1975 Israel RARE FILM POSTER Movie THE FRONT PAGE Hebrew LEMMON MATTHAU Jewish

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Seller: judaica-bookstore ✉️ (2,805) 100%, Location: TEL AVIV, IL, Ships to: WORLDWIDE, Item: 276343006908 1975 Israel RARE FILM POSTER Movie THE FRONT PAGE Hebrew LEMMON MATTHAU Jewish.

 

DESCRIPTION : Here for sale is an EXCEPTIONALY RARE and ORIGINAL  almost 45 years old POSTER for the ISRAEL 1975 PREMIERE of the most admired  and beloved comedy BILLY WILDER film  " THE FRONT PAGE" , Starring JACK LEMMON and WALTER MATTHAU , Based on the BEN HECHT play ,  In the small rural town of NATHANYA in ISRAEL. . The cinema-movie hall     " CINEMA SHARON" , A local Israeli "Cinema Paradiso" was printing manualy its own posters , And thus you can be certain that this surviving copy is ONE OF ITS KIND.  Fully DATED 1975 . Text in HEBREW and ENGLISH . Please note : This is NOT a re-release poster but PREMIERE - FIRST RELEASE projection of the film , One year after its release in 1974 in the USA. The ISRAELI distributors of the film have provided the poster with quite archaic and amusing HEBREW text   . Size around 26" x 29" ( Not accurate ) . Printed in red and blue on white paper . The condition is very good . 2 folds ( Pls look at scan for accurate AS IS images ) Poster will be sent rolled in a special protective rigid sealed tube.

AUTHENTICITYThe POSTER is fully guaranteed ORIGINAL from 1975 , It is NOT a reproduction or a recently made reprint or an immitation , It holds a with life long GUARANTEE for its AUTHENTICITY and ORIGINALITY.  
PAYMENTS : Payment method accepted : Paypal  & All credit cards. SHIPPMENT : SHIPP worldwide via registered airmail is $ 25  . Poster will be sent rolled in a special protective rigid sealed tube. Handling around 5-10 days after payment.  The Front Page Theatrical release poster Directed by Billy Wilder Produced by Paul Monash Screenplay by I. A. L. Diamond Billy Wilder Based on The Front Page by Ben Hecht Charles MacArthur Starring Jack Lemmon Walter Matthau Susan Sarandon Music by Billy May Cinematography Jordan Cronenweth Edited by Ralph E. Winters Production company Universal Pictures Distributed by Universal Pictures Release date 18 December 1974 Running time 105 minutes Country United States Language English Budget $4 million[1][2] Box office $15,000,000[1][2] The Front Page is a 1974 American black comedy-drama film directed by Billy Wilder and starring Jack Lemmon and Walter Matthau.[3] The screenplay by Wilder and I.A.L. Diamond[3] is based on Ben Hecht and Charles MacArthur's play of the same name (1928), which inspired several other films and televised movies and series episodes.[4][5] Contents  [hide]  1 Plot 2 Cast 3 Production 4 Reception 4.1 Box office 4.2 Critical reception 4.3 Awards 5 Home media 6 See also 7 References 7.1 Sources 8 External links Plot[edit] Chicago Examiner reporter Hildebrand "Hildy" Johnson (Jack Lemmon) has just quit his job in order to marry Peggy Grant (Susan Sarandon) and start a new career, when convict Earl Williams (Austin Pendleton) escapes from death row just prior to his execution. Earl is an impoverished, bumbling leftist whose only offense is stuffing fortune cookieswith messages demanding the release of Sacco and Vanzetti, but the yellow press of Chicago has painted him as a dangerous threat from Moscow. As a result, the citizenry are anxious to see him put to death. Earl has not left the jail, and enters the prison pressroom while Hildy is alone there. Hildy cannot resist the lure of what could be the biggest scoop of his soon-to-be-over career. Ruthless, egomaniacal managing editor Walter Burns (Walter Matthau), desperate to keep Hildy on the job, encourages him to cover the story, frustrating Peggy, who is eager to catch their train. When Earl is in danger of being discovered, Mollie Malloy (Carol Burnett), a self-described "$2 whore from Division Street" who befriended Earl, creates a distraction by leaping from the third-floor window. When Earl is caught, Hildy and Walter are arrested for aiding and abetting a fugitive, but are released when they discover that the mayor and sheriff colluded to conceal Earl's last-minute reprieve by the governor. Walter grudgingly accepts that he is losing his ace reporter and presents him with a watch as a token of his appreciation. Hildy and Peggy set off to get married, and Walter telegraphs the next railway station to alert them that the man who stole his watch is on the inbound train and should be apprehended by the police. Cast[edit] Jack Lemmon as Hildebrand 'Hildy' Johnson Walter Matthau as Walter Burns Susan Sarandon as Peggy Grant Vincent Gardenia as Sheriff "Honest Pete" Hartman David Wayne as Roy Bensinger Allen Garfield as Kruger Charles Durning as Murphy Herb Edelman as Schwartz Austin Pendleton as Earl Williams Carol Burnett as Mollie Malloy Martin Gabel as Dr. Max J. Eggelhofer Harold Gould as The Mayor/Herbie/Green Hornet John Furlong as Duffy Jon Korkes as Rudy Keppler Cliff Osmond as Officer Jacobi Lou Frizzell as Endicott Paul Benedict as Plunkett Dick O'Neill as McHugh Biff Elliot as Police Dispatcher Barbara Davis as Myrtle Production[edit] The original play had been adapted for the screen in 1931 and as His Girl Friday in 1940. Billy Wilder was quoted by his biographer Charlotte Chandler as saying, "I'm against remakes in general ... because if a picture is good, you shouldn't remake it, and if it's lousy, why remake it? ... It was not one of my pictures I was particularly proud of."[1] After years of producing his films, he passed producing chores to Paul Monash and concentrate on screenwriting and directing when Jennings Lang suggested he film a new adaptation of The Front Page for Universal Pictures. The idea appealed to Wilder, a newspaperman in his younger days, who recalled, "A reporter was a glamorous fellow in those days, the way he wore a hat, and a raincoat, and a swagger, and had his camaraderie with fellow reporters, with local police, always hot on the tail of tips from them and from the fringes of the underworld." Whereas the two earlier screen adaptations of the play were set in their contemporary times, Wilder decided his would be a period piece set in 1929, primarily because the daily newspaper was no longer the dominant news medium in 1974.[1] Wilder hired Henry Bumstead as production designer. For exterior shots, Bumstead suggested Wilder film in San Francisco, where the buildings were a better match for 1920s Chicago than was Los Angeles. The final scene on the train was filmed in San Francisco, where a railroad enthusiast provided a vintage railway car for the setting.[1] The interior shot of the theater in an earlier scene was done at the Orpheum Theatre in Los Angeles. The opening credits scenes were filmed at the Los Angeles Herald Examiner. Wilder and Diamond insisted their dialogue be delivered exactly as written and clearly enough to be understood easily. Jack Lemmon, who portrayed Hildy Johnson, later said, "I had one regret about the film. Billy would not let us overlap our lines more. I think that would have made it better ... I feel it's a piece in which you mustoverlap. But Billy, the writer, wanted to hear all of the words clearly, and he wanted the audience to hear the words. I would have liked to overlap to the point where you lost some of the dialogue."[1] Because of Wilder's tendency to "cut in the camera", a form of spontaneous editing that results in a minimal footage being shot, editor Ralph E. Winters was able to assemble a rough cut of the film four days after principal photography was completed.[1] While the film was Wilder's first to show a profit since Irma la Douce (1963), the director regretted not sticking to his instincts over remakes.[1] Reception[edit] Box office[edit] The film earned North American theatrical rentals of $7,460,000.[6] Critical reception[edit] Vincent Canby of The New York Times thought the story was "a natural" for Wilder and Diamond, who "have a special (and, to my mind, very appealing) appreciation for vulgar, brilliant con artists of monumental tackiness." He continued, "Even though the mechanics and demands of movie-making slow what should be the furious tempo, this Front Page displays a giddy bitterness that is rare in any films except those of Mr. Wilder. It is also, much of the time, extremely funny." He described Walter Matthau and Austin Pendleton as "marvelous" and added, "Mr. Lemmon is comparatively reserved as the flamboyant Hildy, never quite letting go of his familiar comic personality to become dominated by the lunacies of the farce. He always remains a little outside it, acting. Carol Burnett has an even tougher time as Molly Malloy . . . This role may well be impossible, however, since it requires the actress to play for straight melodrama while everyone around her is going for laughs . . . Mr. Wilder has great fun with the period newspaper detail . . . and admires his various supporting actors to such an extent that he allows them to play as broadly as they could possibly desire." He concluded, "The hysteria is not as consistent as one might wish, nor, indeed, as epic as in Mr. Wilder's own One, Two, Three. The cohesive force is, instead, the director's fondness for frauds, which, I suspect, is really an admiration for people who barrel on through life completely intimidating those who should know better."