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Front Page. Billy Wilder. 1974
In 1955 she starred in the film The Seven Year Itch, under the direction of Billy Wilder. For her performance she received her first BAFTA Award nomination in the Best Actress category.[1] In turn, she became a huge commercial and critical success.[8] After enrolling at the Actors Studio in New York City, she starred in director Joshua Logan’s film Bus Stop, where she played a cabaret singer and dancer.[9] The role brought her her first Golden Globe nomination in the Best Actress in a Musical or Comedy category. Later, she founded Marilyn Monroe Productions, a company that produced the film The Prince and the Showgirl (1957), where she shared a scene with the English actor Sir Laurence Olivier, who also directed the film.[10] Subsequently, she received another BAFTA nomination for Best Actress.[11] In 1959, she starred in the film The Prince and the Showgirl (1957).
In 1959 she starred in the comedy Some Like It Hot, directed by Billy Wilder, alongside Tony Curtis and Jack Lemmon, with great critical and box office success.[12][13] This film won Monroe the Golden Globe for best actress in a musical or comedy.[14] In 1961, she appeared with Clark Gable and Montgomery Clift in the dramatic film The Misfits, directed by John Huston. Although the film was a moderate success in the United States, the actress achieved worldwide recognition with it.[15] In 1961, she appeared alongside Clark Gable and Montgomery Clift in the drama film The Misfits, directed by John Huston.
Music One, Two, Three Billy Wilder
With four basic lessons based on three classic films and the work of a contemporary director, Melania Stuchi closes this saga about the impact of romantic comedies on the sentimental education of ordinary people. Here are the final conclusions.
Kate (Meg Ryan) has everything under control. She’s an organized girl, she’s saved all her life to buy her house, home sweet home; she measures the risks, she knows the rewards. But there is something she does not calculate: her future husband leaves her to go to France after a French woman who exploits sensuality. So Kate, who never gives up, decides to go after him, despite her aversion to airplanes. So she meets Luc (Kevin Kline), a brute, impulsive and thieving Frenchman. Poor Kate has to travel and lose and lose (she arrives in Paris and a friend of Luc’s steals her purse, her money, her passport). And she has to win back her ex-future husband only to choose to lose him. And she has to squander her life savings (to help Luc not end up in jail) to discover true love.
El crepúsculo de los dioses (1950) de Billy Wilder
C.R. “Mac” MacNamara es un alto ejecutivo de la compañía Coca-Cola, destinado a Berlín Occidental tras un fiasco comercial ocurrido unos años antes en Oriente Medio (del que aún está resentido). Aunque por el momento se encuentra en Alemania Occidental, Mac aspira a convertirse en jefe de operaciones de Coca-Cola en Europa Occidental, con sede en Londres. Después de trabajar en un acuerdo para introducir Coca-Cola en la Unión Soviética, Mac recibe una llamada de su jefe, W.P. Hazeltine, en la sede de Coca-Cola en Atlanta. Scarlett Hazeltine, la hija de 17 años del jefe, de sangre caliente pero un poco débil, viene a Berlín Occidental. A Mac se le asigna la poco envidiable tarea de cuidar de este joven torbellino.
La esperada estancia de dos semanas se convierte en dos meses, y Mac descubre por qué Scarlett está tan enamorada de Berlín Occidental: ella le sorprende anunciando que está casada con Otto Piffl, un joven comunista de Alemania del Este con ardientes opiniones anticapitalistas. Cuando la bella sureña es confrontada sobre su insensatez en el asunto de ayudarlo a inflar globos antiestadounidenses de “Yankee Go Home” (como la pareja se conoció) ella simplemente responde con, “Por qué, eso no es antiestadounidense, es antiyanqui…”. Y de donde yo vengo, todo el mundo está en contra de los yanquis…”
Winchester 73 (1950) by Anthony Mann (The Rant
For me, Dune is everything in science fiction, I’m an absolute Fremen fundamentalist, I’ve read, seen and heard everything there is about Herbert’s universe. That Villeneuve, to begin with, divides the adaptation into two parts, is a step in the right direction. On another note, I would not think it would be a crazy move if he tried to recover or at least “take inspiration from” the gothic-steampunk aspect that Lynch gave to his much reviled film, although for me, poor mortal, it is full of glorious moments (Baron Harkonen floating under a shower of industrial oil celebrating loudly having killed Leto, dammit).
Three minutes into the film, I didn’t care about the plot; it was abundantly clear that the film’s strength lay elsewhere. In fact, I do blame it for some flaws that go mostly down the path of excessive plotting, or rather, the appearance of circumstances that are too forceful for a lower-profile film. It is also penalized by the somewhat stereotyped characters.
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