Billy Wilder’s direction and Miklós Rózsa’s bass-driven string music hold a viewer in thrall in “Fedora” (1978), despite a story that draws parallels to a classic it can’t compete with, “Sunset Boulevard” (1950). Wilder’s second-to-last movie has a lot to say about Hollywood’s increasing drift into the absurd, then slyly becomes a tragic character study.
Barry Detweiler (William Holden), perhaps a Wilder stand-in, is desperate for a hit movie so he tries to contact megastar-turned-recluse Miss Fedora (Marthe Keller). It’s the same as the “Sunset” setup except the star, who literally lives on an island, needs coaxing rather than being the coaxer.
On an island
The Greece-set but English-language “Fedora” starts off like a comedy, despite Wilder and I.A.L. Diamond not writing zingers or screwball scenes. A lot of this vibe comes from Fedora’s unusually deep and scratchy voice, something also used by Hildegard Knef, who plays The Countess at Fedora’s island estate. Clearly, this is a style choice by Wilder, although for what reason we don’t know at first.
“Fedora” (1978)
Director: Billy Wilder
Writers: Billy Wilder, I.A.L. Diamond (screenplay); Tom Tryon (story)
Stars: William Holden, Marthe Keller, Hildegard Knef
The weird start leads to additional oddness, like the revelation (in exposition and flashbacks) that Fedora’s desire for youth led her to consult either a scientific genius or a quack, Dr. Vando (José Ferrer). Hyperbaric chambers, injections, special diet … ultimately Fedora still looks young despite being in her 60s. But she also might be crazy.
I like that “Fedora” never goes into screwball mode (even if the touch of mad science is screwy in its own way) and instead lounges in its neo-noir aesthetic. Detweiler is desperate, but he doesn’t show it; he’s been around the block, like Holden’s “Sunset” character and many noir protagonists.
Wilder and Diamond instead pile on comments about the screwiness of a star’s life, inadvertently presaging the Britney Spears saga when it’s suggested that Fedora is perhaps kept captive as a sort of cash cow for her handlers.
Like the nutty aging actress of “Sunset,” Fedora shifts from an absurd figure to an absurdly tragic figure to simply a tragic figure. Wilder wrings compassion out of what initially seems like a throw-it-at-the-wall absurdist story, but this isn’t like “The Apartment,” where he smoothly shifts from comedy to drama.
Worth a tip of the hat
Indeed, the off-kilter nature is heavier in the back half even when the narrative crystalizes to a point. A scene of Fedora being presented with a lifetime achievement Oscar outside the spotlight is given more weight than the story demands – heightened by a surprising cameo — but as such we see another side to the star; she has the relatable need to be liked. Michael York comes in as an unrequited love interest, creating a rare case where the “as himself” role is a character more so than a gag (although it’s a gag, too, which is fascinating).
“Fedora’s” daring story choices, visual and aural grandness and overall commitment to the Old Hollywood style (even if the action is set in 1978) mesmerize like a magic trick. Rózsa’s score is slathered with meaning; I could listen to it without visuals or dialog and understand the emotions. The movie looks great, without doing the usual Greece movie thing of highlighting the striking white seaside buildings.
A funeral parlor where a key flashback is told is laced with massive, colorful displays of flowers. It could be a case of a filmmaker showing off his team’s hard work, but Wilder gets away with it because he’s commenting on how the deceased has touched so many lives despite not being who the mourners think the person is.
I’m leaving that vague to avoid spoilers, but even if you guess who I’m talking about, and even if you guess the twist (which I did, albeit moments before the reveal), you’ll still be caught up in the sweeping, bizarre tragedy.
In a movie about how you don’t get a second go-around at stardom, Wilder essentially makes “Sunset Boulevard” feel fresh again. Maybe you can’t stay young forever, but “Fedora” proves you’re never too old to do great work.
Wilder Wednesdays looks at the catalog of legendary writer-director Billy Wilder.