[7] The British television network Channel 4 called it the "least satisfying screen adaptation of Hecht and MacArthur's play," saying it "adds little to the mix other than a bit of choice language. The direction is depressingly flat and stagy, Wilder running on empty. While it is easy to see why he was attracted to this material . . . he just does not seem to have the energy here to do it justice. Matthau and Lemmon put in their usual faultless turns, but cannot lift a pervading air of pointlessness."[8] TV Guide rated the film 2½ out of four stars and noted, "This slick remake of the ebullient original falls short of being the film it could have been, despite the presence of master filmmaker Wilder and his engaging costars . . . Despite the obvious charismatic interaction between Lemmon and Matthau, the film is oddly stilted. In an overly emphatic turn, the miscast Burnett easily gives the most awful performance of her career. She projects only one emotion - a gratingly annoying hysteria. One never enjoys the film so much as when her character throws herself out of a window."[9] Burnett said in This Time Together that she was so displeased with her performance that when she was on an airplane where the film was shown, she apologized on the plane's intercom.[10] Awards[edit] The film was nominated for the Golden Globe Award for Best Motion Picture - Musical or Comedy but lost to The Longest Yard, and Lemmon and Matthau, competing with each other for the Golden Globe Award for Best Actor – Motion Picture Musical or Comedy, lost to Art Carney in Harry and Tonto. Wilder and Diamond were nominated for the Writers Guild of America Award for Best Comedy Adapted from Another Medium but lost to Lionel Chetwynd and Mordecai Richler for The Apprenticeship of Duddy Kravitz.[11] Wilder won the David di Donatello Award for Best Director of a Foreign Film, and Lemmon and Matthau shared Best Foreign Actor honors with Burt Lancaster for Conversation Piece. John Uhler "Jack" Lemmon III (February 8, 1925 – June 27, 2001) was an American actor and musician. Lemmon was an eight time Academy Award nominee, with two wins. He starred in over 60 films, such as Some Like It Hot, The Apartment, Mister Roberts (for which he won the 1955 Academy Award for Best Supporting Actor), Days of Wine and Roses, The Great Race, Irma la Douce, The Odd Couple and its sequel 30 years later, The Odd Couple II, (and other frequent collaborations with Odd Couple co-star Walter Matthau), Save the Tiger (for which he won the 1973 Academy Award for Best Actor), The Out-of-Towners, The China Syndrome, Missing (for which he won Best Actor at the 1982 Cannes Film Festival), Glengarry Glen Ross, Tuesdays with Morrie, Grumpy Old Men, and Grumpier Old Men. Contents  [hide]  1 Early life 2 Career 3 Singing and piano playing 4 Awards and favorite films 5 Personal life 6 Death 7 Filmography 7.1 Film 7.2 Television 7.3 Discography 8 References 9 Sources 10 External links Early life[edit] Lemmon was born on February 8, 1925, in an elevator[2] at Newton-Wellesley Hospital in Newton, Massachusetts, a suburb of Boston. He was the only child of Mildred Burgess LaRue and John Uhler Lemmon, Jr., the president of a doughnut company.[3][4] Lemmon attended John Ward Elementary School in Newton and the Rivers School in Weston, Massachusetts. During his acceptance of his lifetime achievement award, he stated that he knew he wanted to be an actor from the age of eight. Lemmon attended Phillips Academy (Class of 1943) and Harvard College (Class of 1947), where he lived in Eliot House[5] and was an active member of several Drama Clubs – and president of the Hasty Pudding Club[6] – as well as a member of the Delphic Club for Gentleman, a final club at Harvard. At Harvard, Lemmon was a member of the V-12 Navy College Training Program and was commissioned by the United States Navy,[6] serving briefly as an ensign on an aircraft carrier during World War II before returning to Harvard after completing his military service.[7] After graduation with a degree in War Service Sciences[8] in 1947,[9] Lemmon took up acting professionally, working on radio, television and Broadway.[6] He studied acting under coach Uta Hagen.[6] He was enamored of the piano and learned to play it on his own. He could also play the harmonica, guitar, organ, and the double bass. Career[edit] Jack Lemmon, attending an awards ceremony in 1988 Lemmon's film debut was a bit part as a plasterer/painter in the 1949 film The Lady Takes a Sailor, but he went unnoticed until his debut, opposite Judy Holliday, in the 1954 comedy It Should Happen to You.[6] Lemmon worked with actresses such as Marilyn Monroe, Natalie Wood, Betty Grable, Janet Leigh, Shirley MacLaine, Lee Remick, Romy Schneider, Doris Day, Kim Novak, Judy Holliday, Rita Hayworth, June Allyson, Virna Lisi, Ann-Margret and Sophia Loren. He was close friends with actors Tony Curtis, Ernie Kovacs, Walter Matthau and Kevin Spacey. He made two films with Curtis, and fifteen with Matthau. Early in Lemmon's career he met comedian Ernie Kovacs while co-starring with him in Operation Mad Ball. Lemmon and Kovacs became close friends and appeared together in two subsequent films, Bell, Book and Candle and It Happened to Jane. In 1977, PBS broadcast a compilation series of Kovacs' television work, and Lemmon served as the narrator of the series. Lemmon discussed his friendship with Kovacs in the documentary Ernie Kovacs: Television's Original Genius. He was a favorite of director Billy Wilder, starring in the films Some Like It Hot (for which he was awarded Best Actor at the Cannes Film Festival), The Apartment, Irma la Douce, The Fortune Cookie, Avanti!, The Front Page, and Buddy Buddy. Wilder felt Lemmon had a natural tendency toward overacting that had to be tempered; the Wilder biography Nobody's Perfect quotes the director as saying, "Lemmon, I would describe him as a ham, a fine ham, and with ham you have to trim a little fat". The biography quotes Lemmon as saying, "I am particularly susceptible to the parts I play... If my character was having a nervous breakdown, I started to have one". He enjoyed longtime working relationships with both Blake Edwards, starring in Days of Wine and Roses (1962), The Great Race (1965) and That's Life! (1986), and Richard Quine, starring in My Sister Eileen, Operation Mad Ball., Bell, Book and Candle and It Happened to Jane and How to Murder Your Wife (1965). Quine also directed Lemmon's screen test when the actor was signed by Columbia. Singing and piano playing[edit] Lemmon's singing voice was first heard on two film soundtracks in 1955, Three for the Show with Betty Grable and My Sister Eileen. He also performed songs in the 1956 film You Can't Run Away from It with Stubby Kaye and June Allyson. His first solo album A Twist of Lemmon was released in 1958 on Epic Records. While filming Some Like It Hot with Marilyn Monroe in 1959, Lemmon released a second album, Some Like It Hot. Both featured Lemmon's singing and piano solos. The two Epic albums were later released as A Twist of Lemmon/Some Like It Hot, a single cd on Collector's Choice Music, in 2001. Two singles, Daphne/Sleepy Lagoon (released in 1959) and I'm Forever Blowing Bubbles/I Cover the Waterfront (released in 1960) did not appear on either album. Epic released a third single in 1960, Lemmon's piano solo of the theme to the film The Apartment, backed with his own composition Lemmon Blues. In 1963, Lemmon released a third album, this time on Capitol Records, entitled Jack Lemmon Plays Piano Selections from Irma La Douce. Awards and favorite films[edit] Lemmon was awarded the Best Supporting Actor Oscar in 1956 for Mister Roberts (1955) and the Best Actor Oscar for Save the Tiger (1973), becoming the first actor to achieve this rare double (the only other actors to achieve this are: Robert De Niro, Gene Hackman, Jack Nicholson, Kevin Spacey and Denzel Washington).[6] He was also nominated for a Best Actor Oscar for his role in the controversial film Missing in 1982, and for his roles in Some Like It Hot (1959), The Apartment (1960), Days of Wine and Roses (1962), The China Syndrome (1979), and Tribute (1980). He won another Cannes award for his performance in Missing (which received the Palme d'Or). In 1986, the U.S. National Board of Review of Motion Pictures gave Lemmon a "Career Achievement" award;[10] two years later, the American Film Institute gave him its Lifetime Achievement Award. Days of Wine and Roses (1962) was a favorite role. He portrayed Joe Clay, a young, fun-loving alcoholic businessman. In that film, Lemmon delivered the line, "My name is Joe Clay ... I'm an alcoholic." Three and a half decades later, he stated on the television program Inside the Actors Studio that he was a recovering alcoholic.[6] Lemmon's production company JML produced Cool Hand Luke in 1967. Paul Newman was grateful to Lemmon for his support and offered him the role of the Sundance Kid, later played by Robert Redford in Butch Cassidy and the Sundance Kid, but Lemmon turned it down. He did not like riding horses and he felt he'd already played too many aspects of the Sundance Kid's character before.