People are voting emotionally.

Although it has its amusing moments, in eneral the plot does not convince.

There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

Watching it is like watching the spectacle of a class clown at their best: you laugh at their jokes, instigate their defiance, and "ooooh" when they get in trouble.

This is not a sequel to "Sunset Blvd" however "Fedora" reunits the director of "Sunset Blvd" (Billy Wilder) and star William Holden. A Hollywood legend is being seeked out by a down and out film producer who needs "Fedora" in order to get his film made. However "Fedora" is now reclusive. She walked off of her last film. She is now a shadow of her former self however a producer is bound and detrimen to get her back in front of the cameras. When in pursuit of "Fedora" he stumbles upon one thing after another. This film is well worth watching! Seek it out!

...as this one seemed to just be retreading familiar ground. This was director-scenarist Billy Wilder's late '70s return to Sunset Boulevard territory, reuniting him with William Holden in a role not at all dissimilar to that which had skyrocketed the actor's career in the 1950 classic.In this film he plays an aging independent Hollywood producer, desperate for a success, who travels to a Greek island with the hope of luring a reclusive Garboesque film queen out of retirement with a screenplay based on Anna Karenina. The star, remarkably well preserved with a bizarre collection of hangers on surrounding her (or are they imprisoning her?) is erratic, to say the least, once Holden finally succeeds in meeting her.Wilder fans may be intrigued with the film's premise for a while (based on a story by Thomas Tryon) but this film largely told in flashback after beginning with the film star's Anna Karenina-like suicide in front of a train lacks the wit and sardonic black humor that had so distinguished Sunset Boulevard. In fact, this suitably bizarre tale has no leveling humor at all, and it is sorely missed.The cast is adequate, nothing more. Holden, his character so integral to Sunset Boulevard, is largely reduced to the role of observer here, and Marthe Keller as the mysterious Fedora lacks any sense of depth or fascination as the aging Hollywood queen whose youthful appearance is eerily similar to that of a female Dorian Gray. Hildegarde Knef as an embittered Countess who lives with her, and Jose Ferrer, as her doctor, fill out the cast. There are also brief appearances by Michael York and Henry Fonda.While ultimately the film must be judged a disappointment, considering the impressive pedigree of those involved, fans of Wilder will still want to see it - at least once. But there's only so much interest one can develop for a film in which it is difficult for its audience to muster any emotional involvement for any of its characters.

Billy Wilder's penultimate film is also his weirdest. Based on Thomas Tryon's speculative novel, the film stars William Holden as a down on his luck producer trying to coax a very Garbo-like actress out of retirement. Seeking her out on a remote Greek isle, Holden encounters a lot of trouble from the actress's ghoulish entourage --- nasty secretary Frances Sternhagen, sinister doctor Jose Ferrer and bossy countess Hildegard Knef. He's also let in on one extremely bizarre secret. The film clearly hearkens back to Wilder's earlier masterpiece SUNSET BOULEVARD, and while it's not nearly as successful as that black comedy, it has lot of pluses: a remarkable performance by Marthe Keller in the title role; a truly odd supporting cast; great camera work by Gerry Fisher; stunning art direction by Alexandre Trauner.

It is embarrassing to watch a former master of the medium (Billy Wilder) create a shallow, bitter little piece like this. His lead character, a filmmaker desperate to work again, chases an aging movie star for his movie. He rails against the new kids taking over the movie industry with their hand-held cameras, dismissing in a stroke a whole new generation of filmmakers. The story is based on the thinnest of ideas, Holden looks like he has a hangover in every scene, and there is the stench of desperation hanging over the whole enterprise. We have all seen played out far too many times the sad tale of the former great this- or-that attempting a comeback and flopping because the juice is gone. That sums this movie up in spades. All in all it's a sad piece of work, and a reminder to bow out gracefully.