Billy Wilder on Assignment by Noah Isenberg (top 100 novels of all time TXT) 📕

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Gehman, Richard, 7

Gemünden, Gerd, 9

Genina, Augusto, 175

Genoa, Italy, 47–49

George, Heinrich, 185

Germany: author’s films (autorenfilms), 179; beer consumption in, 78–80; commercial air travel in, 21, 76–78. See also Berlin

Gerron, Kurt, 166, 181

Gershwin, George, 114

Gerzhofer, Camilla, 5

“Getting Books to Readers” (Wilder), 87–90

Gibson, Hoot, 189

Gibson, Vivian, 186

Girardi, Toni, 95, 110–111

“Girardi’s Son Plays Jazz at the Mary Bar” (Wilder), 110–111

Girl University, 107

Glass, Max, 185

Glässner, Erika, 190

Gliese, Rochus, 82

The Gold Rush (1925), 171

Goulding, Edmund, 151

Graetz, Paul, 180

Gralla, Dina, 169, 175

Greed (1924), 150, 165, 176

Gridgeman (marmalade wholesaler), 60–62

Griffith, David Wark, 149, 152

“Grock, the Man Who Makes the World Laugh” (Wilder), 134–137

Grosses Schauspielhaus, 115

Grosz, George, 151

Gülstorff, Max, 5

Hagenbruch, Charlotte, 186

Haifa, Palestine, 166, 181–182

Halbe, Max, 142

Hamburg, Germany, 175

Hameister, Willie, 171

Hamlet, 99, 100, 107

Hartleben, Otto Erich, 142

Harley (Tiller Girls’ governess), 14, 105, 107, 109

Hauptmann, Gerhart, 141–142

Hearts of the World (1918), 149

heat waves, 56–58

“Hello, Mr. Menjou?” (Wilder), 157–161

Hell of a Reporter (Der Teufelsreporter, 1928), 12, 13, 14

Helm, Brigitte, 170

Hem, Erwin, 112

Hem, Otto, 112

Henning, Uno, 170

Henschke, Alfred (Klabund), 10, 23, 96, 161–164

“Here We Are at Film Studio 1929” (Wilder), 80–82

Herrmann, Fritz, 96, 152–156

“Herr Ober, Bitte Einen Tänzer!” (Wilder), 20

Herzog, Erich, 169

Herzog, Rudolf, 90

hexes, 132

His Wife’s Lover (Der Geliebte seiner Frau, 1928), 174–175

Holländer, Felix, 96, 141–143

Hollywood: silent era films in, 14–15, 165, 185–187; von Stroheim in, 149–150; Wilder as emigrant to, 15, 17, 17; Wilder’s early films in, 12

Holm, Dary, 189

Honor Thy Mother (Seine Mutter [Ehre Deine Mutter], 1928), 173

“How I Pumped Zaharoff for Money” (Wilder), 90–93

“How We Shot Our Studio Film” (Wilder), 83–86

human condition: age and lifespans, 140–141; friendship, 90–93; greed, 150, 176; hopes and dreams, 183–184; lying and ruses, 50–52; objectivity, concept of, 54–56; optimism, concept of, 60–62; social criticism, 181; thirst vs. hunger, 78–80; willpower and work, 166, 181–182

humor: A Blonde for a Night (1928), 176–177; Chaplin, 99, 111, 121, 124–126, 136, 151, 159, 165, 168, 171; comedians and clowns, 124–126, 134–137; His Wife’s Lover (1928), 174–175; Men without Work (1929), 189; The Merry Musicians (1930), 190; The Missing Will (1929), 188; Ole and Axel, 171, 173–174; radio and broadcasting films, 172; Susie Cleans Up (1930), 190–191; The Valley of the Giants (1927), 177; The Winged Horseman (1929), 165, 188–189

hunger vs. thirst, 78–80

“I Interview Mr. Vanderbilt” (Wilder), 118–121

interviews: Charlie Chaplin, 124–126; comedians, 134–137; Erwin, 128–130; Toni Girardi, 110–111; Asta Nielsen, 97–100; older people, 140–141; opera singers, 137–139; overview of, 95–96; poker players, 96, 152–156; Prince of Wales, 7, 100–103, 121–124, 159; Luise Schappel (B. Z. newspaper saleswoman), 96, 145–148; theater critics, 143–145; Theo, 129–130; Tiller Girls, 7, 12–13, 14, 95; Vanderbilt, 7, 118–121; Paul Whiteman, 7–8, 8, 111–117; witches, 131–134; writers and novelists, 96, 139–140, 141–143

“Interview with a Witch” (Wilder), 131–134

In the Name of the Law (1922), 178–179

Intoxication (Rausch, 1919), 99

Isin (dance instructor), 28–30, 32–36, 37, 40

Israel, 166, 181–182

Jacobini, Diomira, 178

Jacobsen, Wolfgang, 12, 18

Jacobsohn, Fritz, 109

Jacoby, Georg, 186

Jannings, Emil, 99, 106, 116

jazz age craze, 21, 95, 110–111, 116

Jehanne, Edith, 170

Jeremiah (prophet), 68

Jesus and Judas (Holländer), 142

Johnson, Emory, 178

journalism: films about, 12, 13, 14; influence on Wilder’s films, 17; Wilder’s career in Berlin, 7–10, 19; Wilder’s career in Vienna, 3–8, 19

