Tag Archives: Billy Wilder

Pop Culture Happy Hour No. 264: The Martian and How-To Stories

Matt Damon portrays an astronaut who faces seemingly insurmountable odds as he tries to find a way to subsist on a hostile planet.

…wherein I join PCHH host Linda Holmes and regular panelists Stephen Thompson and Glen Weldon to talk about where the beloved hit movie fits into director Ridley Scott’s oeuvre and its fidelity to Andy Weir’s novel.

I suggested How-To Stories as a companion topic, since The Martian — in both its incarnations, albeit moreso in prose than onscreen — goes into unusual detail about the stuff its stranded-astronaut hero Mark Watney must do to survive on a planet that (so far we know) does not sustain life. We all struggled to come up with suitable examples of favorite stories in this genre, and to thread the needle between a How-To and a Procedural. I could’ve talked about several different Michael Mann films, but particularly Thief, Manhunter, Heat, or even The Insider. As is often the case, I didn’t think of that until later. Continue reading

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Audrey and Bill, reviewed for Washington Post Book World

Audrey Hepburn and William Holden in a promotional image for Billy Wilder's "Sabrina," 1954.I reviewed Audrey and Bill: A Romantic Biography of Audrey Hepburn and William Holden, a crummy book about the two stars’ affair during the making of Sabrina in the early 50s, for The Washington Post. If decades-old Hollywood gossip is your bag, I recommend Karina Longworth’s podcast You Must Remember This. The author of Audrey and Bill, Edward Z. Epstein, is a former publicist; Longworth is film critic and historian. It’s a crucial difference.

UPDATE: Whoops, You Must Remember This already covered Hepburn and Sabrina. 

Blame It on Cain: Round House’s Double Indemnity, reviewed

Here’s my City Paper review of Round House Theatre’s production of the stage adaptation of Double Indemnity, based on James M. Cain’s Depression-era serialized novel.

Some plot developments may seem unfamiliar to those of us who only know the story from Billy Wilder’s iconic 1944 film noir, which departs from Cain’s structure in ways that’re all to the good. There’s nothing wrong with this play, really, but it’s hardly an essential document the way Wilder’s movie is.