When the Pictures Became Small
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.