by Ed Sikov
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SCHLÖNDORFF, VOLKER. “‘Nobody Is Perfect:’ Billy Wilder zum 85. Geburtstag,” Süddeutsche Zeitung, June 21, 1991.
———. “The Apartment” (review), Premiere, April 1992, p. 127.
———. Billy, How Did You Do It? Billy Wilder in Conversation with Volker Schlöndorff. Arena series, BBC-TV, 1988.
SCHORSKE, CARL. Fin-de Siècle Vienna: Politics and Culture. New York: Vintage Books, 1981.
SCHULBERG, STUART. “A Letter about Billy Wilder.” Quarterly of Film, Radio and Television, 7, no 4, Summer 1953.
SCHUMACH, MURRAY. “The Wilder—and Funnier—Touch.” The New York Times Magazine, Jan. 24, 1960, pp. 30, 35, 38, 43.
———. “Bright Diamond.” New York Times Magazine, May 26, 1963, pp. 80–81.
SELDIS, HENRY. “In the Galleries: Wilder Collection Astute.” Los Angeles Times, Oct. 14, 1966, p. 14.
SHEINWOLD, ALFRED. Five Weeks to Winning Bridge. New York: Pocket Books, 1960.
SHIRER, WILLIAM. The Rise and Fall of the Third Reich: A History of Nazi Germany. New York: Simon and Schuster, 1960.
SHIVAS, MARK. “Yes, We Have No Naked Girls.” New York Times, Oct. 12, 1969, p. D15.
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SIMON, NEIL. Rewrites: A Memoir. New York: Simon & Schuster, 1996.
SINYARD, NEIL, AND ADRIAN TURNER. Journey Down Sunset Boulevard: The Film Career of Billy Wilder. Ryde, Isle of Wight: BCW Publishers, 1979.
SLIDE, ANTHONY. The American Film Industry. New York: Limelight, 1990.
SMITH, SALLY BEDELL. In All His Glory: The Life of William S. Paley. New York: Simon and Schuster, 1990.
SPOTO, DONALD. Blue Angel: The Life of Marlene Dietrich. New York: Doubleday, 1992.
———. Madcap—The Life of Preston Sturges. Boston: Little, Brown and Company, 1990.
SRAGOW, MICHAEL. “The Wilder Bunch.” Gentlemen’s Quarterly 84, no. 10, Oct. 1994, pp. 143–46.
STARKMANN, ALFRED. “Billy Wilder: Es Läuft ein grosses Drama über die Bühne.” Die Welt, Dec. 27, 1989, p. 7.
STEEGMULLER, FRANCIS. “Onward and Upward with the Arts.” New Yorker, Sept. 27, 1969, pp. 130–43.
STEPHENS, ROBERT, WITH MICHAEL COVENEY. Knight Errant: Memoirs of a Vagabond Actor. London: Hodder & Stoughton, 1995.
SWANSON, GLORIA. Swanson on Swanson. New York: Random House, 1980.
SWINDELL, LARRY. Screwball: The Life of Carole Lombard. New York: William Morrow and Co., 1975.
———. The Last Hero: A Biography of Gary Cooper. Garden City, N.Y.: Doubleday and Co., 1980.
SYMONETTE, LYS, AND KIM H. KOWALKE, eds. Speak Low (When You Speak of Love): The Letters of Kurt Weill and Lotte Lenya. Berkeley: University of California Press, 1996.
TARABORELLI, J. RANDY. Laughing Till It Hurts: The Complete Life and Career of Carol Burnett. New York: William Morrow and Co., 1988.
THATCHER, MARY ANNE. Immigrants and the 1930s. New York: Garland, 1990.
THOMAS, BOB. Clown Prince of Hollywood: The Antic Life of Jack L. Warner. New York: McGraw-Hill, 1990.
———. Golden Boy: The Untold Story of William Holden. New York: St. Martin’s Press, 1983.
THOMAS, MIKE. “Bewitched, Bothered and BeWildered: A Conversation with the Great American Filmmaker.” Los Angeles Reader, March 21, 1986, pp. 1, 8, 10–13.
THOMAS, TONY. Film Score: The Art and Craft of Movie Music. Burbank, Calif.: Riverwood Press, 1991.
———. Music for the Movies. New York: A. S. Barnes, 1973.
———. The Films of Olivia de Havilland. Secaucus, N.J.: Citadel Press, 1983.
THOMPSON, THOMAS. “Wilder’s Dirty Joke Film Stirs a Furor.” Life 58, Jan. 15, 1965, pp. 51–58.
