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Fedora (1978) Online

Fedora (1978) Online
Original Title :
Fedora
Genre :
Movie / Drama / Romance
Year :
1978
Directror :
Billy Wilder
Cast :
William Holden,Marthe Keller,Hildegard Knef
Writer :
Billy Wilder,I.A.L. Diamond
Budget :
$6,727,000
Type :
Movie
Time :
1h 56min
Rating :
6.9/10
Fedora (1978) Online

Down-on-his-luck Hollywood producer Barry 'Dutch' Detweiler attempts to lure Fedora, a famous but reclusive film actress, out of retirement.
Cast overview, first billed only:
William Holden William Holden - Barry Detweiler
Marthe Keller Marthe Keller - Fedora
Hildegard Knef Hildegard Knef - The Countess
José Ferrer José Ferrer - Doctor Vando
Frances Sternhagen Frances Sternhagen - Miss Balfour
Mario Adorf Mario Adorf - Hotel Manager
Stephen Collins Stephen Collins - Young Barry
Henry Fonda Henry Fonda - President of the Academy
Michael York Michael York - Himself (as Micheal York)
Hans Jaray Hans Jaray - Count Sobryanski
Gottfried John Gottfried John - Kritos
Arlene Francis Arlene Francis - Newscaster
Jacques Maury Jacques Maury - Head Usher
Christine Mueller Christine Mueller - Young Antonia
Ellen Schwiers Ellen Schwiers - Nurse

According to the book 'On Sunset Boulevard: The Life and Times of Billy Wilder' by Ed Sikov, this movie had only a limited release in some European and American markets with little publicity. Apparently, an upset Billy Wilder complained that only "about $625 on a marketing campaign" was spent.

Director Billy Wilder refused to allow anymore cuts to this film. United Artists had already cut 12 minutes prior to a preview in Santa Barbara, and the screening had gone poorly with the audience, who were laughing during the wrong parts of the film.

This film is considered a companion piece to the director Billy Wilder's earlier classic picture, Сансет бульвар (1950). Both movies star William Holden and deal with the life of an actress clinging to the past and unable to come to terms with fading fame and celebrity.

Director Sydney Pollack invited this film's director Billy Wilder to a preview showing of the Al Pacino film Bobby Deerfield (1977). Wilder cast actress Marthe Keller after seeing her in this movie playing the part of Lillian.

Final film as a producer for Billy Wilder.

This was the 4th and final time actor William Holden worked with writer-director Billy Wilder. Their previous films together included Сансет бульвар (1950); Лагерь для военнопленных 17 (1953) (Holden won the Academy Award Best Actor Oscar), and Sabrina (1954).

This film had its World Premiere on 30 May 1978 exhibited as part of a retrospective programme of the director Billy Wilder's work held at the Cannes Film Festival.

This film is based on the novella by Tom Tryon. The novella was included in the anthology collection 'Crowned Heads' which was published in 1976.

Distributor Allied Artists dropped the film after a poor response to its exhibition at a New York City Myasthenia Gravis Foundation Charity Benefit screening.

This film was going to premiere as a US tele-movie from Lorimar Productions screening on CBS but before the network could finalize the deal, United Artists picked up the movie for theatrical distribution.

The character and career of Fedora in the original Tom Tryon short story is based on elements from the lives and careers of Marlene Dietrich, Greta Garbo, Pola Negri, Olga Tschechowa, and Elfi von Dassanowsky. The Hungarian-accented director of the film "Leda and the Swan" in Dutch's letter-writing flashback is modeled after Michael Curtiz.

When the Countess is reading the names of the rich and famous who have sent condolences, she pauses when she reads Marlene Dietrich's name, calling her a "real fighter." Dietrich had been directed by Billy Wilder in "A Foreign Affair" and "Witness for the Prosecution."

Final film doing producing duties for regular Billy Wilder collaborator I.A.L. Diamond. Of the 8 producing credits for Diamond, all are for the position of associate producer, and all for films made with director Wilder.

The exotic Mediterranean location where legendary movie star Fedora lived was on a villa on an island near Corfu, a Greek island in the Ionian Sea.

Showbusiness trade paper Variety described this motion picture as a "bittersweet bow to the old star system".

Faye Dunaway was a first choice of writer-director Billy Wilder to play the old Hollywood star, Fedora. Shortly afterwards, Dunaway would play another iconic actress from this same era, when she was cast as Joan Crawford in Mommie Dearest (1981).

This film's narrated by one of its leads, William Holden. Holden also narrated Сансет бульвар (1950) (also written and directed by Billy Wilder), in which he starred in as well.

Both this film and Сансет бульвар (1950) examine similar topics; Hollywood actors and what happens to them with the passage of time. Sunset Blvd. deals with the passing of The Silent Era while Fedora concerns The Golden Age of Hollywood and the end of the studio system. These two films (considered by some to be 'bookends') were made about 28 years apart.

Faye Dunaway was originally offered the role of Fedora, and Marlene Dietrich was asked to play Countess Sobryanski.

Around the time when this film was made and released, a number of movies about Old Hollywood were being made, or had recently been made. These included Gable and Lombard (1976), Goodbye, Norma Jean (1976), Bud and Lou (1978) and W.C. Fields and Me (1976). Bogie (1980) and Mommie Dearest (1981) would soon follow. The book 'On Sunset Boulevard: The Life and Times of Billy Wilder' by Ed Sikov maintains these biopics weren't successful at the box-office, nor had director Billy Wilder's previous movie been, The Front Page (1974). Due to this, the script for this picture had a restriction imposed by United Artists; Wilder and writer I.A.L. Diamond had a deal to write the screenplay but UA had a 45-day option after its submission date to accept or reject the project. United Artists passed, and the project went into turnaround, with the project later receiving finance from German investors.

