by Jonathan Coe
Lent to me by my friend Pat, who told me that it was an easy read (it was) so I picked it up when I wanted something undemanding to read.
I confess that I am not very familiar with Wilder’s work as a Hollywood film director. I have seen Some Like it Hot – a wonderful film, dated yet timeless in its way, and very funny. I think there is a sequel, which wasn’t as good (as is often the case with sequels).
The story is told retrospectively by Calista, a woman who now (in the early 21st century) is about to see her daughters begin their adult lives as students, reflecting on her own youth and in particular, the summer of 1976 when she unexpectedly had dinner with Billy Wilder and his co-writer, Itzek (Iz) Diamond whilst backpacking through the USA. This chance encounter leads to Cal being invited to act as interpreter while the team’s newest film, Fedora, is on location in Greece.
Most of the story revolves around the 1977 experience as seen through Cal’s eyes, with a (sizeable) interlude which takes the form of Mr Wilder recounting his emigration from Germany in 1933. The story ends with Cal, her daughter and her husband making a decision that will impact on all their lives. So this is an onion of a tale, with at least three distinct layers.
I found the present-day narrative somewhat unnecessary. I think the author wishes his readers to understand how reflecting on her own past has made Cal more decisive in the present. This could have worked – especially given the context of the ‘outer’ layer, a will she/won’t she moment in Cal’s daughter’s decision on having an abortion. But to me this doesn’t relate sufficiently to Cal’s own life decisions.
The middle layer – the 1976/7 story of the inception and filming of Fedora – is interesting and believable. Several vignettes in Wilder’s life are told convincingly, building on real anecdotes that he himself or others have told about him. Coe has a great imagination for the rest of the story, including Cal’s own experience, very believable as a 20-year-old experiencing travel, life, love and the film industry for the first time. Most touching are Cal’s confessions about what did or did not form part of her learned experience at that time in her life. She is ignorant about film, but makes a great effort to read up on the history of cinema by purchasing an encyclopedia on the subject. She is inexperienced in most aspects of adult life, but shows herself to be confident, courageous and likeable.
And the core of the onion – Wilder’s emigration story told as a film script – is innovative and on the whole effective. Wilder has too many voiceovers, and we are told that as a director/writer he is often accused of this in his films. The context of emigration for a young, aspiring artist who focusses on his career to the exclusion of his love life or pursuing the fate of his family, though unfeeling, still rings true.
I feel as though I have read a biography of Billy Wilder told in the context of an enjoyable story. Full marks Jonathan Coe!