THOMSON, DAVID. A Biographical Dictionary of Film. New York: William Morrow and Co., 1976.
TRASK, C. HOOPER. “Film Notes from Berlin.” New York Times, March 15, 1931, sec. 9, p. 6.
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TURNER, ADRIAN. “Interview with I. A. L. Diamond.” Films and Filming, May 1982, pp. 16–21.
UNITED STATES HOLOCAUST MEMORIAL MUSEUM. Historical Atlas of the Holocaust. New York: Simon & Schuster and Macmillan, 1996.
URSINI, JAMES. “AFI Oral History with John Seitz.” Beverly Hills: American Film Institute, 1975.
VANDERBEETS, RICHARD. George Sanders: An Exhausted Life. New York: Madison Books, 1990.
VILIDAS, P. “A Life in Pictures.” House and Garden, April 1989, pp. 154–60.
VIVIANI, CHRISTIAN. “Les Deux Fédora.” Positif 210, Sept. 1978, pp. 24–27.
VOSS, HELMUT. “Billy Wilder hat Heimweh nach dem Kurfürstendamm.” Bonner Rundschau, Feb. 7, 1973.
WALKER, ALEXANDER. Audrey: Her Real Story. London: Weidenfeld & Nicolson, 1994.
WARREN, DOUGLAS, WITH JAMES CAGNEY. James Cagney: The Authorized Biography. New York: St. Martin’s Press, 1983.
WATTS, STEPHEN. “Noted on Britain’s Screen Scene.” New York Times, March 4, 1962, sec. 10, p. 7.
WECHSBERG, JOSEPH. The Lost World of the Great Spas. New York: Harper and Row, 1979.
WEINBERG, GERHARD L. A World at Arms: A Global History of World War II. New York: Cambridge University Press, 1994.
WHITE, SUSAN M. The Cinema of Max Ophuls. New York: Columbia University Press, 1995.
WHITE, TIMOTHY. “Looking Backward: James Cagney’s Armchair Tour of Fifty Years in Showbiz.” Rolling Stone, Feb. 18, 1982, pp. 21–24.
WIDENER, DON. Lemmon: A Biography. New York: Macmillan Publishing, 1975.
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———. “Movies Forever!” The New Republic, June 9, 1982, p. 23.
———. “One Head Is Better Than Two.” Films and Filming, Feb. 1957.
———. Der Prinz von Wales geht auf Urlaub: Berliner Reportagen, Feuilletons unk Kritiken der zwanziger Jahre. Ed. Klaus Siebenhaar. Berlin: Fannet & Walz Verlag, 1996.
———.[Signed “Billie Wilder.”] “Asta Nielsen’s theatralische Sendung: ein Interview.” Die Bühne, Feb. 1926, pp. 6–8.
———. [Signed “Billie Wilder.”] “Bücher an den Mann bringen.” Der Querschnitt, March 1930, pp. 192–94.
———. [Signed “Billie Wilder.”] “Herr Ober, Bitte Einen Tänzer!” Die Bühne, June 9, 1927, pp. 34–36.
———. [Signed “Billie Wilder.”] “Stroheim, der Mann, den man gern hasst.” Der Querschnitt, April 1929, pp. 293–295.
———. [Signed “Billie Wilder.”] “Whiteman feiert in Berlin Trimphe.” Die Stunde, June 29, 1926.
———. [Signed “Billie Wilder.”] “Wie wir unseren Studio-Film drehten.” Montag Morgen, Feb. 10, 1930.
———. [Signed “Billie Wilder.”] “Wir vom Filmstudio 1929.” Tempo, July 23, 1929.
———. [Signed “Billie.”] “Das Dorotheum steigt!” Die Stunde, 1925.
———. [Signed “Billie.”] “Der Hungerkünstler Nicky beginnt heute in Wien zu fasten.” Die Stunde, April 4, 1926, p. 9.
———. [Signed “Billie.”] “Der Rosenkavalier am Rosenhügel.” Die Stunde, August 1, 1925, p. 6.
———. [Signed “Billie.”] “Die Kunst, sich umsonst anzuziehen.” Die Stunde, Dec. 20, 1925, p. 5.
———. [Signed “Billie.”] “Die Tiller-Girls sind da!” Die Stunde, 1926.
———. [Signed “Billie.”] “Henry Barbusse in Wien.” Die Stunde, Dec. 10, 1925, p. 4.
———. [Signed “Billie.”] “Momentaufnahmen vom Bezirksgericht.” Die Stunde, 1926.
———. [Signed “Billie.”] “Passendes Weignachtsgeschenk für 12-bis 14 jährige Knaben.” Die Stunde, 1925.