The 1994 publication of the biography Marlene Dietrich by Dietrich's daughter Maria Riva stated that by a comparison between this film with Ms. Riva's book, that amongst the handful of actresses upon which the Fedora character was based, Marlene Dietrich was the most dominant personality of them all.

After finishing this film, Billy Wilder would direct only one more picture; the poorly received Buddy Buddy (1981) starting Walter Matthau and Jack Lemmon.

When Henry Fonda gives Fedora the Oscar he mentions some of her leading men where Fredric March, Charles Boyer, and Ronald Colman.

Star William Holden has headlined both of director Billy Wilder's star system film industry pictures - Fedora (1978) and Сансет бульвар (1950).

This movie marks the first time William Holden worked with Wilder since Sabrina (1954) - a gap of 24 years. All of their previous movies together had been made during the 1950s. Moreover, Holden's character in this movie is similar to his in Сансет бульвар (1950).

This movie was described as a "meditation on celebrity, the vanity of art, and the encroachment of age" by the 'Chicago Reader' whilst 'Time Out' said the film was "shamefully underrated . . . it explores the basis of cinema: realism, illusion, romance and tragedy - in a word, emotion."

The movie Fedora is making with Michael York, seen during a flashback sequence, is entitled "The Last Waltz". Coincidentally, Martin Scorsese's real film with that title, The Last Waltz (1978), was made and released at about the same time as this film, both in 1978. Other than sharing the title, they've nothing in common; Scorcese's film was a documentary of The Band as they played their farewell concert.

The film was made and released about two years after its source novella of the same name by Tom Tryon had been first published in 1976.

One of numerous screen-writing collaborations of director Billy Wilder and scriptwriter I.A.L. Diamond.

The script Barry Detweiler brings to Fedora is a new adaptation of "Anna Karenina" called "The Snows of Yesteryear." This title had actually been used for an episode of a British television show: Mrs Thursday: The Snows of Yesteryear (1966).

First film in around six years as a producer for writer-producer-director Billy Wilder whose last producing credit had been for Avanti! (1972).

In the newscast announcing Fedora's death at the beginning of the film, among the characters she is said to have played are Madame Bovary, Joan of Arc and Lola Montez.

This was the penultimate film directed by Billy Wilder. Wilder's final film as director, released three years later was Buddy Buddy (1981).

Fedora is said to have made 41 pictures.

Dr. Vando tells Dutch that Fedora is 67 years old.

Dutch first met Fedora at MGM in 1947 on the set of "Leda and the Swan" where she was the star and he was 2nd assistant director.

The Greek hotel manager played by the German actor Mario Adorf bears a strong resemblance to two other hotel managers in Billy Wilder films - the Arab one played by Akim Tamiroff (a Russian) in "Five Graves To Cairo", and the Italian one played by Clive Revill (a New Zealander) in "Avanti!"

Henry Fonda: As himself, who is The President of the Academy of Motion Picture Arts and Sciences, who presents a Lifetime Achievement Oscar to Fedora. However, Fonda never actually served as president of AMPAS. Even though he's playing himself, his credit reads only "The President of the Academy" unlike Michael York who is credited as himself.

Michael York: As himself.

Author Tom Tryon's original inspiration for his novel, upon which this the film was based, was silent star Corinne Griffith who in 1965 claimed she was not the original silent actress Corinne Griffith and was in fact a younger woman during a well-publicised divorce trial.

Neither of this film's lead actresses who play Fedora, Marthe Keller and Hildegard Knef, sounded similar enough, nor could they be clearly heard, according to the film's director Billy Wilder as outlined in the book 'On Sunset Boulevard: The Life and Times of Billy Wilder' by Ed Sikov. As such, for the English language version, German actress Inga Bunsch dubbed their voices whilst Keller dubbed them for the French language version and Knef dubbed them for the German language version.

Director Billy Wilder expected the actress that was cast as Fedora to play her both as a young and old woman. When Faye Dunaway passed on the part and Marthe Keller was cast as Fedora, Wilder was dismayed when the old age makeup prepared for the older Fedora (as Countess Sobryanski) aggravated a large scar on her forehead and caused so much pain that Wilder knew she couldn't act under those conditions. He was forced to cast an older actress for the old Fedora, and Hildegard Knef got the part. Wilder and Keller never established a good working relationship, with the result that her poor performance essentially ended her time as a Hollywood star.

Actress Marthe Keller can be thought of as playing three roles in this film: the young Fedora, her adult daughter Antonia, and the older Fedora as impersonated by Antonia.

Count Sobryanski says he and Fedora met on the SS Normandie the summer before the war in Europe and Antonia was born the following spring. This makes 1940 the year of Antonia's birth.

At the public viewing, Fedora and Dr. Vando explain to Dutch that the medical accident that disfigured Fedora's face occurred in 1962, after 20 years of getting successful treatments at his clinic. Furthermore, the ensuing complications and stroke have kept her wheelchair-bound for 15 years. This makes 1977 the year of Antonia's death and the contemporary, non-flashback, time frame of the film.