[11] Charlie Chaplin (right) receiving an Honorary Academy Award from Lemmon at the 44th Academy Awardsin 1972 Lemmon appeared in many films partnered with actor Walter Matthau. Among their pairings was 1968's The Odd Couple, as Felix Ungar (Lemmon) and Oscar Madison (Matthau). The first film they starred in together was The Fortune Cookie (for which Matthau won the 1966 Oscar for Best Supporting Actor), The Front Page and Buddy Buddy. In 1971, Lemmon directed Matthau in the comedy Kotch. It was the only movie that Lemmon directed and Matthau was nominated for the Best Actor Oscar for his performance. Additionally, Lemmon and Matthau had small parts in Oliver Stone's 1991 film, JFK (the only film in which both appeared without sharing screen time). In 1993, the duo teamed again to star in Grumpy Old Men. The film was a surprise hit, earning the two actors a new generation of young fans. During the rest of the decade, they would star together in Grumpier Old Men, Out to Sea, and the widely panned The Odd Couple II. In 1996, Lemmon was awarded the Honorary Golden Bearaward at the 46th Berlin International Film Festival.[12] In 1997, Lemmon was a guest voice on The Simpsons episode "The Twisted World of Marge Simpson," playing the character Frank Ormand, owner of the pretzel business that Marge Simpsonfranchised. The recurring character Gil Gunderson, voiced by Dan Castellaneta, is an ongoing parody of Lemmon's character in Glengarry Glen Ross. At the 1998 Golden Globe Awards, he was nominated for "Best Actor in a Made for TV Movie" for his role in Twelve Angry Men losing to Ving Rhames. After accepting the award, Rhames asked Lemmon to come on stage and, in a move that stunned the audience, gave his award to him. (The Hollywood Foreign Press Association, which presents the Golden Globes, had a second award made and sent to Rhames.).[13] He received the AFI Life Achievement Award in 1988. Lemmon won the Primetime Emmy Award for Outstanding Lead Actor in a Miniseries or a Movie for his role as Morrie Schwartz in his final television role, Tuesdays with Morrie. His final film role was an uncredited one: the narrator in Robert Redford's film The Legend of Bagger Vance. Actor Kevin Spacey recalled that Lemmon is remembered for always making time for other people. Already regarded as a legend, he met teenage Spacey backstage after a theater performance and spoke to him about pursuing an acting career.[14] Spacey would later work with Lemmon in The Murder of Mary Phagan (1987), Dad(1989), the critically acclaimed film Glengarry Glen Ross (1992) and on stage in a revival of Long Day's Journey into Night. Lemmon was Spacey's mentor, and taught Spacey that people who do well in a business have an obligation to "send the elevator back down" to help lift people starting out on the ground floor.[15] Lemmon's Star at the Hollywood Walk of Fame, Los Angeles, California, USA July 19, 2012 In his autobiography, My Life, Burt Reynolds recalls Lemmon as the quintessential gentleman who never spoke ill of anyone, even if they deserved it. This kindness backfired for Reynolds: prior to accepting the lead in W.W. and the Dixie Dancekings(1975), directed by John G. Avildsen, Reynolds asked Lemmon, whom Avildsen had directed in Save the Tiger (1973) for an opinion of Avildsen as a director. Lemmon told Reynolds that Avildsen was "okay", and Reynolds accepted the role. After the film was released and his experiences in production proved unhappy, Reynolds complained to Lemmon and described Avildsen as an "asshole", whereupon Lemmon replied, "I guess you could say that."[16] Personal life[edit] Lemmon was married twice. His first wife was actress Cynthia Stone, with whom he had a son, Chris Lemmon (born 1954). His second wife was actress Felicia Farr, with whom he had a daughter, Courtney (born 1966). Farr had a daughter from a previous relationship (her marriage to Lee Farr) named Denise. Lemmon was a Catholic.[17] He publicly announced his alcoholism during a 1998 interview on Inside the Actors Studio.[18] Jack Lemmon's grave in Westwood Village Memorial Park Cemetery To golfers everywhere Lemmon was known as the "star" of the celebrity-packed third round telecast of the annual AT&T Pebble Beach Pro-Am, held at Pebble Beach Golf Links each February. Lemmon's packed gallery was there not only for his humor but also to root him on in his lifelong quest to "make the cut" to round 4, something he was not able to achieve. The amateur who helps his team most in the Pro-Am portion is annually awarded the Jack Lemmon Award. During the 1980s and 1990s Lemmon served on the advisory board of the National Student Film Institute.[19][20] Lemmon was a registered Democrat.[21] Death[edit] Lemmon died of metastatic cancer of the bladder on June 27, 2001.[22] He had been fighting the disease, privately, for two years before his death. He was interred at Westwood Village Memorial Park Cemetery in Westwood, California, buried near his friend and co-star, Walter Matthau, who died almost exactly one year before Lemmon. His gravestone reads like a title screen from a film: "JACK LEMMON in"[23] Filmography[edit] Film[edit] 1950 Once Too Often[24] Mike Unknown Uncredited 1953 It Should Happen to You Pete Sheppard George Cukor 1954 Phffft Robert Tracey Mark Robson 1955 Three for the Show Martin "Marty" Stewart H. C. Potter 1955 Mister Roberts Ensign Frank Thurlowe Pulver John Ford & Mervyn LeRoy Academy Award for Best Supporting Actor Nominated — BAFTA Award for Best Actor in a Leading Role 1955 My Sister Eileen Robert "Bob" Baker Richard Quine 1955 Hollywood Bronc Busters Himself 1956 You Can't Run Away from It Peter Warne Dick Powell 1957 Fire Down Below Tony Robert Parrish 1957 Operation Mad Ball Private Hogan Richard Quine Nominated — Laurel Award for Top Male Comedy Performance 1958 Cowboy Frank Harris Delmer Daves 1958 Bell, Book and Candle Nicky Holroyd Richard Quine 1959 Some Like It Hot Jerry "Gerald" / "Daphne" Billy Wilder BAFTA Award for Best Actor in a Leading Role Golden Globe Award for Best Actor – Motion Picture Musical or Comedy Nominated — Academy Award for Best Actor Nominated — Laurel Award for Top Male Comedy Performance 1959 It Happened to Jane George Denham Richard Quine 1960 The Apartment C. C. Baxter Billy Wilder BAFTA Award for Best Actor in a Leading Role Golden Globe Award for Best Actor – Motion Picture Musical or Comedy Laurel Award for Top Male Comedy Performance Nominated — Academy Award for Best Actor 1960 Stowaway in the Sky Narrator Albert Lamorisse Voice 1960 Pepe Daphne George Sidney Cameo 1960 The Wackiest Ship in the Army Lt. Rip Crandall Richard Murphy 1962 The Notorious Landlady William "Bill" Gridley Richard Quine 1962 Days of Wine and Roses Joe Clay Blake Edwards Fotogramas de Plata Award for Best Foreign Performer San Sebastián International Film Festival Award for Best Actor Sant Jordi Award for Best Performance in a Foreign Film Laurel Award for Top Male Comedy Performance Nominated — Academy Award for Best Actor Nominated — BAFTA Award for Best Actor in a Leading Role Nominated — Golden Globe Award for Best Actor – Motion Picture Drama 1963 Irma la Douce Nestor Patou / Lord X Billy Wilder Laurel Award for Top Male Comedy Performance Nominated — Golden Globe Award for Best Actor – Motion Picture Musical or Comedy 1963 Under the Yum Yum Tree Hogan David Swift Nominated — Golden Globe Award for Best Actor – Motion Picture Musical or Comedy 1964 Good Neighbor Sam Sam Bissel David Swift Nominated — BAFTA Award for Best Actor in a Leading Role 1965 How to Murder Your Wife Stanley Ford Richard Quine Laurel Award for Top Male Comedy Performance Nominated — BAFTA Award for Best Actor in a Leading Role 1965 The Great Race Professor Fate / Prince Hapnick Blake Edwards Nominated — Golden Globe Award for Best Actor – Motion Picture Musical or Comedy Nominated — Laurel Award for Top Male Comedy Performance 1966 The Fortune Cookie Harry Hinkle Billy Wilder 1967 Luv Harry Berlin Clive Donner 1968 There Comes a Day 1968 The Odd Couple Felix Ungar Gene Saks Nominated — Golden Globe Award for Best Actor – Motion Picture Musical or Comedy Nominated — Laurel Award for Top Male Comedy Performance 1969 The April Fools Howard Brubaker Stuart Rosenberg Laurel Award for Top Male Comedy Performance 1970 The Out-of-Towners George Kellerman Arthur Hiller Nominated — Golden Globe Award for Best Actor – Motion Picture Musical or Comedy, Uncredited 1971 Kotch Sleeping bus passenger Jack Lemmon Uncredited 1972 The War Between Men and Women Peter Edward Wilson Melville Shavelson 1972 Avanti! Wendell Armbruster, Jr. Billy Wilder Golden Globe Award for Best Actor – Motion Picture Musical or Comedy 1973 Save the Tiger Harry Stoner John G. Avildsen Academy Award for Best Actor Nominated — Golden Globe Award for Best Actor – Motion Picture Drama 1974 La polizia ha le mani legate Narrator Luciano Ercoli Voice 1974 The Front Page Hildebrand "Hildy" Johnson Billy Wilder David di Donatello for Best Actor (shared with Walter Matthau) Nominated — Golden Globe Award for Best Actor – Motion Picture Musical or Comedy 1975 Wednesday Jerry Murphy 1975 The Prisoner of Second Avenue Mel Edison Melvin Frank 1975 The Gentleman Tramp Narrator Voice 1976 Alex & the Gypsy Alexander Main John Korty 1977 Airport '77 Captain Don Gallagher Jerry Jameson 1979 The China Syndrome Jack Godell James Bridges Cannes Film Festival Award for Best Actor David di Donatello for Best Actor (tied with Dustin Hoffman) BAFTA Award for Best Actor in a Leading Role Nominated — Academy Award for Best Actor Nominated — Golden Globe Award for Best Actor – Motion Picture Drama Nominated — National Society of Film Critics Award for Best Actor 1980 Tribute Scottie Templeton Bob Clark Silver Bear for Best Actor[25] Genie Award for Best Performance by a Foreign Actor Nominated — Academy Award for Best Actor Nominated — Golden Globe Award for Best Actor – Motion Picture Drama Nominated — Utah Film Critics Association Award for Best Actor 1981 Buddy Buddy Victor Clooney Billy Wilder 1982 