———.
[Signed “Billie.”] “Paul Whiteman, sein Schnurrbart, der Cobenzl, und der Heurige.” Die Stunde, June 13, 1926, p. 7.
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WILLETT, JOHN. Art and Politics in the Weimar Period. New York: Da Capo Press, 1996.
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WOODWARD, IAN. Audrey Hepburn. New York: St. Martin’s Press, 1984.
WYMAN, DAVID. Paper Walls: America and the Refugee Crisis, 1938–1941. Amherst: University of Massachusetts Press, 1968.
———. The Abandonment of the Jews: America and the Holocaust, 1941–1945. New York: Pantheon, 1984.
YABLONSKY, LEWIS. George Raft. San Francisco: Mercury House, 1974.
YARROW, A. L. “Billy Wilder Decides to Sell Some of His Art Collection.” New York Times, Aug. 30, 1989, p. C19.
YOUNGERMAN, JOSEPH. My Seventy Years at Paramount Studios and the Directors Guild of America. Los Angeles: Directors Guild of America, Inc., 1995.
YOUNGKIN, STEPHEN D., JAMES BIGWOOD, AND RAYMOND G. CABANA JR. The Films of Peter Lorre. Secaucus, N.J.: Citadel Press, 1982.
ZIEMKE, EARL F. The U.S. Army in the Occupation of Germany, 1944–1946. Washington, D.C.: Center of Military History, United States Army, 1975.
ZINNEMANN, FRED. Fred Zinnemann: An Autobiography. London: Bloomsbury, 1992.
ZINTZ, KARIN. “Verstand voller Rasierklingen.” Ostsee-Zeitung Rostock, Sept. 15, 1992.
ZOGLIN, RICHARD. “The Class of the 20th Century,” Time, Jan. 13, 1992.
ZOLOTOW, MAURICE. Billy Wilder in Hollywood. New York: Limelight Editions, 1987.
FILMOGRAPHY
DER TEUFELSREPORTER: IM NEBEL DER GROSSSTADT (1929). Deutsche Universalfilm Verleih. Black and white. Director: Ernst Laemmle; screenplay: Billie Wilder; cinematographer: Charles J. Stumar. Cast: Eddie Polo (Eddie, the reporter); Maria Forescu (Madame Lourdier); Jonas Garrison (Jonas); Fred Grosser (Maxe); Gritta Ley (Bessie). 65 minutes.
MENSCHEN AM SONNTAG (1929). Filmstudio Berlin. Black and white. Director: Robert Siodmak; screenplay: Billie Wilder, with Curt Siodmak; cinematographer: Eugen Schüfftan; lighting: Moritz Seeler; assistant: Fred Zinnemann. Cast: Brigitte Borchert (salesgirl); Christl Ehlers (would-be actress); Annie Schreyer (housewife); Erwin Splettstösser (taxi driver); Wolfgang von Waltershausen (wine salesman); with Kurt Gerron, Valeska Gert, and Ernst Verebes. 74 minutes.
DER MANN, DER SEINEN MÖRDER SUCHT (1931). Ufa. Black and white. Director: Robert Siodmak; producer: Erich Pommer; screenplay: Billie Wilder, Curt Siodmak, and Ludwig Hirschfeld, based on the play Jim, der Mann mit der Narbe by Ernst Neubach and the novella The Tribulations of a Chinaman in China by Jules Verne; cinematographers: Otto Baecker and Konstantin Irmen-Tschet; musical score: Friedrich Holländer and Franz Wachsmann; sound: Fritz Thiery. Cast: Heinz Rühmann (Hans Herfort); Lien Deyers (Kitty); Raimund Janitschek (Otto Kuttlapp); Hermann Speelmans (Jim); Gerhard Bienert (Schupo); Friedrich Holländer (conductor); Hans Leibelt (Adamowski). 98 minutes.
IHRE HOHEIT BEFIEHLT (1931). Ufa. Black and white. Director: Hanns Schwarz; screenplay: Paul Frank, Robert Liebmann, Billie Wilder; cinematographers: Konstantin Irmen-Tschet and Günther Rittau; music and lyrics: Richard Heymann, Ernst Neubach, and Robert Gilbert. Cast: Willy Fritsch (Lt. von Conradi); Käthe von Nagy (Princess Marie-Christine); Paul Hörbiger (Pipac); Reinhold Schünzel (Minister of State). 96 minutes. Note: Ihre Hoheit befiehlt was remade by Fox as Adorable (1933), directed by William Dieterle and starring Janet Gaynor; Wilder received story credit.