User reviews

Enone

Enone

It puzzles me why this film appears to have been so forgotten and neglected because I find it richly entertaining and, like so much of Wilder's work, it shows an abiding, (although not uncritical), love / hate of Hollywood and all it represented. Wilder has no illusions about the Monster Hollywood could be in its heyday when it created an almost parallel universe which consisted of those on the inside the industry, and the rest of us who paid homage at the box-office. Both parties were almost entirely oblivious of the reality of life as experienced by each other.

FEDORA is much more bitter-sweet than SUNSET BLVD., (his other film with which it is natural to compare it, and of course the presence of William Holden in both makes this even more compelling), but here we see people who, having made a pact with the devil of Hollywood fame and fortune, find it is a two edged sword that keeps them in the service of its mores and values forever, even though the effort of doing so nearly makes them die from exhaustion. Death or permanent seclusion is the only way to preserve a legend's immortality.

Beautifully structured, and with some excellent dialogue, all the cast acquit themselves with credit, and I find it a fascinating and valuable glimpse into a world that has now gone forever and which is never, ever likely to return. Perhaps more reflective and introspective than we expect a Billy Wilder film to be, but all the more richly satisfying for it. Highly recommended.
Yahm

Yahm

I wish to defend Fedora somewhat from the sole previous IMDB reviewer. It is not a great movie such as "Sunset Boulevard" but it is hugely enjoyable and a real treat for anyone interested in old Hollywood, and the bitter-sweet quality of fading glamour.

Since the death of Marlene Dietrich, and especially with the publication of a biography by her daughter Maria Riva, it is now clear that Fedora is a direct portrait of Ms. Dietrich with much telling accurate detail.

Billy Wilder knew Dietrich and old Hollywood well, and even though made in the 70's, the film captures a genuine essence probably for the last time as figures from the golden age of film have since then moved into retirement and sadly largely slipped the mortal coil.

The real story of the EXTRAORDINARY Ms. Dietrich is better than any of her movies, and Fedora tells some of that story. It makes for more comfortable viewing than Maximillian Schell's documentary "Marlene".

Wilder is an intelligent director, which makes "Fedora" worthwhile viewing. I have always found "Sunset Boulevard" a little too arch and self-consciously aware; "Fedora" is a more lyrical piece by the director as an older man.
Felolune

Felolune

I devoured Tom Tryon's book and I made my own film in my mind. Needless to say, I loved it. Then I heard that Billy Wilder was going to direct the film version. Perfect, I thought, perfect. I wanted to write to Mr. Wilder to let him know about the film I had already in my mind, not camera shots, naturally, but casting. There was only one actress who could play the Garboesque Fedora in all her mysterious splendor and that was Vanessa Redgrave, then,at that exact moment in time. She was the only actress who could be all the other actresses we've always known and loved rolled into one. That in itself made her unique, spellbinding. Rachel Kempson a great British actress plus Vanessa's mother in real life, to play the old lady. The film was made with Marthe Keller and Hildegarde Kneff in those roles. I hoped for Terence Stamp to be the actor of Fedora's dreams. They chose Michael York. I remember a review by Pauline Kael I believe, when she came to review Michael York in this film her comment was succinct: "Michael York plays himself, unconvincingly". Maybe this is a suitable case for remake. With all due respect to Mr. Wilder, one of my heroes, maybe Cameron Crowe should have a go.
Frosha

Frosha

The former successful and famous Polish actress Fedora (Marthe Keller) commits suicide at the Mortcerf Station, jumping off in front of a train. The broken Hollywood producer Barry 'Dutch' Detweiler (William Holden) attends the funeral at her house in Paris and recalls that he might have caused her death.

Two weeks ago, Dutch traveled to Greece Island of Corfu seeking Fedora out in the Vila Calypso, located in an isolated island owned by the bitter Countess Sobryanski (Hildegard Knef). Fedora has been living an unsocial reclusive life for the last years in the villa with the countess, the plastic surgeon Doctor Vando (José Ferrer) and her assistant Miss Balfour (Frances Sternhagen), since she abandoned the set of a film that she was shooting in London with Michael York.

Dutch brings the screenplay with a version of "Anna Karenina" to offer to Fedora, with the promise that investors would finance the film if Fedora accepts the lead role. Fedora, who is impressively young, is receptive to the offer, but the countess and the doctor tell that she is mentally unstable and paranoid and can not act again.

When Dutch discovers that Fedora will be secretly sent to a mental institution owned by Dr. Vando in Mortcert, he tries to rescue the actress from the island but he is hit on the head and faints with a concussion. One week later, when he awakes, he learns that Fedora is dead. Dutch travels to Paris and meets Countess Sobryanski that him the truth about Fedora.

"Fedora" is the swan song of Billy Wilder, with an engaging story; a complex screenplay and many twists about aging, selfishness and loss of youth and identity. The plot has many elements of "Sunset Boulevard", with a washed-up producer looking for a former glamorous Hollywood actress that surprisingly has not aged like she should and might represent his comeback to the glory. The secret about Fedora and her friends is unpredictable. My vote is eight.

Title (Brazil): Not Available
Gom

Gom

Billy Wilder's second-last film comes full circle from 1950's Sunset Boulevard.

Fedora begins with a news announcement of the great actress' death. Dutch Detweiler (William Holden) narrates the film, and attends Fedora's lying in state. He recalls what led up to that moment, and the story begins.

