Billy Wilder - 6 Angebote vergleichen

Lieferung aus: Vereinigte Staaten von Amerika, E-Book zum download.
Performing Arts, A bullet-riddled body floats in the pool of a faded screen star. A desperate wife and a crafty insurance man mix lust with murder. Two musicians flee Prohibition gangsters by joining an all-girl band. A likable loser climbs the corporate ladder by pimping for his bosses. Only in the skewed world of Billy Wilder would such situations provide the context for classic cinema: Sunset Boulevard, Double Indemnity, Some Like It Hot, and The Apartment. Over a career longer than that of any other celebrated film-maker, Wilder has co written and directed an enduring body of work noted for its range, intelligence, wit, and bracing, if off-kilter, morality. A master of many genres, the six-time Oscar winner has given the world classic comedies (Ninotchka, The Seven Year Itch), romances (Sabrina, Love In The Afternoon), and dramas (The Lost Weekend, Stalag 17). Even movies once dismissed as failures (Ace In The Hole; Kiss Me, Stupid) now attract admiring fans. Examine the many sides of Billy Wilder: writer, producer, director, quipster, iconoclast, mensch. What's in this book? As well as an introductory essay, each of Wilder's Hollywood films is individually reviewed and analyzed. The reference section assesses books on Wilder. Don't end up with the fuzzy end of the lollipop or the squeezed-out tube of toothpaste! Discover a great filmmaker-or get to know him even better.

Lieferung aus: Vereinigte Staaten von Amerika, Usually ships in 1-2 business days.
Von Händler/Antiquariat, worldofbooksusa.
Charm is a useful byword for the career of Billy Wilder. His films often explore the charm of innocence and the charm of corruption, or to put it more precisely, the charm of corruption for the innocent and the charm of innocence for the corrupt. The director does not regard cloistered virtue as being very photogenic, but tainted virtue is another thing entirely. In his most serious dramas, characters who have compromised and corrupted themselves in tragic ways—like Joe Gillis in Sunset Boulevard and Chuck Tatum in Ace In The Hole—undertake too late to reclaim their integrity. In his comedies, characters whose desires are represented by the corruptions of worldly compromise and easy comfort—like Bud Baxter in The Apartment, Harry Hinkle in The Fortune Cookie, John Pringle in A Foreign Affair—relinquish their spoils and return gladly, if a bit stained, to the integrity they previously had no use for. Virtue becomes its own, more appreciated reward and vice its own punishment. Since the 1930s, Wilder’s cinematic charm has been making audiences accept some unconventional truths and root for some unlikely heroes. Perhaps Fred MacMurray also sensed that Wilder is one of Hollywood’s anti-Disneys. A Wilder project, redeemed though it was by the charm of its writing and direction, nonetheless often addressed a subject in a way that offended the keepers of the status quo. This, of course, may simply be another way of saying that Wilder puts his directorial charms and exploration of innocence and corruption to the service of a realist’s vision while Disney prefers the eye of fantasy. The realist is usually the one whose work elicits the sharp intake of breath from the audience when they sense that things may not be the way they appear on the surface. As Wilder’s character Barry Detweiler, a Hollywood producer, says in Fedora: “Sugar and spice, and underneath that—cement and stainless steel.” It’s a bracing recipe, one that usually allows Wilder to adhere to his cardinal rule of filmmaking: “Don’t bore people, which is a very, very difficult thing... If you have anything worthwhile saying better be very sure it is wrapped in chocolate so they will swallow it.” If in some ways Billy Wilder is an anti-Disney, what would a trip be like to Wilderland, that imaginative theme park based on the spirit of his films? It would, at least superficially, be eclectic. Wilder made films in every genre of his day except the western. He made the pioneering film noir in 1944, Double Indemnity, which also starred Fred MacMurray (playing a killer, the role that first made him fret about the safety of his career). What came to be the staples of that genre—hard-bitten voice-over narration, a dangerous femme fatale, urban landscapes shrouded in darkness both photographically and morally—are all on display in this landmark movie. Wilder made the first film that took a realistic look at alcoholism (The Lost Weekend), one of the first POW films (Stalag 17), and a handful of films in various shades of light and dark that might be labeled ‘fairy tales for adults.’, Paperback, Label: Trafalgar Square, Trafalgar Square, Produktgruppe: Book, Publiziert: 2001-03, Studio: Trafalgar Square, Verkaufsrang: 8968825.

