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Billy Wilder directed Sunset Blvd. with Gloria Swanson and William Holden. Billy Wilder and Charles Brackett movies Below is a list of movies on which Charles Brackett and Billy Wilder worked together as screenwriters, including efforts for which they did not receive screen credit. The Wilder-Brackett screenwriting partnership lasted from 1938 to 1949. During that time, they shared two Academy Awards for their work on The Lost Weekend (1945) and, with D.M. Marshman Jr., Sunset Blvd. (1950). More detailed information further below. Post-split years Billy Wilder would later join forces with screenwriter I.A.L. Diamond in movies such as the classic comedy Some Like It Hot (1959), the Best Picture Oscar winner The Apartment (1960), and One Two Three (1961), notable as James Cagney's last film (until a brief comeback in Milos Forman's Ragtime two decades later). Although some of these movies were quite well received, Wilder's later efforts – which also included The Seven Year Itch...

'To Each His Own' movie with Olivia de Havilland and John Lund 'To Each His Own' movie review: Best Actress Oscar winner Olivia de Havilland stars in Mother Love tearjerker Olivia de Havilland, who had starred in the 1941 melodrama Hold Back the Dawn, returns to the wartime milieu in To Each His Own (1946), once again under the direction of Mitchell Leisen, who guides the proceedings with his characteristic sincerity while cleverly skirting the Production Code's restrictive guidelines. In To Each His Own, de Havilland plays Jody Norris, a small-town woman who falls quickly in love – much like her character in Hold Back the Dawn – but this time during World War I, when Jody's brief liaison with daredevil flying ace Captain Cosgrove (John Lund) results in an out-of-wedlock child. When Cosgrove is killed in battle, the young mother anonymously gives up her baby to a childless couple in her hometown, remaining...

This story appeared in OscarWrap: Director/Best Picture/Screenplay/Animation. What was it that Leo Tolstoy said? “Happy families are all alike; every unhappy family is unhappy in its own way.” But what may be true about happy families is not so true about happy –which is to say, good — screenplays. Even Leo would have to see that Tom Stoppard’s screenplay for last year’s adaptation of Tolstoy’s “Anna Karenina” (the book from which that quote came) was good in a wildly different way from the S.N. Behrman/Clemence Dane/Salka Viertel screenplay for the 1935 Greta Garbo version.

The Observer's film critic, CA Lejeune, applauds a 'mature, rich, mellow' take on Tolstoy's tragic heroine

I suppose more nonsense has been written and talked about Greta Garbo than about any other actress on the screen. Because she has never been interested in imposing her own viewpoint on the public, a legend has grown up around her. She has become the archetype of the cinema woman, adulated, burlesqued, imitated, envied. It is almost impossible to approach her work today without some kind of vivid preconception. And between her disciples and her traducers, the people who defend so hotly and the people who attack her so coldly, the real Garbo, I fear, has been badly let down.

Greta Garbo is, quite simply, a great screen actress. That is to say, she adapts every technical resource of voice and body to the exact scope of the cinema medium, and adds warmth to...