Dutch (William Holden) has a script that is perfect for the actress Fedora (Marthe Keller), a Garbo-like myth wrapped in a legend, who lives a reclusive life in Corfu.

One day, he sees her in town and reintroduces himself - they knew each other 30 years earlier. He is astounded by her unchanged beauty. She wears gloves because her doctor can't do anything about aging hands. and she asks him for a few dollars. When he asks if she received his script, she says that they hide the mail from her.

After some spying on Fedora, Dutch comes to the conclusion that she is not being well treated and is imprisoned. Desperate to see her, he tries every way he can to gain entrance to the house, and at one point actually breaks in, only to be knocked out by someone who acts as her chauffeur. When he comes to, he's in his hotel, and a week has passed. And lots has happened.

Fedora is based on the story in Tom Tryon's book, "Crowned Heads," which is three stories - the first about a Lana Turner-type, the second a combination of Clifton Webb and Ramon Navarro, and the third Fedora, actually based on Dietrich, Garbo, and a few other actresses. The first two stories were kind of sleazy. Fedora is really the best one.

I remember this did not get good reviews at the time. Billy Wilder had no end of problems with it. It did not get a full release internationally or nationally; it was not publicized; and it was so badly cut that audiences laughed in all the wrong places when it was shown initially.

It's pathetic to me that a great talent like Billy Wilder was treated so badly by modern Hollywood, but I'm not surprised.

I think this is an interesting story and if Wilder had been allowed to do what he wanted, it would have been a marvelous film. One of the things that brought it down for me was the abominable performance of Marthe Keller. This role brought an end to her brief Hollywood career.

What really bothered me was all the dubbing. Neither Knef's nor Keller's voices were used, and it's obvious. The actresses just sound dubbed with very little effort at performances. I may be overly sensitive; that dubbing sound is a big turnoff for me, but maybe not for others.

I think this plays better on television than it probably did in the theaters, and it's definitely worth seeing for Holden at least, who is Joe Gillis had he lived.

A series of unfortunate events spoiled what this film could have been, but it's still Billy Wilder, it's still William Holden, and you can't go too wrong.
Kagrel

Kagrel

Billy Wilder revisits the territory of his Hollywood Babylon classic Sunset Boulevard, with the same male lead (William Holden) in an almost identical role as a washed-up screenwriter trying to get to a reclusive and mysteriously ageless one-time screen queen in order to pitch her a comeback script. Story elements include Oscar Wilde's Picture of Dorian Gray and (off-screen) the many mad-doctor yarns of the 1930s and 1940s in which Boris Karloff messes about with Things We Were Never Meant To Know. Looks great in a brittle and glitzy 1970s way, as befits its scornfully depicted international-rich-white-trash milieu. Essentially it's a sombre but humanistic sermon on the hopeless worship of physical youth and beauty: as a medieval English writer put it, "who sows hope in the flesh reaps bones". A very relevant film for our narcissistic times, its only big flaw is that it's a mighty chilly piece of work, easier to admire than to love.
Blackbeard

Blackbeard

"Fedora" was made with German and French money.It speaks volumes about what America thought of the commercial potential of one of its greatest directors.

As "Buddy Buddy" ,remake of a FRench comedy does not count ,"Fedora" is Wilder's last opus.And it is a good film,nay a splendid one regarded in context,the best last movie Wilder could make ,which is just as well ,because when epitaphs are seen as worthless,the things that came before can sometimes been retropectively tarnished by association."Fedora" stands in little danger to bring this about.It is a last film ,soon,like the others ,to yellow with age but never lose its poignancy.

Some said it was a poor man's "Sunset Blvd" .There are similarities: flashbacks,real-life actors (Cecil B.De Mille in "Sunset" Henry Fonda and Michael York" in "Fedora" ) and the terror of getting old ,the longing for eternity.There the comparison ends.

For "Fedora" was ,in 1978,a "modern" film which the European (notably the FRench critic) hailed as a young man's work."Fedora" is absorbing from start to finish:it is ,in turn,a romantic story (the affair with York) an investigation à la "Citizen Kane" ,a thriller and even a Gothic horror movie.William Holden,Hildegarde Knef , Swiss Marthe Keller,Mario Adorf and Jose Ferrer are all excellent.

The first scene when the heroine throws herself under the train recalls the techniques of the forties/fifties .Whereas "Fedora " is a thoroughly modern film,it manages to display nostalgia for the things we lost when the cinema began to lose its innocence or became intellectual or "got small!"The same nostalgia we felt in "Avanti" .The luminous blue Mediterranean sky is in direct contrast to the darkness of Wilder's earlier films noirs.

With "Fedora" Wilder came out blaring!
Talrajas

Talrajas

Many reasons for see this little gem. the performances, the atmosphere, the crumbs of old Hollywood, the tragedy of glory in passing time. and a touching story. remembering "Sunset Blvd". but being, for its bitter poetry, so different. for me, the basic motif for see it was the presence in cast of William Holden. and this "key" works. for discover not exactly a world but a form of survive. and its precise limits. a film about the traits of past. and meeting with wise use of suggestion, from illustrious names to small details of biographies for transform the film in a form of trip across Hollywood Golden Age.
Eyalanev

Eyalanev

I enjoy the kind of outlandish stories like the one found in FEDORA. The whole story is so much larger than life that seeing the sorta mediocre result is disappointing because this story needed grandeur, big budget, big cast, big everything, to elevate the over-the-top story to its sublime glory. Oddly enough (and unfortunately for us) Billy Wilder's movie mimics the film's story to a tee. The story is about a famous but reclusive film star (obviously patterned after Greta Garbo) who lives on an isolated Greek island. A producer/writer (played by a too old William Holden) wants to meet with Fedora and have her come out of retirement so she can star in his new film. Fedora had already retired before but experienced a comeback a few years ago before disappearing from the silver screen, this time for good. When Holden meets Fedora, the woman seems totally crazy. The story that unfolds afterwards is preposterous, soapy, twisted, quasi-operatic and yet fitting, for a story about Hollywood.