SEITENSPRÜNGE (1931). Ufa. Black and white. Director: Stefan Székely; screenplay: Ludwig Biro, Bobby E. Lüthge, and Karl Noti, from an idea by Billie Wilder; cinematographer: Walter Robert Lach; music and lyrics: Karl M. May, Fritz German, and Karl Brüll. Cast: Oskar Sima (Robert Burkhardt); Gerda Maurus (Annemarie); Paul Vincenti (Carlo); Jarmila Marton (Lupita). 81 minutes.
DER FALSCHE EHEMANN (1931). Ufa. Black and white. Director: Johannes Guter; screenplay: Paul Frank and Billie Wilder; cinematographer: Carl Hoffmann; musical score: Norbert Glanzberg; editor: Constantin Mick. Cast: Johannes Riemann (Peter and Paul Hanneman); Maria Paudler (Ruth Hannemann); Tibor Halmay (Maxim Tartakoff); Fritz Strehlen (Maharaja); Jessie Vihrog (Ines); Gustav Waldau (H.H. Hardegg); Martha Ziegler (Fraülein Schulze). 85 minutes.
EMIL UND DIE DETEKTIVE (1931). Ufa. Black and white. Director: Gerhard Lamprecht; producer: Günther Stapenhorst; screenplay: Billie Wilder, based on the novel by Erich Kästner; cinematographer: Werner Brandes; musical score: Allan Gray. Cast: Rolf Wenkhaus (Emil); Käthe Haack (Emil’s mother); Fritz Rasp (Grundeis); Rudolf Biebrach (policeman); Olga Engl (Emil’s grandmother); Inge Landgut (Pony Hütchen); Hans Herrmann Schaufuss (Gustav); Hubert Schmitz (Professor); with Hans Richter, Hans Loehr, Ernst-Eberhard Reli, and Waldemar Kupczyk. 75 minutes. Note: Emil und die Detektive was remade by Gaumont-British Picture Corporation as Emil and the Detectives (1935), directed by Milton Rosmer; Wilder received credit for writing the original screenplay.
ES WAR EINMAL EIN WALZER (1932). Aafa Film. Black and white. Director: Victor Janson; screenplay: Billie Wilder; cinematographer: Heinrich Gärtner; musical score: Franz Lehár; editor: Ladislas Vajda Jr. Cast: Marta Eggerth (Steffi Pirzinger); Rolf von Goth (Rudi Möbius); Hermann Blass (Sauerwein); Fritz Greiner (coachman); Paul Hörbiger (Franz Pirzinger); Lizzi Natzler (Lucie Weidling); Albert Paulig (Pfennig); Ernst Verebes (Gustl Linzer); Lina Woiwode (Mrs. Zacherl); Ida Wüst (Mrs. Weidling). 79 minutes.
EIN BLONDER TRAUM (1932). Ufa. Black and white. Director: Paul Martin; producer: Erich Pommer; screenplay: Walter Reisch and Billie Wilder; cinematographers: Otto Baecker, Konstantin Irmen-Tschet, and Günther Rittau; musical score: Werner Richard Heymann and Gérard Jacobson. Cast: Willy Fritsch (Willy I); Willi Forst (Willy II); Lilian Harvey (Jou-Jou); Paul Hörbiger (Scarecrow); C. Hooper Trask (Mr. Merryman); Hans Deppe (secretary); Trude Hesterberg (Ilse). 84 minutes.
SCAMPOLO, EIN KIND DER STRASSE (1932). Bayerische Filmgesellschaft. Black and white. Director: Hans Steinhoff; screenplay: Max Kolpe and Billie Wilder, based on the play by Dario Niccodemi; cinematographes: Hans Androschin and Curt Courant; musical score: Franz Wachsmann and Artur Guttmann; editor: Ella Ensink. Cast: Dolly Haas (Scampolo); Karl Ludwig Diehl (Maximillian); Paul Hörbiger (Gabriel); Hedwig Bleibtreu (Mrs. Schmidt); Oskar Sima (Phillips, the banker). 87 minutes.
DAS BLAUE VOM HIMMEL (1932). Aafa Film. Black and white. Director: Victor Janson; screenplay: Max Kolpe and Billie Wilder; cinematographer: Heinrich Gärtner; musical score: Paul Abraham; editor: Else Baum. Cast: Marta Eggerth (Anni Mueller); Hermann Thimig (Hans Meier); Jakob Tiedtke (U-Papa); Ernst Verebes (Hugo); Fritz Kampers (Tobias); Hans Richter (Tommy); Margarete Schlegel (“Zigaretten-Cilly”); Walter Steinbeck (Piper). 82 minutes.
