| MAUVAISE GRAINE (1934)
A ring of scrappy Parisian car thieves uses an innocent-looking girl (Danielle Darrieux) as a decoy. But things go all to hell when they clash with a gadabout named Henri Pasquier, whose father has just disinherited him. Gangleader Jean la Cravatte (Raymond Galle) quickly incorporates Henri into the group, but jealousies begin to brew. Billy Wilder wrote the screenplay and directs.
DOUBLE INDEMNITY (1944)
Smitten insurance man Walter Neff (Fred MacMurray) plots the perfect murder with femme fatale client Phyllis Dietrichson (Barbara Stanwyck): Stage her husband's "accidental" death to collect double indemnity on his life insurance, then abscond with the loot. But the lethal duo must first get past a crafty claims investigator (Edward G. Robinson) who senses something isn't kosher. What ensues is a cat-and-mouse game with fatal consequences.
THE LOST WEEKEND (1945)
Based on the novel by Charles R. Jackson, director Billy Wilder's searing, Oscar-winning portrait of an alcoholic follows writer Don Birnem (Ray Milland), whose girlfriend (Jane Wyman) and caring brother (Phillip Terry) leave him alone for the weekend. Aching to drink, Don heads to a bar and goes on a binge that sends him into an alcoholic fog -- complete with petrifying hallucinations and an unnerving stint in a hospital sanitarium.
SUNSET BOULEVARD (1950)
Billy Wilder's noir classic about Hollywood decadence remains as razor-sharp as ever. Norma (Gloria Swanson), a faded silent film star plotting her return, employs Joe (William Holden), a struggling screenwriter, to help edit a script that she has penned. As the work progresses, Norma draws closer to Joe, engulfing him in her fiery throes, but Joe wants out.

ACE IN THE HOLE (1951)
Fired from a number of big-city papers, reporter Charles Tatum (Kirk Douglas) tries to reestablish himself in New Mexico. When a local miner is trapped in a cave-in, Tatum turns the victim's misfortune into a media frenzy to further his own career. A local sheriff agrees to help prolong the rescue efforts, thereby helping build up the story. This classic film has been touted as director Billy Wilder's sharpest, most uncompromising piece of work.
STALAG 17 (1953)
For the Allied prisoners of Stalag 17, every escape attempt ends the same way -- in disaster. The cynical Sgt. Sefton (William Holden, in his Oscar-winning role) thinks they're all fools for trying … but soon his hectoring starts to raise suspicions that there's a German spy in the prison camp -- and that spy is him! Director Billy Wilder effortlessly mixes broad comedy and high-tension drama in this World War II classic.

SABRINA (1954)
Industrious tycoon Linus Larrabee (Humphrey Bogart) has no room for love in his appointment book. But when a burgeoning romance between his libertine brother David (William Holden) and the family chauffeur's daughter, Sabrina Fairchild (Audrey Hepburn), jeopardizes Linus' pending business merger, the workaholic CEO clears his calendar to derail the dalliance. The film collected an Academy Award for Best Costume Design.
THE SEVEN YEAR ITCH (1955)
After packing off wife and son for the summer, doughy middle-aged publisher Richard Sherman (Tom Ewell) lets his imagination run wild, fantasizing about erstwhile ladyloves -- and his curvaceous new neighbor (Marilyn Monroe). Inviting her over for a drink, Richard plans to sweep her off her feet and into the bedroom. But then he imagines that his flights of fancy are airing nationwide, with his wife in the audience.
THE SPIRIT OF ST. LOUIS (1957)
Air travel became limitless when Charles A. Lindbergh (James Stewart) flew the pioneer route from New York to Paris on May 21, 1927. From his dubious airborne mail runs to the conception and creation of a trans-Atlantic aircraft, the ambitions of Lucky Lindy paved the sky for aviation advancement. Academy Award-winning director Billy Wilder pilots this soaring adventure through the trials and tribulations of an iconic American hero.
LOVE IN THE AFTERNOON (1957)
Inexperienced cellist Ariane Chavasse (Audrey Hepburn) falls for American playboy Frank Flannagan (Gary Cooper) in director Billy Wilder's Paris-based romance. Hired by a jealous husband, Ariane's father Claude (Maurice Chevalier) investigates Flannagan, leading Ariane to pose as a mystery woman to keep her love from being shot. Flannagan sets his designs on the mystery woman, but Ariane's father tries to thwart his plans.
WITNESS FOR THE PROSECUTION (1957)
Based on an Agatha Christie play, this Oscar-nominated mystery directed and co-written by Billy Wilder concerns an esteemed and aging lawyer (Charles Laughton). On the eve of retiring, he takes on the defense of an alleged murderer (Tyrone Power, in his final film performance) accused of killing a wealthy widow. Things get complicated when the accused's only alibi, his wife (Marlene Dietrich), decides to testify for the prosecution.
SOME LIKE IT HOT (1959)
With its transvestitism, palpable sex and murder, Billy Wilder's legendary screwball comedy reveals dark, hilarious roots. Musicians Jack Lemmon and Tony Curtis accidentally witness the St. Valentine's Day Massacre and get out of town the only way they know how -- dressed as women. On the road to Florida with an all-girl band, they meet Sugar Kane (Marilyn Monroe), and things start to heat up in this legendary farce.