Lieferung aus: Vereinigte Staaten von Amerika, Usually ships in 1-2 business days.
Von Händler/Antiquariat, _nearfine_.
Charm is a useful byword for the career of Billy Wilder. His films often explore the charm of innocence and the charm of corruption, or to put it more precisely, the charm of corruption for the innocent and the charm of innocence for the corrupt. The director does not regard cloistered virtue as being very photogenic, but tainted virtue is another thing entirely. In his most serious dramas, characters who have compromised and corrupted themselves in tragic ways—like Joe Gillis in Sunset Boulevard and Chuck Tatum in Ace In The Hole—undertake too late to reclaim their integrity. In his comedies, characters whose desires are represented by the corruptions of worldly compromise and easy comfort—like Bud Baxter in The Apartment, Harry Hinkle in The Fortune Cookie, John Pringle in A Foreign Affair—relinquish their spoils and return gladly, if a bit stained, to the integrity they previously had no use for. Virtue becomes its own, more appreciated reward and vice its own punishment. Since the 1930s, Wilder’s cinematic charm has been making audiences accept some unconventional truths and root for some unlikely heroes. Perhaps Fred MacMurray also sensed that Wilder is one of Hollywood’s anti-Disneys. A Wilder project, redeemed though it was by the charm of its writing and direction, nonetheless often addressed a subject in a way that offended the keepers of the status quo. This, of course, may simply be another way of saying that Wilder puts his directorial charms and exploration of innocence and corruption to the service of a realist’s vision while Disney prefers the eye of fantasy. The realist is usually the one whose work elicits the sharp intake of breath from the audience when they sense that things may not be the way they appear on the surface. As Wilder’s character Barry Detweiler, a Hollywood producer, says in Fedora: “Sugar and spice, and underneath that—cement and stainless steel.” It’s a bracing recipe, one that usually allows Wilder to adhere to his cardinal rule of filmmaking: “Don’t bore people, which is a very, very difficult thing... If you have anything worthwhile saying better be very sure it is wrapped in chocolate so they will swallow it.” If in some ways Billy Wilder is an anti-Disney, what would a trip be like to Wilderland, that imaginative theme park based on the spirit of his films? It would, at least superficially, be eclectic. Wilder made films in every genre of his day except the western. He made the pioneering film noir in 1944, Double Indemnity, which also starred Fred MacMurray (playing a killer, the role that first made him fret about the safety of his career). What came to be the staples of that genre—hard-bitten voice-over narration, a dangerous femme fatale, urban landscapes shrouded in darkness both photographically and morally—are all on display in this landmark movie. Wilder made the first film that took a realistic look at alcoholism (The Lost Weekend), one of the first POW films (Stalag 17), and a handful of films in various shades of light and dark that might be labeled ‘fairy tales for adults.’, Paperback, Label: Trafalgar Square, Trafalgar Square, Produktgruppe: Book, Publiziert: 2001-03, Studio: Trafalgar Square, Verkaufsrang: 8968825.

Lieferung aus: Deutschland, Versandfertig in 1 - 2 Werktagen, Tatsächliche Versandkosten können abweichen.
Von Händler/Antiquariat, BetterWorldBooksDe.
Taschenbuch, Label: Taschen GmbH, Taschen GmbH, Produktgruppe: Book, Publiziert: 2003-05, Studio: Taschen GmbH.

Lieferung aus: Italien, 1 - 2 gg, Attenzione: spedizione a prezzo fisso € 3,90 euro per gli ordini contenenti libri scolastici, parascolastici e dizionari.
Die Beschreibung dieses Angebotes ist von geringer Qualität oder in einer Fremdsprache. Trotzdem anzeigen

Von Händler/Antiquariat, Better World Books Ltd [53572034], Dunfermline, United Kingdom.
Ships from the UK. Former Library book. Great condition for a used book! Minimal wear.