The funny thing about FEDORA is how Wilder critiques old Hollywood and the then current Hollywood of the 1970s and proceeds to shoot himself in the foot. The convoluted story of a Hollywood legend unable to live up to her famous past is exactly what happened to Wilder when he decided to direct this film: Wilder was too old to direct this film. FEDORA, the film itself, is a pale example of what the director could do when compared to his films of the past, like SUNSET BOULEVARD and SOME LIKE IT HOT. Not only that, but Wilder also samples his older films' glory to drive his point in FEDORA, which, in turns renders the whole thing even more pathetic than it needed to be.

FEDORA, the film, is not really about the fictional story about a legendary actress but more about Billy Wilder, the director, a bitter old man trying to prove a point by showing to the world how over-the-hill he was.

The casting in FEDORA can only be described as disastrous. Hiring Holden was a very bad idea. His presence kept reminding me of SUNSET BOULEVARD, which even if that film was made in the good old days of the 1950s, was more sharp, more ironic, more iconic, more modern in its understanding of how image can distort reality than anything seen in FEDORA, which was made in 1978. Showing Marthe's breasts does not equate to anything than a pathetic attempt to be with the times. Casting Marthe Keller and Hildegard Knef was also a very bad idea. The voices for both actresses were dubbed throughout the entire film, which was needlessly distracting and watered down whatever attempt at acting those two tried to achieve. And Jose Ferrer looks bored out of his mind. In fact, the whole film looks bored, sounds bored, moves boringly. THE LEGEND OF LYLAH CLARE, which share the same kind of improbable storyline, is, even as bad as it is, more fun and enjoyable to watch than this dreary thing.

The film's bite would have been more convincing if FEDORA had more punch to it, more life, more style, more irony. As it is, FEDORA is just sad and pathetic. It's a shame because like I said, I love these kind of stories and it annoys the heck out of me that Wilder was more concern in trying to voice a (tired) opinion than actually trying to create a great film first. A proper remake, with grand production values and a bit more class (the film creates a sorta repellent image of Garbo), and hopefully without Michael York, should be done one of these days. The improbable, over-the-top, almost operatic story definitely deserves it.
Xellerlu

Xellerlu

...as this one seemed to just be retreading familiar ground. This was director-scenarist Billy Wilder's late '70s return to Sunset Boulevard territory, reuniting him with William Holden in a role not at all dissimilar to that which had skyrocketed the actor's career in the 1950 classic.

In this film he plays an aging independent Hollywood producer, desperate for a success, who travels to a Greek island with the hope of luring a reclusive Garboesque film queen out of retirement with a screenplay based on Anna Karenina. The star, remarkably well preserved with a bizarre collection of hangers on surrounding her (or are they imprisoning her?) is erratic, to say the least, once Holden finally succeeds in meeting her.

Wilder fans may be intrigued with the film's premise for a while (based on a story by Thomas Tryon) but this film largely told in flashback after beginning with the film star's Anna Karenina-like suicide in front of a train lacks the wit and sardonic black humor that had so distinguished Sunset Boulevard. In fact, this suitably bizarre tale has no leveling humor at all, and it is sorely missed.

The cast is adequate, nothing more. Holden, his character so integral to Sunset Boulevard, is largely reduced to the role of observer here, and Marthe Keller as the mysterious Fedora lacks any sense of depth or fascination as the aging Hollywood queen whose youthful appearance is eerily similar to that of a female Dorian Gray. Hildegarde Knef as an embittered Countess who lives with her, and Jose Ferrer, as her doctor, fill out the cast. There are also brief appearances by Michael York and Henry Fonda.

While ultimately the film must be judged a disappointment, considering the impressive pedigree of those involved, fans of Wilder will still want to see it - at least once. But there's only so much interest one can develop for a film in which it is difficult for its audience to muster any emotional involvement for any of its characters.
Low_Skill_But_Happy_Deagle

Low_Skill_But_Happy_Deagle

William Holden made his fourth and final film for Billy Wilder who he always considered his lucky director. With such films as Sunset Boulevard, Stalag 17, and Sabrina to their credit who wouldn't consider that lucky? Fedora doesn't quite belong in the same category as those others from the golden years of Wilder and Holden. Still it's an interesting film to watch and you can never make a visually bad film in the Grecian Isles.

Holden plays Barry Detweiler an interesting older variation on Joe Gillis from Sunset Boulevard. Imagine if Gillis had avoided Norma Desmond's bullets and had gone on to a great film career and you have Barry Detweiler.

But the digs that Norma Desmond had in Sunset Boulevard compare badly to the splendor of the regal exile that movie legend Fedora has on the Grecian isle of Korfu. It's been a mystery how Fedora has managed to appear eternally young.

