Stardom, beauty, the machinery of Hollywood, madness, age – 1978’s Fedora sees Billy Wilder occupying much of the same thematic territory of his 1950 classic, Sunset Boulevard. William Holden’s has-been film producer attends the funeral of Fedora, a reclusive former film star, and thinks back on the recent trip he took to Corfu, attempting to track her down and coax her out of retirement. What unravels is a mystery, a conspiracy, a twisted mother-daughter relationship, and another in Mubi’s strand of “perfect failures”.
Wilder’s struggle to finance Fedora is apparent, José suggesting that in every part one can imagine a superior actor. Though that’s perhaps scant defence of the tedious visual design – Dutch angles don’t cost money, and the film is crying out for more visual expression than it offers. Mike explains his problem with the plot structure and particularly his dislike of “two weeks earlier” hooks, and we consider the way in which we’re asked to believe in Fedora’s incredible stardom while not really having it explained to us satisfactorily. And José takes particular issue with the casting of Michael York as himself, finding him a blank, while Mike is more content with it, but perhaps that’s largely because whenever someone says “Michael York” it makes him laugh.
Despite the film’s many problems, it remains an intriguing exploration of stardom, identity, the lengths to which people will go to support their own delusions. Mike suggests that Fedora and Sunset Boulevard share a low opinion of women, that their themes of self-obsession, fame and beauty are particularly aligned with their stars’ gender. José describes Fedora‘s relationship to reality, in particular the ways in which it echoes Marlene Dietrich’s extraordinary fame and subsequent withdrawal from the public eye, and how Wilder’s experience and understanding of this and other inside stories informs the film.
And finally, Mike takes a moment to bring up two things he doesn’t like about Sunset Boulevard, because he wouldn’t be doing his job if he didn’t take one look at a great masterpiece of cinema and explain what’s rubbish about it.