Missing Ed Horman Costa-Gavras Cannes Film Festival Award for Best Actor Nominated — Academy Award for Best Actor Nominated — BAFTA Award for Best Actor in a Leading Role Nominated — David di Donatello for Best Foreign Actor Nominated — Golden Globe Award for Best Actor – Motion Picture Drama 1984 Mass Appeal Father Tim Farley Glenn Jordan 1985 Macaroni Robert Traven Ettore Scola 1986 That's Life! Harvey Fairchild Blake Edwards Nominated — Golden Globe Award for Best Actor – Motion Picture Musical or Comedy 1989 Dad Jake Tremont Gary David Goldberg Nominated — Golden Globe Award for Best Actor – Motion Picture Drama 1991 JFK Jack Martin Oliver Stone 1992 Beyond JFK: The Question of Conspiracy Himself 1992 The Player Himself Robert Altman 1992 Glengarry Glen Ross Shelley Levene James Foley National Board of Review Award for Best Actor Valladolid International Film Festival Award for Best Actor Volpi Cup Award for Best Actor 1993 Luck, Trust & Ketchup: Robert Altman In Carver County Himself 1993 Short Cuts Paul Finnigan Robert Altman Golden Globe Award for Best Ensemble Cast Volpi Cup for Best Ensemble Cast 1993 Grumpy Old Men John Gustafson Donald Petrie 1995 The Grass Harp Dr. Morris Ritz Charles Matthau 1995 Grumpier Old Men John Gustafson Howard Deutch Nominated — American Comedy Award for Funniest Actor in a Motion Picture 1996 Getting Away with Murder Max Mueller / Karl Luger Harvey Miller 1996 My Fellow Americans President Russell P. Kramer Peter Segal 1996 Hamlet Marcellus Kenneth Branagh 1997 Out to Sea Herb Sullivan Martha Coolidge 1997 Off the Menu: The Last Days of Chasen's Himself 1998 Puppies for Sale Pet shop owner 1998 The Odd Couple II Felix Ungar Howard Deutch 1999 Tuesdays With Morrie Morrie Schwartz Mick Jackson 2000 The Legend of Bagger Vance Narrator / Hardy Greaves Robert Redford Uncredited, (final film role) Television[edit] Year Title Role Notes 1949–1950 That Wonderful Guy Harold 1950 Toni Twin Time Host Episode dated May 31, 1950 1951 The Ad-Libbers Celebrity panelist 5 episodes 1951–1952 The Frances Langford-Don Ameche Show Newlywed "The Couple Next Door" sketches 1952 Heaven for Betsy Pete Bell 1954 The Road of Life Surgeon 1956 The Day Lincoln Was Shot John Wilkes Booth 1957 What's My Line? Mystery Guest Season 9, Episode 10 1957–1958 Alcoa Theatre Henry Coyle Steve Tyler Wally Mall Lieutenant Tony Crawford Edward King Episode: "Disappearance" Episode: "Most Likely to Succeed" Episode: "Loudmouth" Episode: "The Days of November" Episode: "Souvenir" 1972 'S Wonderful, 'S Marvelous, 'S Gershwin Host Primetime Emmy Award for Outstanding Variety, Music, or Comedy Special 1976 The Entertainer Archie Rice Nominated — Primetime Emmy Award for Outstanding Lead Actor in a Miniseries or a Movie 1987 Long Day's Journey into Night James Tyrone, Sr. Nominated — Golden Globe Award for Best Actor – Miniseries or Television Film 1988 The Murder of Mary Phagan Gov. John Slaton Nominated — Primetime Emmy Award for Outstanding Lead Actor in a Miniseries or a Movie Nominated — Golden Globe Award for Best Actor – Miniseries or Television Film 1990 The Earth Day Special Coach Stewart 1992 For Richer, for Poorer Aram Katourian Nominated — CableACE Award for Best Actor in a Movie or Miniseries 1993 A Life in the Theater Robert Nominated — CableACE Award for Best Actor in a Movie or Miniseries Nominated — Golden Globe Award for Best Actor – Miniseries or Television Film 1994 Wild West Host 1996 A Weekend in the Country Bud Bailey 1997 The Simpsons Frank Ormand Voice Episode: "The Twisted World of Marge Simpson" 1997 12 Angry Men Juror No. 8 Nominated — Primetime Emmy Award for Outstanding Lead Actor in a Miniseries or a Movie Nominated — Golden Globe Award for Best Actor – Miniseries or Television Film Nominated — Screen Actors Guild Award for Outstanding Performance by a Male Actor in a Miniseries or Television Movie 1998 The Long Way Home Thomas Gerrin 1999 Inherit the Wind Henry Drummond Golden Globe Award for Best Actor – Miniseries or Television Film Nominated — Primetime Emmy Award for Outstanding Lead Actor in a Miniseries or a Movie 1999 Tuesdays with Morrie Morrie Schwartz Primetime Emmy Award for Outstanding Lead Actor in a Miniseries or a Movie Screen Actors Guild Award for Outstanding Performance by a Male Actor in a Miniseries or Television Movie Nominated — Golden Globe Award for Best Actor – Miniseries or Television Film Walter Matthau Matthau in 1952 Born Walter John Matthow October 1, 1920 New York City, New York, US Died July 1, 2000 (aged 79) Los Angeles, California, US Cause of death Atherosclerotic heart disease Resting place Westwood Village Memorial Park Cemetery Nationality American Occupation Actor, singer Years active 1944–2000 Notable work The Odd Couple, The Bad News Bears, The Fortune Cookie, I.Q., Grumpy Old Men, Dennis the Menace Height 6 ft 2 in (188 cm) Spouse(s) Grace Geraldine Johnson (m. 1948–1958; divorced) Carol Marcus (m. 1959–2000; his death) Children Jenny Matthau, David Matthau, Charles Matthau Awards Academy Award, BAFTA Award, Tony Award, Golden Globe Award Military career Allegiance  United States Service/branch United States Army Air Force Rank  Staff sergeant Battles/wars World war II Walter Matthau (/ˈmæθaʊ/;[1] born Walter John Matthow; October 1, 1920 – July 1, 2000) was an American actor and comedian, best known for his role as Oscar Madison in The Odd Couple and its sequel 30 years later, The Odd Couple II, and his frequent collaborations with Odd Couple co-star Jack Lemmon, particularly in the '90s with Grumpy Old Men and its sequel Grumpier Old Men. He won the Academy Award for Best Supporting Actor for his performance in the 1966 Billy Wilder film The Fortune Cookie. Besides the Oscar, he was the winner of BAFTA, Golden Globe and Tony awards. Contents  [hide]  1 Early life 2 Career 3 Personal life 3.1 Marriages 3.2 Health problems 3.3 Death 4 Awards and nominations 4.1 Tony Award 4.2 Academy Award 4.3 Golden Globe Award 4.4 Kansas City Film Critics Circle Award 4.5 Laurel Awards 4.6 British Academy Film Awards 4.7 David di Donatello Awards 5 Work 5.1 Filmography 5.2 Stage 5.3 Television 6 References 7 Links 8 Further reading 9 External links Early life[edit] Matthau was born Walter John Matthow[2][3] on October 1, 1920, in New York City's Lower East Side. His mother, Rose (née Berolsky), was a Lithuanian Jewish immigrant who worked in a garment sweatshop, and his father, Milton Matthow, was a Russian Jewish peddler and electrician, from Kiev, Ukraine.[4][5][6] As part of a lifelong love of practical jokes, Matthau himself created the rumors that his middle name was Foghorn and his last name was originally Matuschanskayasky (under which he is credited for a cameo role in the film Earthquake).[7] As a young boy, Matthau attended a Jewish non-profit sleepaway camp, Tranquillity Camp, where he first began acting in the shows the camp would stage on Saturday nights. He also attended Surprise Lake Camp. His high school was Seward Park High School.[8] He worked for a short time as a concession stand cashier in the Yiddish Theatre District.[9] Career[edit] During World War II, Matthau served in the U.S. Army Air Forces with the Eighth Air Force in Britain as a Consolidated B-24 Liberator radioman-gunner, in the same 453rd Bombardment Group as James Stewart. He was based at RAF Old Buckenham, Norfolk during this time, and participated in the Battle of the Bulge. He reached the rank of staff sergeantand became interested in acting.[10] He took classes in acting at the Dramatic Workshop of The New School with German director Erwin Piscator. He often joked that his best early review came in a play where he posed as a derelict. One reviewer said, "The others just looked like actors in make-up, Walter Matthau really looks like a skid row bum!" Matthau was a respected stage actor for years in such fare as Will Success Spoil Rock Hunter? and A Shot in the Dark. He won the 1962 Tony Award for Best Featured Actor in a play.[11] Matthau in Charade, 1963 Matthau appeared in the pilot of Mister Peepers (1952) with Wally Cox. For reasons unknown he used the name Leonard Elliot. His role was of the gym teacher Mr. Wall. He made his motion picture debut as a whip-wielding bad guy in The Kentuckian (1955) opposite Burt Lancaster. He played a villain in King Creole (1958), in which he gets beaten up by Elvis Presley. Around the same time, he made Ride a Crooked Trail with Audie Murphy, and Onionhead (both 1958) starring Andy Griffith; the latter was a flop. Matthau had a featured role opposite Griffith in the well received drama A Face in the Crowd(1957), directed by Elia Kazan. Matthau also directed a low-budget movie called The Gangster Story (1960) and was a sympathetic sheriff in Lonely Are the Brave (1962), which starred Kirk Douglas. He appeared opposite Audrey Hepburn in Charade (1963).[12] Appearances on television were common too, including two on Naked City, as well as an episode of The Eleventh Hour ("A Tumble from a Tall White House", 1963) . He appeared eight times between 1962 and 1964 on The DuPont Show of the Week and as Franklin Gaer in an episode of Dr. Kildare ("Man Is a Rock", 1964). Additionally he featured in the syndicated crime drama Tallahassee 7000, as a Florida-based state police investigator (1961–62).