Back in the day Holden had a fling with Fedora and he's played here as a young man by Stephen Collins. Hoping to cash in on a quick roll on the beach from the Fifties, Holden has a script for a new version of Anna Karenina. After much scheming he does get into see Fedora, played by young Marte Keller.

Unfortunately some intriguing things keep bringing Holden back and in the end he does uncover the secret of Fedora's eternal youth. Let's say it was something not available to Norma Desmond.

Best performance in the film for me is Jose Ferrer, a quack plastic surgeon who has attached himself to Fedora as part of her entourage. Ferrer steals every scene he's in, that man was never bad in anything he did.

Maybe Fedora would have been a classic if Marlene Dietrich had come back to play the part of the old countess that Hildegard Knef did and Faye Dunaway had played Fedora. Personally I think the part of the countess was too close to home for Dietrich, but Wilder definitely wanted her.

What a film that would have been.
WinDImmortaL

WinDImmortaL

Billy Wilder is celebrated for a streak of movies that starts with the groundbreaking film-noir "Double Indemnity" and "Lost Weekend" and ends with the comedy classics "Some Like it Hot" and "The Apartment". In between, you have such titles as "Sunset Blvd.", "Stalag 17", Sabrina" and "Witness for the Prosecution", I guess if any movie lover was asked about the 10 greatest movies from the Golden Age, a fistful of Billy Wilder films would be mentioned.

This is just to say that this is the kind of legacy a foreign director, who escaped from the Nazis and never got rid of his German accent, can be damn proud of, he literally owned American cinema and defined many genres. After the sixties, he still had a share of enjoyable movies but they never reached the same iconic status. And when the New Hollywood was built on the ruins of the studio system, Billy Wilder became the incarnation of old school, conventional cinema: big names, big stars and big stories. Wilder's motto was "thou shall not bore the audience" but then came a time where moviegoers, mostly grown-up baby boomers, were enthralled by the spectacle of Bonnie and Clyde's machine-guns, the French Connection' chase, Scorsese's mean streets and the intimacy of the Corleone family. Wilder became the bore, audience-wise.

"Those kids with beards are running things" laments the has-been Larry Detweiller aka "Dutch" played remarkably by William Holden, and his words couldn't have echoed more Billy Wilder's resentment toward the new ways of Hollywood or what was left of it. In the midst of the raging bulls and easy riders' era, the merit of "Fedora" is to provide the interesting insight from a director of the old generation. When the time of Ford, Minnelli or Hitchcock was over, Wilder was still here and made one, deliberately conventional and classic move… or movie, so against the current it was meant to fail. But now, after four decades, "Fedora" has aged surprisingly well. It's not a masterpiece but the story is likely to content the movie lovers we are.

In fact, it illustrates this quote from Jean-Luc Godard: "the best way to criticize a film is to make one". And Billy Wilder, adapting the novel 'Crowned Heads', paid a tribute to the Golden Age through the portrayal of Fedora, a star who used to be big but then saw her stardom fade, only to resurrect a few years after. When asked if there was any similarity between "Fedora" and "Sunset Blvd.", Wilder naively said no, but even though it wasn't intentional, one can't have a cinema-themed Billy Wilder's film, featuring William Holden, much more in the narrator's role, and not have "Sunset Blvd." in mind. If anything, the film comes full circle with the classic noir: in the 70's, the Golden Age was the silent era, they didn't need blazing guns and naked breasts, only dialogues and faces.

Fedora was the biggest of her time, mentioning real-life stars and fictional movies as if the film was set in a parallel universe yet close to the reality, just like Norma Desmond interacting with Cecil B. De Mille, as to emphasize the dream-like aura of Hollywood. Then she abruptly ended her career and lived in in remote locations on the Riviera and started to make movies again after a few years of absence, this is where Dutch comes, trying to approach her to star in an adaptation of Anna Karenina, He notices some strange happenings, Fedora seems imprisoned by a group of people as colorful as intimidating: an old Countess with a husky voice (Hildegard Knef), a mysterious plastic surgeon played by Jose Ferrer and a sinister watchdog played by Frances Sternhagen (she was the sheriff's wisecracking wife in "Misery").

The "Sunset Blvd." déjà vu deepens and Dutch' investigation leads to the ultimate revelation about the story of Fedora. And it is intriguing and haunting within its own limitation with a fascinating mix of real actors like Henry Fonda and Michael York, in the intrigue. The main problem with the film is that the peripheral characters actually work better than the central one, Holden is perfect but like many critics pointed out, there had to be an actress of Marlene Dietrich' caliber to play the faded star because the flashbacks don't leave us with the conviction of a Golden Age aura on Fedora. There had to be a Katharine or Audrey Hepburn, Ingrid Bergman, but I guess the film was victim of its era, Wilder didn't have the same touch and only his old buddy William Holden was here to close the loop with "Sunset Blvd.".

But I love the way the film feels like a swan song of the old school and close the curtain on Wilder's five-decade contribution to Cinema, as if he was paying a final tribute to his art. He would later make a film with Lemmon and Matthau, a remake of a French classic farce but the film was of such abysmal quality it was dismissed as part of Wilder's canon, and "Fedora" is a worthy ending to his prolific career. I didn't necessarily enjoy the film, I would say I watched it with mere curiosity, able to appreciate its intent more than its result, but the making of the film is very fascinating, seeing the old Wilder wrestling with the new system to get his film made, along with I.A.L Diamond, is a great lesson of humility and determination.

