When Joseph McBride replied at some length to my questions about Irma la Douce and his commentary on a forthcoming Kino Lorber Bluray, I replied at length also. Here’s what I said:
“So unlike most critics, you’re not of the opinion that Billy Wilder peaked with Some Like It Hot, The Apartment and One, Two, Three? And that as a director he enjoyed two peak periods — his initial nine-year run (1944’s Double Indemnity to 1953’s Stalag 17) and then his seven-year run at the very top of his game, or between ’59 and ’66 (Some Like It Hot to The Fortune Cookie)?
“You believe, in other words, that Wilder’s decline period (The Private Life of Sherlock Holmes through Buddy Buddy) wasn’t about ‘decline’ as much as a commercially downspiraling artistic growth period, or something along those lines?
“Wilder’s first peak period began with his auteurist breakthrough via Double Indemnity (’44) and The Lost Weekend (’45). He greatly strengthened his hand with Sunset Boulevard, (’50) and then was dealt a stunning commercial setback with the release of Ace in the Hole. Correct me if I’m wrong, but I’ve always believed that the commercial failure of Ace, not to mention a consensus that he’d succumbed to an overly hard-bitten, overly acidic tone, all but stopped Wilder in his tracks.
“I’m saying that Ace in the Hole either persuaded or forced Wilder to become a humorous, light-hearted, mainstream director-for-hire after Stalag 17, which ironically was quite the critical and commercial success, opened in mid ’53.
Background: “Wilder began working on Stalag 17 sometime after the original B’way play version began its run in March 1951. I don’t know the precise logline, but Wilder’s Paramount-supported involvement was probably concurrent with the opening of Ace in the Hole in July ’51. He began shooting Stalag in February of ’52 and presumably wrapped the usual eight or ten weeks later.
“According to Peter Graves ‘the film was held from release for over a year due to Paramount Pictures not believing anyone would be interested in seeing a film about prisoners of war…the 1953 release of American POWs from the Korean War led Paramount to release it on an exploitation angle.’
Back to letter: “For whatever reasons, perhaps best known by yourself and other Wilder scholars or perhaps just due to the bland mentality of the Eisenhower ’50s, Wilder’s first auteur phase ended with Stalag 17 or at least was put on hiatus for a five-year, five-film period from ’53 to ’58.