[12] Matthau and Art Carney in The Odd Couple, 1965 Comedies were rare in Matthau's work at that time. He was cast in a number of stark dramas, such as Fail Safe (1964), in which he portrayed Pentagon adviser Dr. Groeteschele, who urges an all-out nuclear attack on the Soviet Union in response to an accidental transmission of an attack signal to U.S. Air Force bombers. Neil Simon cast him in the playThe Odd Couple in 1965, with Matthau playing slovenly sportswriter Oscar Madison, opposite Art Carney as Felix Ungar.[11] Matthau later reprised the role in the film version, with Jack Lemmon as Felix Ungar. He played detective Ted Casselle in the Hitchcockian thriller Mirage (1965), directed by Edward Dmytryk.[12] He achieved great success in the comedy film, The Fortune Cookie (1966), as a shyster lawyer, William H. "Whiplash Willie" Gingrich, starring opposite Lemmon, and the first of many collaborations with Billy Wilder, and a role that would earn him an Oscar for Best Supporting Actor.[12] Filming had to be placed on a five-month hiatus after Matthau suffered a serious heart attack. He gave up his three pack a day smoking habit as a result.[13] Matthau appeared during the Oscar telecast shortly after having been injured in a bicycle accident; nonetheless, he scolded actors who had not attended the ceremony, especially the other major award winners that night: Paul Scofield, Elizabeth Taylor and Sandy Dennis.[14] Oscar nominations would come Matthau's way again for Kotch (1971), directed by Lemmon, and The Sunshine Boys (1975), another adaptation of a Neil Simon stage play, this time about a pair of former vaudeville stars. For the latter role he won a Golden Globe award for Best Actor in a Musical or Comedy.[12] Matthau in Hello, Dolly!, 1969 Broadway hits turned into films continued to cast Matthau in lead roles in Hello, Dolly! and Cactus Flower (both 1969); for the latter film, Goldie Hawn received an Oscar for Best Supporting Actress. Matthau played three roles in the film version of Simon's Plaza Suite (1971) and was in the cast of its followup California Suite (1978).[12] Matthau starred in three crime dramas in the mid-1970s, as a detective investigating a mass murder on a bus in The Laughing Policeman (1973), as a bank robber on the run from the Mafia and the law in Charley Varrick (also 1973) and as a New York transit cop in the action-adventure The Taking of Pelham One Two Three (1974). A change of pace about misfits on a Little League baseball team turned-out to be a solid hit when Matthau starred as coach Morris Buttermaker in the comedy The Bad News Bears (1976). Matthau portrayed Herbert Tucker in I Ought to Be in Pictures (1982), with Ann-Margret and Dinah Manoff.[12] During the 1980s and 1990s Matthau served on the advisory board of the National Student Film Institute.[15][16] In a change of pace, Matthau played Albert Einstein in the film I.Q. (1994), starring Tim Robbins and Meg Ryan. Matthau narrated the Doctor Seuss Video Classics: How the Grinch Stole Christmas! (1992) and played the role of Mr. Wilson in the film Dennis the Menace (1993).[12] His partnership with Jack Lemmon became one of the most successful pairings in Hollywood. They became lifelong friends after making The Fortune Cookie and would make a total of 10 movies together—11 counting Kotch, in which Lemmon has a cameo as a sleeping bus passenger. Apart from their many comedies, the two appeared (although they did not share any scenes) in the Oliver Stone drama, JFK (1991). Matthau and Lemmon reunited for the comedy Grumpy Old Men (1993), co-starring Ann-Margret, and its sequel, Grumpier Old Men (1995), also co-starring Sophia Loren. This led to further pairings late in their careers, Out to Sea (1997) and a Simon-scripted sequel to their much earlier success, The Odd Couple II (1998). Hanging Up (2000), directed by Diane Keaton, was Matthau's final appearance onscreen.[12] Personal life[edit] Marriages[edit] Matthau was married twice; first to Grace Geraldine Johnson from 1948 to 1958, and then to Carol Marcus from 1959 until he died in 2000. He had two children, Jenny and David, by his first wife, and a son, Charlie Matthau, with his second wife. David is a radio news reporter, currently at WKXW "New Jersey 101.5" in Trenton, New Jersey. Jenny is president of the Natural Gourmet Institute in New York City. Matthau also helped raise his stepchildren, Aram Saroyan and Lucy Saroyan. His grandchildren include William Matthau, an engineer, and Emily Rose Roman, a student at Binghamton University. Charlie Matthau directed his father in The Grass Harp (1995).[12] Health problems[edit] A heavy smoker and drinker, Matthau suffered a heart attack in 1966, the first of at least three in his lifetime. In 1976, ten years after his first heart attack, he underwent heart bypass surgery. After working in freezing Minnesota weather for Grumpy Old Men (1993), he was hospitalized for double pneumonia. In December 1995 he had a colon tumor removed; it tested benign. He was also hospitalized in May 1999 for more than two months, owing again to pneumonia.[13] He was diagnosed with colon cancer in November 1999. Death[edit] Walter Matthau's gravesite In addition to colon cancer, Matthau suffered from atherosclerotic heart disease during the last years of his life. In the late evening of June 30, 2000, he suffered a heart attack at his home and was taken by ambulance to the St. John's Health Center in Santa Monica where he died a few hours later at 1:42 a.m. on July 1, 2000. He was 79 years old.[17] His remains are interred in the Westwood Village Memorial Park Cemetery in Los Angeles. Less than a year later, the remains of Jack Lemmon (who died of colon and bladder cancer) were buried at the same cemetery. After Matthau's death, Lemmon as well as other friends and relatives appeared on Larry King Live in an hour of tribute and remembrance; many of those same people appeared on the show one year later, reminiscing about Lemmon. Carol Marcus, also a native of New York, died of a brain aneurysm in 2003. Her remains are buried on top of those of her husband, Matthau. The remains of actor George C. Scott are buried to the left of those of Walter Matthau, in an unmarked grave. Awards and nominations[edit] Tony Award[edit] Year Nominee/work Award Result 1959 Once More, with Feeling! Best Featured Actor in a Play Nominated 1962 A Shot in the Dark Won 1965 The Odd Couple Best Actor in a Play Won Academy Award[edit] Year Nominee/work Award Result 1966 The Fortune Cookie Best Supporting Actor Won 1971 Kotch Best Actor Nominated 1975 The Sunshine Boys Nominated Golden Globe Award[edit] Year Nominee/work Award Result 1966 The Fortune Cookie Best Actor – Motion Picture Musical or Comedy Nominated 1968 The Odd Couple Nominated 1971 Kotch Nominated 1972 Pete 'n' Tillie Nominated 1974 The Front Page Nominated 1975 The Sunshine Boys Won 1980 Hopscotch Nominated 1981 First Monday in October Nominated Kansas City Film Critics Circle Award[edit] Year Nominee/work Award Result 1966 The Fortune Cookie Best Supporting Actor Won 1971 Kotch Best Actor Won Laurel Awards[edit] Year Nominee/work Award Result 1966 The Fortune Cookie Top Male Supporting Performance Won British Academy Film Awards[edit] Year Nominee/work Award Result 1969 The Secret Life of an American Wife Best Actor in a Leading Role Nominated Hello, Dolly! Nominated 1973 Pete 'n' Tillie Won Charley Varrick Won 1976 The Sunshine Boys Nominated The Bad News Bears Nominated David di Donatello Awards[edit] Year Nominee/work Award Result 1974 The Front Page Best Foreign Actor Won Work[edit] Filmography[edit] Year Film Role Notes 1955 The Kentuckian Stan Bodine 1955 The Indian Fighter Wes Todd 1956 Bigger Than Life Wally Gibbs 1957 A Face in the Crowd Mel Miller 1957 Slaughter on Tenth Avenue Al Dahlke 1958 King Creole Maxie Fields 1958 Voice in the Mirror Dr. Leon Karnes 1958 Ride a Crooked Trail Judge Kyle 1958 Onionhead Red Wildoe 1960 Gangster Story Jack Martin Also director 1960 Strangers When We Meet Felix Anders 1962 Lonely Are the Brave Sheriff Morey Johnson 1962 Who's Got the Action? Tony Gagouts 1963 Charade Carson Dyle aka Hamilton Bartholomew 1963 Island of Love Tony Dallas 1964 Ensign Pulver Doc 1964 Fail Safe Professor Groeteschele 1964 Goodbye Charlie Sir Leopold Sartori 1965 Mirage Ted Caselle 1966 The Fortune Cookie William H. "Whiplash Willie" Gingrich 1967 A Guide for the Married Man Paul Manning 1968 The Odd Couple Oscar Madison 1968 The Secret Life of an American Wife The Movie Star 1968 Candy General Smight 1969 Cactus Flower Dr. Julian Winston 1969 Hello, Dolly! Horace Vandergelder 1971 A New Leaf Henry Graham 1971 Plaza Suite Sam Nash /Jesse Kiplinger / Roy Hubley 1971 Kotch Joseph P. Kotcher 1972 Pete 'n' Tillie Pete Seltzer 1973 Charley Varrick Charley Varrick 1973 The Laughing Policeman Detective Sergeant Jake Martin 1974 The Taking of Pelham One Two Three Lieutenant Zachary Garber 1974 Earthquake Drunk Credited as Walter Matuschanskayasky[7] 1974 The Front Page Walter Burns 1975 The Lion Roars Again Himself Short subject 1975 The Gentleman Tramp Narrator Documentary 1975 The Sunshine Boys Willy Clark 1976 The Bad News Bears Coach Morris Buttermaker 1978 Casey's Shadow Lloyd Bourdelle 1978 House Calls Dr. Charles "Charley" Nichols 1978 California Suite Marvin Michaels 1980 La polizia ha le mani legate Documentary 1980 Little Miss Marker Sorrowful Jones 1980 Hopscotch Miles Kendig 1981 First Monday in October Associate Justice Daniel Snow 1981 Buddy Buddy Trabucco 1982 Neil Simon's I Ought to Be in Pictures Herbert Tucker 1983 The Survivors Sonny Paluso 1985 Movers & Shakers Joe Mulholland 1986 Pirates Captain Thomas Bartholomew Red 1988 The Couch Trip Donald Becker 1988 The Little Devil Father Maurice 1991 