35] Wilder reveled in poking fun at those who took politics too seriously. In Ball of Fire, his burlesque queen 'Sugarpuss' points at her sore throat and complains "Pink? It's as red as the Daily Worker and just as sore." Later, she gives the overbearing and unsmiling housemaid the name "Franco".