After knowing the truth about Fedora, which is a self-referential cased of Naked Empress, Dutch says it would make a better story than the one he had in mind; I guess the same goes with the making of 'Fedora',
xander

xander

Fedora is one of the most bizarre films I've ever seen, to say the least. At points I'm almost laughing at the movie's plot twist yet the more bizarre and highly improbable the movie became the more I found myself getting engaged in the story, waiting in eager anticipation to find out what will happen next with those oh so joyous "I did not see that coming" moments. The film's highly implausible plot manages to draw the thin line between being completely absurd but never feeling like a parody.

The character of Fedora herself is a reclusive movie star who goes to extreme lengths in order to stay "on top" and retain her eternal youth to the point which even Norma Desmond would consider crazy. Early during the film, I suspected Greta Garbo to be the likely source of inspiration for the character of Fedora (whom Wilder always had great admiration for) but as the plot progressed I thought to myself "ok even Garbo was never this nuts".

One of Fedora's other intriguing aspects is the film's critique of New Hollywood and how times have changed since Hollywood's golden era came to pass. Fedora is the only film I've seen which displays a harsh attitude towards New Hollywood with lines referring to Hollywood being taken over by kids with beards who don't need a script, just a handheld camera with a zoom lens as well as the demise of glamorous movie stars of the past. This is one of several aspects of Fedora which makes it similar to what you could call its spiritual cousin Sunset Boulevard; which itself commented upon what was lost when the silent era came to an end. I could go on making comparisons between the two films from William Holden playing a Hollywood hack in both films to Michael York's role the in film being similar to the role Cecil B. Millie played in Sunset Boulevard.

I imagined by 1978 Wilder was far past his directing prime, not to mention after the 1950's he seemed to become content with only directing comedies; thus I'm surprised to consider Fedora as one of his greatest films and a return to the roots of his earlier work as a director. As soon as William Holden's narration begins you can instantly tell this is classic, old-school Billy Wilder.
Hellblade

Hellblade

This is not a sequel to "Sunset Blvd" however "Fedora" reunits the director of "Sunset Blvd" (Billy Wilder) and star William Holden.

A Hollywood legend is being seeked out by a down and out film producer who needs "Fedora" in order to get his film made. However "Fedora" is now reclusive. She walked off of her last film. She is now a shadow of her former self however a producer is bound and detrimen to get her back in front of the cameras. When in pursuit of "Fedora" he stumbles upon one thing after another.

This film is well worth watching! Seek it out!
Leniga

Leniga

Movies with a film-making background inevitably gain full attention from me, no matter how woeful their plots, lacking in skill their artistic pretensions, or miserable their production values. It's therefore most pleasing to find such a movie that is absolutely out-of-the-box in all aspects. Fedora ranks as one of the best movies-about-movies ever made. True, the mystery side of the plot is not exactly its strongest point. Although few members of a sophisticated audience would fail to grasp the obvious solution, the writers have neatly anticipated this problem by making the hero so desperate that he literally cannot see the wood for the trees. It's essential that we always remain sympathetic towards the hero, no matter how crass his actions, and this we certainly are as Holden brilliantly takes us through a replay of his role in Wilder's Sunset Boulevard. In what turns out to be the Swanson role, Hildegard Knef is also most compelling, and although Wilder was not happy with her performance, I thought Marthe Keller handled the title part with exactly the right edge of neurotic tension. Ferrer and Sternhagen contribute memorably forceful characterizations. Wilder's skillful direction is abetted by striking color photography from Gerry Fisher and a stirringly atmospheric Miklos Rosza score.
JoJoshura

JoJoshura

For Wilder buffs - and what serious film fan isn't - his penultimate film is a referentialists dream. The setting, Corfu, is not a million miles from Ischia, the setting for Avanti and where Avanti boasted two stiffs Fedora boasts one in a literal sense and one in a symbolic sense. The casting of Bill Holden in the lead invites direct comparison with Sunset Boulevard where a young Holden (Joe Gillis) lucked into an ageing movie star by chance and exploited the situation to the full; here, an older Holden (Barry Detweiler) contrives to get next to an ageing movie star who, he hopes, can rescue his flagging career. Wilder manages some pertinent barbs at the 'new' schools and practitioners of film-making, makes some risible casting choices in minor roles - Ferdy Mayne, Michael York, Marte Keller - but generally pulls off another minor gem. Well worth a place in any Wilder DVD collection.
Ienekan

Ienekan

After just finishing Ed Sikov's wonderful biography of Billy Wilder, I got interested in this movie, seeing as it was another pairing of Wilder and one of my favorite actors, William Holden. Shot in 1978, it has a very dream like quality to it, due to the cinematography, which adds to the somewhat creepy atmosphere of the movie.

Trying to track an elusive movie star who has retired to a Mediterranean villa to star in his latest film, Barry Detweiller (Holden) cannot seem to catch the elusive beauty. Her compound is secluded, and all access is restricted. His calls and letters go unanswered. But he must get in to see the elusive Fedora.