JFK Senator Russell B. Long 1992 Beyond 'JFK': The Question of Conspiracy Documentary 1992 Dr. Seuss Video Classics: How the Grinch Stole Christmas! Narrator 1993 Dennis the Menace George Wilson 1993 Grumpy Old Men Max Goldman 1994 I.Q. Albert Einstein 1995 The Grass Harp Judge Charlie Cool 1995 Grumpier Old Men Max Goldman 1996 I'm Not Rappaport Nat Moyer 1997 Out to Sea Charlie Gordon 1998 The Odd Couple II Oscar Madison 1998 Love After Death Frank Walsh 1998 The Life and Times of Hank Greenberg Himself Documentary 2000 Hanging Up Lou Mozell (final film role) Stage[edit] Year Stage Role Notes 1948 Anne of the Thousand Days 1950 The Liar 1951 Twilight Walk Sam Dundee 1952 Fancy Meeting You Again Sinclair Heybore 1952 One Bright Day George Lawrence 1952 In Any Language Charlie Hill 1952 The Grey-Eyed People John Hart 1953 The Ladies of the Corridor Paul Osgood 1953 The Burning Glass Tony Lack 1955 Will Success Spoil Rock Hunter? Michael Freeman 1955 Guys and Dolls Nathan Detroit 1958 Once More, with Feeling! Maxwell Archer 1961 Once There Was a Russian Potemkin 1961 A Shot in the Dark Benjamin Beaurevers 1963 My Mother, My Father and Me Herman Halpern 1965 The Odd Couple Oscar Madison Television[edit] Year Title Role Notes 1954 The Motorola Television Hour Episode: "Atomic Attack" 1954 Justice 1958 Alfred Hitchcock Presents Episode: "The Crooked Road" 1959 Alfred Hitchcock Presents Episode: "Dry Run" 1960-? "Naked City" 1960 Juno and the Paycock 1961 Alfred Hitchcock Presents Episode: "Cop for a Day" 1961 Route 66 Episode: "Eleven, the Hard Way" 1961 Tallahassee 7000 Cast member 1961–1962 Target: The Corruptors! Martin 'Books' Kramer, Michael Callahan 1x01 The Million Dollar Dump, 1x16 One for the Road 1965 Profiles in Courage Andrew Johnson Episode: "Andrew Johnson" 1972 Awake and Sing! Moe Axelrod 1978 Actor 1978 Saturday Night Live Host Season 4, Episode 7 (2 December 1978) 1978 The Stingiest Man in Town Ebenezer Scrooge Voice role 1990 The Incident Harmon J. Cobb 1991 Mrs. Lambert Remembers Love 1992 Against Her Will: An Incident in Baltimore Harmon J. Cobb 1994 Incident in a Small Town Harmon J. Cobb 1998 The Marriage Fool Billy Wilder Billy Wilder with Swanson c. 1950 Born Samuel Wilder June 22, 1906 Sucha Beskidzka, Galicia, Austria-Hungary (now Sucha Beskidzka, Poland) Died March 27, 2002 (aged 95) Beverly Hills, California, U.S. Cause of death Pneumonia Occupation Director, screenwriter, producer Years active 1929–1995 Spouse(s) Judith Coppicus (m. 1936; div. 1946) Audrey Young (m. 1949) Children 2 Relatives W. Lee Wilder (brother) Samuel "Billy" Wilder (/ˈwaɪldər/; German: [ˈvɪldɐ]; June 22, 1906 – March 27, 2002) was an Austrian-American filmmaker, screenwriter, producer, artist, and journalist whose career spanned more than five decades. He is regarded as one of the most brilliant and versatile filmmakers of Hollywood's golden age. With The Apartment, Wilder became the first person to win Academy Awards as producer, director, and screenwriter for the same film.[1] Wilder became a screenwriter in the late 1920s while living in Berlin. After the rise of the Nazi Party, he left for Paris, where he made his directorial debut. He moved to Hollywood in 1933, and in 1939 he had a hit when he co-wrote the screenplay for the romantic comedy Ninotchka, starring Greta Garbo. Wilder established his directorial reputation with an adaption of James M. Cain's Double Indemnity (1944), a film noir. Wilder co-wrote the screenplay with crime novelist Raymond Chandler. Wilder earned the Best Director and Best Screenplay Academy Awards for the adaptation of a Charles R. Jackson story The Lost Weekend (1945), about alcoholism. In 1950, Wilder co-wrote and directed the critically acclaimed Sunset Boulevard, as well as Stalag 17 in 1953. From the mid-1950s on, Wilder made mostly comedies.[2] Among the classics Wilder created in this period are the farces The Seven Year Itch (1955) and Some Like It Hot (1959), and satires such as The Apartment (1960). He directed fourteen different actors in Oscar-nominated performances. Wilder was recognized with the American Film Institute (AFI) Life Achievement Award in 1986. In 1988, Wilder was awarded the Irving G. Thalberg Memorial Award. In 1993, he was awarded the National Medal of Arts. Contents  [hide]  1 Life and career 1.1 Austria and Germany 1.2 Hollywood career 1.3 Directorial style 1.4 Later life 2 Personal life 3 Death 3.1 Legacy 4 Filmography 5 Awards 5.1 Academy Award nominations 5.1.1 Directed Academy Award performances 5.2 Major awards for directed films 6 See also 7 References 8 Further reading 9 External links Life and career[edit] Austria and Germany[edit] Samuel Wilder was born on June 22, 1906[3] to a family of Austrian Jews in Sucha Beskidzka, the son of Eugenia (née Dittler) and Max Wilder. He was nicknamed "Billie" by his mother (he changed this to "Billy" after arriving in America). He had an elder brother, William Lee Wilder (1904–1982), who also became a screenwriter, film producer and director. His parents had a successful and well-known cake shop in Sucha's train station and unsuccessfully tried to persuade their son to join the family business. Soon the family moved to Vienna, where Wilder attended school. Instead of attending the University of Vienna, Wilder became a journalist. To advance his career, Wilder decided to move to Berlin, where, before achieving success as a writer, he allegedly worked as a taxi dancer.[4][5] After writing crime and sports stories as a stringer for local newspapers, he was eventually offered a regular job at a Berlin tabloid. Developing an interest in film, he began working as a screenwriter. He collaborated with several other novices (with Fred Zinnemann and Robert Siodmak) on the 1929 feature People on Sunday. He wrote the screenplay for the 1931 film adaptation of a novel by Erich Kästner, Emil and the Detectives. After the rise of Adolf Hitler, Wilder, Jewish, left for Paris, where he made his directorial debut with the 1934 film Mauvaise Graine. He relocated to Hollywood prior to its release.[citation needed] Wilder's mother, grandmother, and stepfather all died in the Holocaust. For decades it was assumed that it happened at Auschwitz, but while researching Polish and Israeli archives, his Austrian biographer Andreas Hutter discovered in 2011 that they were murdered at different and disparate places: his mother, Eugenia "Gitla" Siedlisker - in 1943 at Plaszow; his stepfather, Bernard "Berl" Siedlisker, in 1942 at Belzec and his grandmother, Balbina Baldinger, died in 1943 in the ghetto in Nowy Targ.[6] Hollywood career[edit] After arriving in Hollywood in 1933, Wilder continued his career as a screenwriter. He became a naturalized citizen of the United States in 1939, having spent time in Mexico waiting for the US government after his six-month visa had expired in 1934, an episode reflected in his 1941 Hold Back the Dawn.[7] Wilder's first significant success was Ninotchka in 1939, a collaboration with fellow German immigrant Ernst Lubitsch. This romantic comedy starred Greta Garbo (generally known as a tragic heroine in film melodramas), and was popularly and critically acclaimed. With the byline, "Garbo Laughs!", it also took Garbo's career in a new direction. The film also marked Wilder's first Academy Award nomination, which he shared with co-writer Charles Brackett (although their collaboration on Bluebeard's Eighth Wifeand Midnight had been well received). For twelve years Wilder co-wrote many of his films with Brackett, from 1938 through 1950. He followed Ninotchka with a series of box office hits in 1942, including his Hold Back the Dawn and Ball of Fire, as well as his directorial feature debut, The Major and the Minor. His third film as director, Double Indemnity (1944) was a major hit. A film noir, nominated for Best Director and Screenplay, it was co-written with mystery novelist Raymond Chandler, although the two men did not get along. Double Indemnity not only set conventions for the noir genre (such as "venetian blind" lighting and voice-over narration), but was also a landmark in the battle against Hollywood censorship. The original James M. Cain novel Double Indemnity featured two love triangles and a murder plotted for insurance money. While the book was highly popular with the reading public, it had been considered unfilmable under the Hays Code, because adultery was central to its plot. Double Indemnity is credited by some as the first true film noir, combining the stylistic elements of Citizen Kane with the narrative elements of The Maltese Falcon (1941). During the liberation of concentration camps in 1945, the Psychological Warfare Department (PWD) of the United States Department of War produced an American propaganda documentary film directed by Billy Wilder. The film known as Death Mills, or Die Todesmühlen, was intended for German audiences to educate them about the atrocities committed by the Nazi regime. For the German version, Die Todesmühlen, Hanuš Burger is credited as the writer and director, while Wilder supervised the editing. Wilder is credited with the English-language version.