Ritzy Cinema introduction to tonight's special Guardian Film event:
Join the Guardian Film team as they discuss the nominations, give their verdicts and make their predictions ahead of this year’s Oscars ceremony. The panel will introduce a special screening of this surprisingly dark comedy with a heart of gold, and discuss what makes it one of the best Oscar winners of all time.
Birdman and The Grand Budapest Hotel lead the pack for this year’s Academy Awards, scoring nine nominations apiece. But who will be the winners and losers on 22 February? Will Michael Keaton, nominated for the first time this year, take the Best Actor gong, or will it go to British actors Benedict Cumberbatch or Eddie Redmayne? Can Linklater’s Boyhood take the top prize? Why wasn’t Inherent Vice nominated, and what happened to The Lego Movie? And most importantly of all, who will make this year’s Oscars selfie? Join the debate with Peter Bradshaw, Catherine Shoard, Henry Barnes and Andrew Pulver.
Time Out review:
Re-teaming actor Jack Lemmon, scriptwriter Iz Diamond and director Billy Wilder a year after ‘Some Like It Hot’, this multi-Oscar winning comedy is sharper in tone, tracing the compromises of a New York insurance drone who pimps out his brownstone apartment for his married bosses’ illicit affairs. The quintessential New York movie – with exquisite design by Alexandre Trauner and shimmering black-and-white photography – it presented something of a breakthrough in its portrayal of the war of the sexes, with a sour and cynical view of the self-deception, loneliness and cruelty involved in ‘romantic’ liaisons. Directed by Wilder with attention to detail and emotional reticence that belie its inherent darkness and melodramatic core, it’s lifted considerably by the performances: the psychosomatic ticks and tropes of nebbish Lemmon balanced by the pathos of Shirley MacLaine’s put-upon ‘lift girl’.
Re-teaming actor Jack Lemmon, scriptwriter Iz Diamond and director Billy Wilder a year after ‘Some Like It Hot’, this multi-Oscar winning comedy is sharper in tone, tracing the compromises of a New York insurance drone who pimps out his brownstone apartment for his married bosses’ illicit affairs. The quintessential New York movie – with exquisite design by Alexandre Trauner and shimmering black-and-white photography – it presented something of a breakthrough in its portrayal of the war of the sexes, with a sour and cynical view of the self-deception, loneliness and cruelty involved in ‘romantic’ liaisons. Directed by Wilder with attention to detail and emotional reticence that belie its inherent darkness and melodramatic core, it’s lifted considerably by the performances: the psychosomatic ticks and tropes of nebbish Lemmon balanced by the pathos of Shirley MacLaine’s put-upon ‘lift girl’.
Wally Hammond
Here (and above) is the trailer.
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