Jugo, Jenny, 175

Junge, Alfred, 175

Junkermann, Hans, 188

Kamera theater, 176

Kammerspiele theater, 184, 188

Kampers, Fritz, 170–171, 172, 190

Karasek, Hellmuth, 7

Katscher, Robert, 112, 114, 115, 117

Keaton, Buster, 121

Kenyon, Doris, 177

Kettner, Martin, 191

kidnapping, 186

Kirkwood, James, 167, 168

Kisch, Egon Erwin, 9–10, 88

Klaar, Alfred, 143–145

Klabund (Alfred Henschke), 10, 23, 96, 161–164

“Klabund Died a Year Ago” (Wilder), 161–164

Kleist, Heinrich von, 145

Knauer, G. A., 171

Kollo, Walter, 184

Körner, Annie, 5

Körner, Ludwig, 5

Kortner, Fritz, 178

Koval-Samborsky, Ivan, 185

Kranzlerecke, Berlin, 74

Krauss, Karl, 6

Krauss, Werner, 99, 172

Kreisler, Fritz, 93, 116

Krenn, Günter, 18

Kuh, Anton, 5

Kühl, Kate, 181

Kurt (dancer), 31, 38

Lach, Walter Robert, 170

Laemmle, Carl, 12, 150, 160

Laemmle, Ernst, 12

Lamberz-Pausen, Harry, 170

Land, Robert, 173

landladies, 52–54

The Last Night (Die Grosse Liebe, 1928), 177–178

Lauritzen, Lau, 171, 174

Lazar, Eugen, 5

Lazar, Gitta, 5

Lederer, Franz, 52, 191

Lenglen, Suzanne, 140

Lévi, Eliphas, 132

Liebmann, Robert, 178, 189

Liebstöckl, Hans, 3, 4, 5

Lilien, Kurt, 191

Lind, Georgia, 180

Lindbergh, Charles, 148

literature and books, 87–90; Berlin book market, 21, 87–90; “naturalist” writers, 141–142; novelist and writer interviews, 96, 139–143; words, power of, 17–18

“Little Economics Lesson” (Wilder), 69–71

Löbl, Joseph, 79

“The Lookalike Man” (Wilder), 128–130

Loos, Anita, 139

Lorre, Peter (Laszlo Löwenstein), 5, 17

Lorring, Lotte, 169

Lotta, Claire, 175

Love in the Afternoon (1957), 4, 96

Love Non-Stop (von Vegesack), 88

The Love of Jeanne Ney (Die Liebe der Jeanne Ney, 1927), 169–170

Love’s Masquerade (Karneval der Liebe, 1928), 175

love stories, 99, 171, 173–175, 190

Lubitsch, Ernst, 14, 103, 152, 159, 168, 193

“Lubitsch Discovers” (Wilder), 103

lumber industry, 177

lying, 50–52

Mack, Max, 179, 180

Magda C., 131–134

The Major and the Minor (1942), 4

Manés, Gina, 173

Maris, Mona, 169

Marital Conflicts (Ehekonflikte, 1927), 168–169

Marquise of O. (Kleist), 145

marriage, 159, 168–169, 173, 174–175

The Marriage Circle (1924), 159

masculinity vs. femininity, 63–65

The Masked Mannequin (Der Fürst von Pappenheim, 1927), 169

Massolle, Joseph, 180

matches, smell of, 65–68

Matthau, Walter, 12

Mauthner, Fritz, 143

Max Reinhardt Circle, 4, 5

Meinhard, Edith, 189

Menjou, Adolphe, 7, 157–161; appearance and style of, 159; in Broken Barriers (1924), 167, 168; family background of, 158–159; films directed by, 159; Lubitsch’s launch of, 168

Men of the Night (Menschen der Nacht, 1926), 169

mentors of Wilder, 9–10, 14, 23, 96, 161–164

Men without Work (Männer ohne Beruf, 1929), 189

Merry-Go-Round (1923), 150

The Merry Musicians (Laubenkolonie [aka Die lustigen Musikanten], 1930), 190

The Merry Widow (1925), 151

Metro-Goldwyn-Mayer (MGM), 17, 150

military and state power, 177–179

“A Minister on Foot” (Wilder), 129–130

misogynists, 167, 176

The Missing Will (Das verschwundene Testament, 1929), 188

Miss Julie (Fräulein Julie, 1922), 99

Miss Midshipman (Fräulein Fähnrich, 1929), 165, 182–183

Moebis, Hans-Joachim, 184

Der Montag Morgen newspaper, 86

Mosheim, Grete, 173

motherhood, 186

Murnau, Friedrich Wilhelm, 82, 84, 152

Mylong-Münz, Jack, 188

“My Prince of Wales” (Wilder), 7, 100–103

“Naphthalene” (Wilder), 52–54

“naturalist” writers, 141–142

Neher, Carola, 10, 163

Neufeld, Max, 175

Neumann, Angelo, 144

New Objectivity (Neue Sachlichkeit), 10

newspapers. See journalism

newspaper sales, 96, 145–148

New York City, 60–62

Nielsen, Asta, 7, 95, 97–100

Night Flight (1933), 185–186

“Night Ride over Berlin” (Wilder), 21, 76–78

Normaluhr, Berlin, 12, 74, 75

The Oath of Stefan Huller (Holländer), 142

Obal, Max, 190

objectivity, concept of, 54–56

Old Heidelberg (1915), 149

“Ole and Axel at Beba Palace,” 173–174

Ole and Axel at the North Sea Shore (Pat und Patachon am Nordseestrand, 1927), 171

On Sunset Boulevard (Sikov), 1

opera, 137–139, 165–166, 181

optimism, concept of, 60–62

Ora, Daisy d’, 188

ordinary people, stories about. See cultural essays; interviews

Oswald, Richard, 172

Ottavi, Rino,