[citation needed] Two years later, Wilder earned the Best Director and Best Screenplay Academy Awards for the adaptation of a Charles R. Jackson story The Lost Weekend(1945), the first major American film to make a serious examination of alcoholism, another difficult theme under the Production Code. In 1950, Wilder co-wrote and directed the dark and cynical Sunset Boulevard, which paired rising star William Holden with Gloria Swanson. Swanson played Norma Desmond, a reclusive silent film star who, with delusions of her greatness from a bygone era, dreams of a comeback. Holden portrays an aspiring screenwriter who can't make ends meet and becomes a kept man to her. It was critically acclaimed, and marked the end of Wilder's long writing partnership with Charles Brackett. In 1951, Wilder followed Sunset Boulevard with Ace in the Hole (a.k.a. The Big Carnival), a tale of media exploitation of a caving accident. The idea for the film had been pitched over the phone to Wilder's secretary by Victor Desny. Desny sued Wilder for breach of an implied contract in the California copyright case Wilder v Desny, ultimately receiving a settlement of $14,350.[8][9] Although a critical and commercial failure at the time, its reputation has grown over the years. In the 1950s, Wilder also directed two adaptations of Broadway plays, the prisoner of war drama Stalag 17 (1953), which resulted in a Best Actor Oscar for William Holden, and the Agatha Christie mystery Witness for the Prosecution (1957). In the mid-1950s, Wilder became interested in doing a film with one of the classic slapstick comedy acts of the Hollywood Golden Age. He first considered, and rejected, a project to star Laurel and Hardy. He then held discussions with Groucho Marx concerning a new Marx Brothers comedy, tentatively titled "A Day at the U.N." This project was abandoned when Chico Marx died in 1961.[10] From the mid-1950s onwards, Wilder made mostly comedies.[2] Among the classics Wilder created in this period are the farces The Seven Year Itch (1955) and Some Like It Hot (1959), satires such as The Apartment (1960), and the romantic comedy Sabrina (1954). Wilder's humor is sometimes sardonic. In Love in the Afternoon (1957), a young and innocent Audrey Hepburn does not wish to be young or innocent with playboy Gary Cooper, and pretends to be a married woman in search of extramarital amusement. The film was Wilder's first collaboration with writer-producer I. A. L. Diamond, an association that continued until the end of both men's careers. In 1959, United Artists released Wilder's Prohibition-era farce Some Like It Hot without a Production Code seal of approval, withheld due to the film's unabashed sexual comedy, including a central cross-dressing theme. Jack Lemmon and Tony Curtis play musicians who disguise themselves as women to escape pursuit by a Chicago gang. Curtis's character courts a singer played by Marilyn Monroe, while Lemmon is wooed by Joe E. Brown—setting up the film's final joke in which Lemmon reveals that his character is a man and Brown blandly replies "Well, nobody's perfect". A box office success, the film was lightly regarded during its original release. But its critical reputation grew prodigiously; in 2000, the American Film Institute selected it as the best American comedy ever made.[11] In 2012, the British Film Institute decennial Sight and Sound poll of the world's film critics rated it as the 43rd best movie ever made, and the second-highest ranking comedy.[12] After winning three Academy Awards for 1960's The Apartment (for Best Picture, Director, and Screenplay), Wilder's career slowed. His Cold War farce One, Two, Three (1961) featured a rousing comic performance by James Cagney. It was followed by apparently lesser films that now are of cult status, such as Irma la Douceand Kiss Me, Stupid. Wilder gained his last Oscar nomination for his screenplay The Fortune Cookie (UK: Meet Whiplash Willie) (1966). His 1970 film The Private Life of Sherlock Holmes was intended as a major roadshow release, but was heavily cut by the studio and has never been fully restored. Later films such as Fedora(1978) and Buddy Buddy (1981) failed to impress critics or the public. After that Wilder complained, futilely, that he was being discriminated against, due to his age. For whatever reason, the studios were unwilling to hire him. One "consolation" which Wilder had in his later years, besides his art collection (see "Later Life," below), was the Andrew Lloyd Webber stage musical version of Sunset Boulevard.[citation needed] Directorial style[edit] Wilder's directorial choices reflected his belief in the primacy of writing. He avoided, especially in the second half of his career, the exuberant cinematography of Alfred Hitchcock and Orson Welles because, in Wilder's opinion, shots that called attention to themselves would distract the audience from the story. Wilder's pictures have tight plotting and memorable dialogue. Despite his conservative directorial style, his subject matter often pushed the boundaries of mainstream entertainment. Once a subject was chosen, he would begin to visualize in terms of specific artists. His belief was that no matter how talented the actor, none were without limitations and the end result would be better if you bent the script to their personality rather than force a performance beyond their limitations.[13] Wilder was skilled at working with actors, coaxing silent era legends Gloria Swanson and Erich von Stroheim out of retirement for roles in Sunset Boulevard For Stalag 17, Wilder squeezed an Oscar-winning performance out of a reluctant William Holden (Holden had wanted to make his character more likeable; Wilder refused). Wilder sometimes cast against type for major parts such as Fred MacMurray in Double Indemnity and The Apartment. MacMurray had become Hollywood's highest-paid actor portraying a decent, thoughtful character in light comedies, melodramas, and musicals; Wilder cast him as a womanizing schemer. Humphrey Bogart shed his tough-guy image to give one of his warmest performances in Sabrina. James Cagney, not usually known for comedy, was memorable in a high-octane comic role for Wilder's One, Two, Three. Wilder coaxed a very effective performance out of Marilyn Monroe in Some Like It Hot.[citation needed] In total, he directed fourteen different actors in Oscar-nominated performances: Barbara Stanwyck in Double Indemnity, Ray Milland in The Lost Weekend, William Holden in Sunset Boulevard and Stalag 17, Gloria Swanson in Sunset Boulevard, Erich von Stroheim in Sunset Boulevard, Nancy Olson in Sunset Boulevard, Robert Strauss in Stalag 17, Audrey Hepburn in Sabrina, Charles Laughton in Witness for the Prosecution, Elsa Lanchester in Witness for the Prosecution, Jack Lemmon in Some Like It Hot and The Apartment, Jack Kruschen in The Apartment, Shirley MacLaine in The Apartment and Irma la Douce and Walter Matthau in The Fortune Cookie. Milland, Holden and Matthau won Oscars for their performances in Wilder films. Wilder mentored Jack Lemmon and was the first director to pair him with Walter Matthau, in The Fortune Cookie (1966). Wilder had great respect for Lemmon, calling him the hardest working actor he had ever met. Lemmon starred in seven of Wilder's films. Wilder's work has had to meet some critical challenges. Although he is admired by many critics and filmgoers, he has not won approval from noted critic David Thomson, author of A Biographical Dictionary of Film, and other works. Thomson summarizes his attitude toward Wilder by saying, "I remain skeptical."[14] Thomson emphasizes that, although Wilder created some brilliant films, he also directed some poor ones, especially at the end of his career. Thomson notes that critic Andrew Sarris did not approve of Wilder for a long time but then changed his attitude much later.[15] Some[citation needed] say that Wilder's films often lacked any discernible political tone or sympathies, which was not unintentional. He was less interested in current political fashions than in human nature and the issues that confronted ordinary people. He was not affected by the Hollywood blacklist, and had little sympathy for those who were.[citation needed] Of the blacklisted 'Hollywood Ten' Wilder said, "Of the ten, two had talent, and the rest were just unfriendly." In general, Wilder had an intense dislike for formula and genre films.[16] Others say that his films derive their parodies from the politics of the world around him, capitalist and Communist, and that Wilder opposed the House Un-American Activities Committee (HUAC). He co-created the “Committee for the First Amendment”, of 500 Hollywood personalities and stars to “support those professionals called upon to testify before the HUAC who had classified themselves as hostile with regard to the interrogations and the interrogators”. Some anti-Communists wanted those in the cinema industry to take oaths of allegiance. The Screen Directors Guild had a vote by show of hands. Only John Huston and Wilder opposed. Huston said, "I am sure it was one of the bravest things that Billy, as a naturalized German, had ever done. There were 150 to 200 directors at this meeting, and here Billy and I sat alone with our hands raised in protest against the loyalty oath."