THE APARTMENT (1960)
C.C. Baxter (Jack Lemmon) has his future mapped out -- all he needs to do is cozy up to the top feeders in the corporate food chain. But his fast track to the executive suite gets short-circuited when he falls for one of the bosses' girlfriends. The Apartment features top-notch performances from Lemmon and Shirley MacLaine and was nominated for 10 Academy Awards, winning five, including Best Picture.

ONE, TWO, THREE (1961)
Director Billy Wilder's Cold War farce comes off at a breakneck pace that will leave your head spinning. C.J. McNamara (James Cagney) is a Coca-Cola executive who travels to Berlin to promote the product on the other side of the Iron Curtain. But he soon learns that his real job is baby-sitting his boss's teenage daughter, Scarlett (Pamela Tiffin), who has secretly married volatile Communist Otto Piffl (Horst Bucholz).

IRMA LA DOUCE (1963)
The stars and director of The Apartment reteam for this risqué farce set in Paris. Jack Lemmon is a policeman in the Red Light District who falls in love with hooker Shirley MacLaine (who gives her third Oscar-nominated performance). Billy Wilder's film is based on a Broadway musical, but omits the songs; nonetheless, an Oscar did go to André Previn for Best Score. Watch for the sailor with the radio -- it's James Caan in his film debut.
THE FORTUNE COOKIE (1966)
Shyster William Gingrich (Walter Matthau) foresees a financial bonanza after Cleveland Browns star "Boom Boom" Jackson accidentally levels cameraman Harry Hinkle (Jack Lemmon) -- Gingrich's brother-in-law. Barely hurt, Hinkle is loath to help Gingrich scam the insurance company till realizing the moola might lure back his ex. A budding rapport with the guilt-ridden Jackson, however, begins gnawing at Hinkle's conscience.
THE PRIVATE LIFE OF SHERLOCK HOLMES (1970)
Director Billy Wilder uses incidents from his own life in exploring the mystery of Sherlock Holmes's sexual preference and past romances. Holmes (Robert Stephens) shoots cocaine to combat the boredom that plagues him between cases. But his ennui evaporates when he attends a Russian ballet performance where the prima ballerina asks Holmes to become the father of her child. The film portrays Holmes as a very complicated and flawed individual.

AVANTI! (1972)
A troubling event hatches an unlikely romance between a stuffy American and a free-spirited European in this romantic Billy Wilder comedy. When his father dies in a car crash while vacationing in the Mediterranean, Walter Armbruster (a young Jack Lemmon) crosses paths with Pamela (Juliet Mills), who happens to be the daughter of his father's mistress, who was also killed in the crash. Against all odds, love blooms.
THE FRONT PAGE (1974)
Jack Lemmon and Walter Mattthau play battling newspapermen in 1920s Chicago in this fast-paced version of the comedy classic from director Billy Wilder. Lemmon is ace reporter Hildy Johnson and Matthau his irascible editor, Walter Burns. Hildy wants to quit and marry Peggy Grant (Susan Sarandon), but Walter will do anything to stop him, and an escaped killer (Austin Pendleton) gives him just the scoop he needs to lure Hildy back to work.
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