MADAME WÜNSCHT KEINE KINDER (1933). Director: Hans Steinhoff; screenplay: Max Kolpe and Billie Wilder, based on the book by Clément Vautel; cinematographers: Willy Goldberger and Hans Androschin; editor: Ella Ensink; music and lyrics: Bronislau Kaper, Walter Jurmann, Fritz Rotter, and Max Kolpe. Cast: Georg Alexander (Dr. Felix Rainer); Erika Glässner (Frau Wengert); Liane Haid (Madelaine Wengert); Lucie Mannheim (Luise); Hans Moser (Schlaf-wagenschaffner); Will Stettner (Adolf); Otto Wallburg (Herr Balsam). 86 minutes.
WAS FRAUEN TRÄUMEN (1933). Bayerische Filmgesellschaft. Black and white. Director: Géza von Bolváry; screenplay: Franz Schulz and Billie Wilder; cinematographer: Willy Goldberger; musical score: Robert Stolz. Cast: Nora Gregor (Rina Korff); Gustav Fröhlich (Walter König
); Peter Lorre (Füssli); Kurt Horwitz (Levassor, alias John Constaninescu); with Kurt Lilien, Hilde Maroff, Erik Ode, Eric Steinbeck, and Otto Wallburg. 81 minutes. Note: Was Frauen träumen was remade by Universal as One Exciting Adventure (1934), directed by Ernst Frank and starring Binnie Barnes; Wilder received story credit.
MAUVAISE GRAINE (1934). Pathé Consortium Cinéma. Black and white. Directors: Billie Wilder and Alexander Esway; producers: Edouard Corniglion-Molinier and Georges Bernier; screenplay: Billie Wilder, Max Kolpe, Hans G. Lustig, and Claude-André Puget; cinematographers: Paul Cotteret and Maurice Delattre; musical score: Allan Gray and Franz Wachsmann. Cast: Danielle Darrieux (Jeanette); Pierre Mingand (Henri Pasquier); Raimond Galle (Jean-la-Cravate); Paul Escoffier (Dr. Pasquier); Michel Duran (the Boss); Jean Wall (Zebra); Marcel Maupi (man in panama hat); Paul Velsa (man with peanuts); Georges Malkine (secretary); Georges Cahuzac (Sir); Gaby Héritier (Gaby). 77 minutes.
MUSIC IN THE AIR (1934). Fox Film Corporation. Black and white. Director: Joe May; producer: Erich Pommer; screenplay: Robert Liebmann, Billie Wilder, and Howard Irving Young, based on the musical by Oscar Hammerstein II and Jerome Kern; cinematographer: Ernest Palmer; musical adaptation: Franz Waxman. Cast: Gloria Swanson (Frieda); John Boles (Bruno Mahler); June Lang (Sieglinde); Al Shean (Dr. Lessing); Reginald Owen (Weber); Joseph Cawthorn (Uppman); Hobart Bosworth (Cornelius); Sara Haden (Martha); Marjorie Main (Anna); Roger Imhof (Burgomaster); Jed Prouty (Kirschner); Christian Rub (Zipfelhuber); Fuzzy Knight (Nick). 85 minutes.
UNDER PRESSURE (1935). Fox Film Corporation. Black and white. Director: Raoul Walsh; producer: Robert T. Kane; screenplay: Borden Chase, Noel Pierce, and Lester Cole, with revisions and additional dialogue by Billie Wilder, based on the novel East River by Borden Chase and Edward Doherty; cinematographers: Hal Mohr and L. W. O’Connell; art direction: Jack Otterson; costumes: William Lambert. Cast: Edmund Lowe (Shocker); Victor McLaglen (Jumbo); Florence Rice (Pat); Charles Bickford (Nipper); Ward Bond (fighter); Sig Rumann (doctor). 70 minutes.
LOTTERY LOVER (1935). Fox Film Corporation. Black and white. Director: Wilhelm Thiele; screenplay: Franz Schulz, Billie Wilder, and Hanns Schwartz, based on a story by Siegfried Herzig and Maurice Hanline; cinematographer: Bert Glennon; art direction: William Darling; costumes: Rene Hubert; music and lyrics by Jay Gorney and Don Hartman; editor: Dorothy Spencer. Cast: Lew Ayres (Frank Harrington); Pat Paterson (Patty); Peggy Fears (Gaby); Reginald Denny (Capt. Payne); Sterling Holloway (Harold Stump). 82 minutes.