After sneaking in to the compound, Detweiller believes he has caught his quarry. But a strange turn of events, reveal to him that all is not what it seems in paradise. Wilder's next to last film, is something of a return to his great "Sunset Blvd' featuring another Joe Gillis like character, and a another Norma Desmond as well. The two movies do bookend each other I believe, and if you are a fan of the former, you should try and see the latter.
BlessСhild

BlessСhild

This late Billy Wilder flick, one in a series of European productions that were to close the curtain on his long-running career, is in a way as rancid as the smell surrounding the main character it portrays, a storyboard synthesis of several real-life movie stars ranging from Garbo to Dietrich. Drawing on biographical accounts of the secluded lives of geriatric Hollywood divas from the Golden Age of post-War cinema, Wilder clumsily attempts to weave in an intrigue, which never really takes off as it is hopelessly drowned in tiresome dialogues, seemingly endless takes, fatuously clichéd characterisations and across-the-board foul acting (with the notable exception of William Holden). Though the starting premise may sound appealing – a nostalgic glimpse on a waning period in the history of film replete with rumor-ridden accounts of the lives of the rich and famous – it falls miles short of a feature-length story. Wilder must have sensed this as he was going along, since he spends considerable time on paraphernalia and frighteningly lame side acts, the worst of which is undoubtedly Mario Adorf casting a shrewd Greek hotel manager, literally crumbling under a make-up that turns him into Manuel of the Fawlty Towers series – minus the slapstick. What could have been an insightful commentary on Wilder's own professional milieu, feeding on the filmmaker's unique experience, ended up as a sluggish conspiracy plot leading to an anticlimactic half-hour long resolve with a distinct TV feel to it. Film buffs should probably see it, because it shows where Old Hollywood went in the 1970s while a brat generation took over the studios and set an entirely different pace. Billy Wilder deserves credit for trying to find his own in this new environment, but Fedora is a somewhat dispiriting example of an aging cinéaste grappling with his own glorious past.
Unereel

Unereel

"Fedora" was Billy Wilder's last masterpiece, a perfect companion piece to "Sunset Boulevard" down to the casting of William Holden as the male lead, (here he's a down-on-his-luck producer rather than a struggling writer), and it is shamefully undervalued as if the film's very artifice isn't worth taking seriously, (indeed someone described the film to me as being so camp all the female roles should be played by drag-queens, missing the point by a mile). While at times darkly funny and certainly cynical, it is also deeply moving in ways we simply don't expect from Wilder. This is a movie that betrays an old master's love of movies, no longer biting the hand that feeds him but longing for the good old days when movie stars had faces that the camera adored. The story may be largely far-fetched, full of clever in-jokes and allusions to "Sunset Boulevard" and other movies about the movies but it remains a deeply affectionate homage rather than a mere pastiche; a triumph of style embracing content.

Holden's uncertain acting may be the weakest thing in the picture, (it might have felt like a good idea at the time to cast the star of "Sunset Boulevard" but it doesn't really pay off), but to our surprise, the astonishing performances of both Marthe Keller and Hildegard Knef more than compensate; even Jose Ferrer is good here. And who, amongst movie lovers, won't be brought to tears by the scene in which Henry Fonda, playing himself, comes to deliver Fedora's honoury Oscar? View this, not as some half-hearted tribute-cum-horror movie about fading movie queens and the legacy and legend of Garbo but as a very great director's love letter to the industry that nurtured him and to the magic of cinema in general. Surely now this is ripe for rediscovery.
Bukelv

Bukelv

Years ago, I started watching Fedora with my girlfriend. I'm a huge fan of Billy Wilder, who has made many brilliant movies, and I was shocked by how bad this one was. It seemed downright inept. After 20 minutes to half an hour I decided I had enough. My girlfriend though, even though she wasn't thrilled with it, decided to continue watching it in hopes it would improve. About half an hour later she called to me and said, START WATCHING IT AGAIN: IT'S A COMEDY! And the odd thing is, if one looks at Fedora as a sort of parody of Sunset Boulevard it's actually quite amusing.

The movie popped into my head recently so I decided to check out reviews here to see if anyone else had the same take on it, but no one does. And so I wonder, did Wilder made a sly satire or just a bad movie? But if you don't like it try and think about that. If I ever see it on TV I'll have to take another look.
Mash

Mash

It is embarrassing to watch a former master of the medium (Billy Wilder) create a shallow, bitter little piece like this. His lead character, a filmmaker desperate to work again, chases an aging movie star for his movie. He rails against the new kids taking over the movie industry with their hand-held cameras, dismissing in a stroke a whole new generation of filmmakers. The story is based on the thinnest of ideas, Holden looks like he has a hangover in every scene, and there is the stench of desperation hanging over the whole enterprise. We have all seen played out far too many times the sad tale of the former great this- or-that attempting a comeback and flopping because the juice is gone. That sums this movie up in spades. All in all it's a sad piece of work, and a reminder to bow out gracefully.
Nahelm

Nahelm

Billy Wilder's penultimate film is also his weirdest. Based on Thomas Tryon's speculative novel, the film stars William Holden as a down on his luck producer trying to coax a very Garbo-like actress out of retirement. Seeking her out on a remote Greek isle, Holden encounters a lot of trouble from the actress's ghoulish entourage --- nasty secretary Frances Sternhagen, sinister doctor Jose Ferrer and bossy countess Hildegard Knef. He's also let in on one extremely bizarre secret. The film clearly hearkens back to Wilder's earlier masterpiece SUNSET BOULEVARD, and while it's not nearly as successful as that black comedy, it has lot of pluses: a remarkable performance by Marthe Keller in the title role; a truly odd supporting cast; great camera work by Gerry Fisher; stunning art direction by Alexandre Trauner.