[17] Wilder reveled in poking fun at those who took politics too seriously. In Ball of Fire, his burlesque queen 'Sugarpuss' points at her sore throat and complains "Pink? It's as red as the Daily Worker and twice as sore." Later, she gives the overbearing and unsmiling housemaid the name "Franco". Wilder is sometimes confused with director William Wyler; the confusion is understandable, as both were German-speaking Jews with similar backgrounds and names. However, their output as directors was quite different: Wyler preferreed to direct epics and heavy dramas, while Wilder was noted for his comedies and film noir type dramas. Later life[edit] Billy Wilder in Berlin, 1989 Wilder was recognized with the AFI Life Achievement Award in 1986. In 1988, Wilder was awarded the Irving G. Thalberg Memorial Award. In 1993, he was awarded the National Medal of Arts. He has a star on the Hollywood Walk of Fame. Wilder became well known for owning one of the finest and most extensive art collections in Hollywood, mainly collecting modern art. As he described it in the mid 80s, "It's a sickness. I don't know how to stop myself. Call it bulimia if you want – or curiosity or passion. I have some Impressionists, some Picassos from every period, some mobiles by Calder. I also collect tiny Japanese trees, glass paperweights and Chinese vases. Name an object and I collect it."[18] Wilder's artistic ambitions led him to create a series of works of his own. By the early 90s, Wilder had amassed a beguiling assortment of plastic-artistic constructions, many of which were made in collaboration with artist Bruce Houston. In 1993, art dealer Louis Stern, a longtime friend, helped organize an exhibition of Wilder's work at his Beverly Hills gallery. The exhibition was titled Billy Wilder's Marché aux Puces and the Variations on the Theme of Queen Nefertete segment was an unqualified crowd pleaser. This series featured busts of the Egyptian queen wrapped à la Christo, or splattered à la Jackson Pollock, or sporting a Campbell's soup can in homage to Andy Warhol.[19] Personal life[edit] Wilder married Judith Coppicus on December 22, 1936. The couple had twins, Victoria and Vincent (born 1939), but Vincent died shortly after birth. They divorced in 1946. Wilder met Audrey Young at Paramount Pictures on the set of The Lost Weekend in 1945, and she became his second wife on June 30, 1949. Death[edit] Wilder died in 2002 of pneumonia at the age of 95 after battling health problems,[20] including cancer, at his home in Beverly Hills, California. He was interred in the Westwood Village Memorial Park Cemetery in Westwood, Los Angeles near Jack Lemmon and Walter Matthau. Marilyn Monroe's crypt is located in the same cemetery. Wilder died the same day as two other comedy legends: Milton Berle and Dudley Moore. The next day, French newspaper Le Monde titled its first-page obituary, "Billy Wilder dies. Nobody's perfect." - quoting the final gag line in Some Like It Hot. Legacy[edit] Wilder's gravestone Wilder holds a significant place in the history of Hollywood censorship for expanding the range of acceptable subject matter. He is responsible for two of the film noir era's most definitive films in Double Indemnity and Sunset Boulevard Along with Woody Allen and the Marx Brothers, he leads the list of films on the American Film Institute's list of 100 funniest American films with five films written and holds the honor of holding the top spot with Some Like it Hot. Also on the list are The Apartment and The Seven Year Itch which he directed, and Ball of Fire and Ninotchka which he co-wrote. The American Film Institute has ranked four of Wilder's films among their top 100 American films of the 20th century: Sunset Boulevard(no. 12), Some Like It Hot (no. 14), Double Indemnity (no. 38) and The Apartment (no. 93). For the tenth anniversary edition of their list, the AFI moved Sunset Boulevard to No. 16, Some Like it Hot to No. 22, Double Indemnity to No. 29 and The Apartment to No. 80. Spanish filmmaker Fernando Trueba said in his acceptance speech for the 1993 Academy Award for Best Foreign Language Film: "I would like to believe in God in order to thank him. But I just believe in Billy Wilder... so, thank you Mr. Wilder." According to Trueba, Wilder called him the day after and told him: "Fernando, it's God." French filmmaker Michel Hazanavicius also thanked Billy Wilder in the 2012 Best Picture Oscar acceptance speech for The Artist by saying "I would like to thank the following three people, I would like to thank Billy Wilder, I would like to thank Billy Wilder, and I would like to thank Billy Wilder." Wilder's 12 Academy Award nominations for screenwriting were a record until 1997 when Woody Allen received a 13th nomination for Deconstructing Harry. Filmography[edit] Main article: Billy Wilder filmography Awards[edit] Wilder received twenty-one Academy Award nominations; eight for Best Director, twelve for writing, and one as the producer of Best Picture. With eight nominations for Academy Award for Best Director, Wilder is, together with Martin Scorsese, the second most nominated director in the history of the Academy Awards, behind William Wyler, and the second most nominated screenwriter, behind Woody Allen. Wilder won a total of six Oscars: Best Director for The Lost Weekend and The Apartment, Best Screenplay for The Lost Weekend, Sunset Boulevard, and The Apartment, and Best Picture for The Apartment. In addition, he received the Irving G. Thalberg Memorial Award in 1988. Writers Guild of America west (WGA/W) – Screen Laurel Award, 1957 (with Charles Brackett) and 1980 (with I.A.L. Diamond). In addition to the career awards, Wilder was nominated 15 times for WGA Screenplay awards, winning five times, despite the fact that the award was not offered until 1948. Directors Guild of America (DGA) – D.W. Griffith Award, 1985 (renamed the DGA Lifetime Achievement Award in 1999). In addition to the career award, Wilder was nominated eight times for the DGA Screen Director award, winning for 1960's The Apartment. WGAw/DGA – Preston Sturges Award, 1991 Golden Globes: Wilder won five Golden Globes after the awards started in 1944: twice as the producer of Best Picture winners (Some Like It Hot and The Apartment); twice as a director (The Lost Weekend and Sunset Boulevard); and once as a screenwriter (Sabrina) (this award wasn't presented from 1955 to 1965, during Wilder's most successful years). Honorary Golden Bear at the 43rd Berlin International Film Festival (1993).[21] Academy Award nominations[edit] Year Award Film Result 1939 Best Writing, Screenplay Ninotchka Sidney Howard – Gone with the Wind 1941 Best Writing, Screenplay Hold Back the Dawn Sidney Buchman and Seton I. Miller – Here Comes Mr. Jordan Best Writing, Original Story Ball of Fire Harry Segall – Here Comes Mr. Jordan 1944 Best Director Double Indemnity Leo McCarey – Going My Way Best Writing, Screenplay Frank Butler and Frank Cavett – Going My Way 1945 Best Director The Lost Weekend Won Best Writing, Screenplay Won 1948 Best Writing, Screenplay A Foreign Affair John Huston – The Treasure of the Sierra Madre 1950 Best Director Sunset Boulevard Joseph L. Mankiewicz – All About Eve Best Writing, Story and Screenplay Won 1951 Best Writing, Story and Screenplay Ace in the Hole Alan Jay Lerner – An American in Paris 1953 Best Director Stalag 17 Fred Zinnemann – From Here to Eternity 1954 Best Director Sabrina Elia Kazan – On the Waterfront Best Writing, Screenplay George Seaton – The Country Girl 1957 Best Director Witness for the Prosecution David Lean – The Bridge on the River Kwai 1959 Best Director Some Like It Hot William Wyler – Ben-Hur Best Writing, Screenplay Based on Material from Another Medium Neil Paterson – Room at the Top 1960 Best Motion Picture The Apartment Won Best Director Won Best Writing, Story and Screenplay Written Directly for the Screen Won 1966 Best Writing, Story and Screenplay Written Directly for the Screen The Fortune Cookie Claude Lelouch – A Man and a Woman 1987 Irving G. Thalberg Memorial Award Won Directed Academy Award performances[edit] Year Performer Film Result Academy Award for Best Actor 1945 Ray Milland The Lost Weekend Won 1950 William Holden Sunset Boulevard Nominated 1953 William Holden Stalag 17 Won 1957 Charles Laughton Witness for the Prosecution Nominated 1959 Jack Lemmon Some Like It Hot Nominated 1960 Jack Lemmon The Apartment Nominated Academy Award for Best Actress 1944 Barbara Stanwyck Double Indemnity Nominated 1950 Gloria Swanson Sunset Boulevard Nominated 1954 Audrey Hepburn Sabrina Nominated 1960 Shirley MacLaine The Apartment Nominated 1963 Shirley MacLaine Irma la Douce Nominated Academy Award for Best Supporting Actor 1950 Erich von Stroheim Sunset Boulevard Nominated 1953 Robert Strauss Stalag 17 Nominated 1960 Jack Kruschen The Apartment Nominated 1966 Walter Matthau The Fortune Cookie Won Academy Award for Best Supporting Actress 1950 Nancy Olson Sunset Boulevard Nominated 1957 Elsa Lanchester Witness for the Prosecution Nominated Major awards for directed films[edit] Year Film Academy Award Noms. Academy Award Wins Golden Globe Noms. Golden Globe Wins (beg. 1943) DGA Award (beg. 1948) WGA Award (beg. 1948) 1934 Mauvaise Graine 1942 The Major and the Minor 1943 Five Graves to Cairo 3 * 1944 Double Indemnity 7 * 1945 The Lost Weekend 7 4 * 3 1948 The Emperor Waltz 2 * Nominated A Foreign Affair 2 * Nominated 1950 Sunset Boulevard 11 3 7 4 Nominated Won 1951 Ace in the Hole 1 1953 Stalag 17 3 1 * Nominated Nominated 1954 Sabrina 6 1 * 1 Nominated Won 1955 The Seven Year Itch * 1 Nominated Nominated 1957 The Spirit of St. Louis 1 Love in the Afternoon 3 Nominated Won Witness for the Prosecution 6 5 1 Nominated 1959 Some Like It Hot 6 1 3 3 Nominated Won 1960 The Apartment 10 5 4 3 Won Won 1961 One, Two, Three 1 2 Nominated 1963 Irma la Douce 3 1 3 1 Nominated 1964 Kiss Me, Stupid 1966 The Fortune Cookie 4 1 1 Nominated 1970 The Private Life of Sherlock Holmes Nominated 1972 Avanti! 6 1 Nominated 1974 The Front Page 3 Nominated 1978 Fedora 1981 Buddy Buddy Only Golden Globe winners reported in these years
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