Billy Wilder has made some tremendous satires. "Sunset Boulevard" is
one of the greatest satires on film. "The Apartment", though not as
cynical, is a very good one as well. I like that the satire is a
backdrop for the main love story, and yet an integral part of it. The
film shows just how much people are will to prostitute themselves in
order to get what they want, whether that be a family or an executive
office. Wilder handles some very serious and bawdy themes with a
precise touch.
This film could have easily turned into a wacky comedy
of errors, but he is much to talented and sympathetic for that. He
gives Baxter's character some sincere emotional depth. I could almost
feel his loneliness and longing in many scenes. He is never really sure
what he wants and how he can get it. He is a man searching for
something, and he doesn't quite know it. Lemon plays this role to
perfection. He doesn't go overboard. He gives the character the right
amount of silliness and charm. McClaine is very strong. Her character
is not stereotyped. She is a wounded soul that is looking for respite
in the absolutely wrong place. I found her very charming and lovable.
Some much of the film is in the wonderful cinematography. Wilder uses
the widescreen to its fullest capability. The framing is so precise.
You get a feeling of utter separation and distance. I really like the
nearly infinite succession of desks in the office.
C.C. Baxter (Jack Lemmon) is an employee in a huge corporation. To
promote himself, he lends out his apartment to his superiors so they
can have extramarital affairs. Things get complicated when he falls in
love with Fran Kubelik (Shirley MacLaine), the mistress of his boss, JD
Sheldrake (Fred MacMurray).
I first saw The Apartment when I was 17 years old. I instantly liked it, but it would never have occurred to me to label it "my favourite film". It isn't cinematic ally dazzling. It doesn't feature any of my favourite actors. It doesn't push the boundaries of what's acceptable in film. Yet over the next thirteen years, I kept getting drawn back to it- because I could see the parallels that it had with my own life. This is a story about priorities and the bittersweet nature of relationships that I found to be haunting. Not bad for a comedy.
The best way to see this movie is a letterboxed DVD. It captures the intimacy of the characters better than the cinema experience and the loneliness of the spaces surrounding them better than a pan and scan version.
Jack Lemmon was a theatrically trained actor who gave his all and took quite a few critical hits for it (and praise too; he won several acting prizes). The Apartment contains most of his finest work as Wilder keeps him under firm control. Lemmon finds the right tone and understands the material perfectly. In interviews, he remarked of the ending: "Billy threw a rose into a garbage pail". C.C. Baxter is an engaging character, although he can be a little overbearing at times. Lemmon is at his best in the quieter moments- that perfect stone face he projects as he says "I said I had no family. I didn't say I had an empty apartment". At times, he doesn't seem to be in control of his own body- witness him dancing around like somebody else is pulling the strings.
Shirley MacLaine is wonderful as Fran. She stays totally focused on the person she's talking to and delivers her dialogue sharply. You get a real sense of loss when Fran attempts suicide, because you don't pity her. MacLaine is totally unsentimental here- it's more an attempt to get somebody's attention than self-annihilation.
Fred MacMurray's best two film roles were for Wilder (this and Double Indemnity (1944)) and the director uses him for maximum effect. Probably the most sordid scene in the film is family Christmas scene as Sheldrake's son opens his presents and has just discovered the word "profligate"- it's very subversive watching the all-American dad being a philanderer and a liar. MacMurray embodies everyday, uncaring, ordinary meanness here. You can see the charm and power that makes him attractive to women like Fran. You can also see the transparent snake-oil salesmanship that alienates him from people who know better and don't have to be nice to him.
What I love about Billy Wilder's films (and this one in particular) is the fact that you don't have to make any allowances for him. More than any other director of his era, Wilder deals with the basic elements of humanity and these never date. Although The Apartment is a film very much of its time in its setting (Sheldrake getting his shoe shined by a black man) and references (a secretary complains that she can't rendezvous with her boss because The Untouchables is on TV that night), it seems more modern than ever. I can't think of another film that depicts life choices as realistically and as entertainingly as this one does. I've related to this film in so many ways. I've often been too eager to please and unsure whether people like me or what I do for them. I've had a crush on a co-worker who didn't return my affections. I'm often helping out damaged women. I think the movie captures the bittersweet nature of life perfectly.
I revisit The Apartment once a year. Watching it is like revisiting an old friend who sets you straight. This isn't a film for everyone (despite winning a Best Picture Oscar)- it often leaves a sour aftertaste to people who may find some elements objectionable. Yet it fits in with my jaundiced but romantically hopeful view of life and that's why it's my favourite movie.
I first saw The Apartment when I was 17 years old. I instantly liked it, but it would never have occurred to me to label it "my favourite film". It isn't cinematic ally dazzling. It doesn't feature any of my favourite actors. It doesn't push the boundaries of what's acceptable in film. Yet over the next thirteen years, I kept getting drawn back to it- because I could see the parallels that it had with my own life. This is a story about priorities and the bittersweet nature of relationships that I found to be haunting. Not bad for a comedy.
The best way to see this movie is a letterboxed DVD. It captures the intimacy of the characters better than the cinema experience and the loneliness of the spaces surrounding them better than a pan and scan version.
Jack Lemmon was a theatrically trained actor who gave his all and took quite a few critical hits for it (and praise too; he won several acting prizes). The Apartment contains most of his finest work as Wilder keeps him under firm control. Lemmon finds the right tone and understands the material perfectly. In interviews, he remarked of the ending: "Billy threw a rose into a garbage pail". C.C. Baxter is an engaging character, although he can be a little overbearing at times. Lemmon is at his best in the quieter moments- that perfect stone face he projects as he says "I said I had no family. I didn't say I had an empty apartment". At times, he doesn't seem to be in control of his own body- witness him dancing around like somebody else is pulling the strings.
Shirley MacLaine is wonderful as Fran. She stays totally focused on the person she's talking to and delivers her dialogue sharply. You get a real sense of loss when Fran attempts suicide, because you don't pity her. MacLaine is totally unsentimental here- it's more an attempt to get somebody's attention than self-annihilation.
Fred MacMurray's best two film roles were for Wilder (this and Double Indemnity (1944)) and the director uses him for maximum effect. Probably the most sordid scene in the film is family Christmas scene as Sheldrake's son opens his presents and has just discovered the word "profligate"- it's very subversive watching the all-American dad being a philanderer and a liar. MacMurray embodies everyday, uncaring, ordinary meanness here. You can see the charm and power that makes him attractive to women like Fran. You can also see the transparent snake-oil salesmanship that alienates him from people who know better and don't have to be nice to him.
What I love about Billy Wilder's films (and this one in particular) is the fact that you don't have to make any allowances for him. More than any other director of his era, Wilder deals with the basic elements of humanity and these never date. Although The Apartment is a film very much of its time in its setting (Sheldrake getting his shoe shined by a black man) and references (a secretary complains that she can't rendezvous with her boss because The Untouchables is on TV that night), it seems more modern than ever. I can't think of another film that depicts life choices as realistically and as entertainingly as this one does. I've related to this film in so many ways. I've often been too eager to please and unsure whether people like me or what I do for them. I've had a crush on a co-worker who didn't return my affections. I'm often helping out damaged women. I think the movie captures the bittersweet nature of life perfectly.
I revisit The Apartment once a year. Watching it is like revisiting an old friend who sets you straight. This isn't a film for everyone (despite winning a Best Picture Oscar)- it often leaves a sour aftertaste to people who may find some elements objectionable. Yet it fits in with my jaundiced but romantically hopeful view of life and that's why it's my favourite movie.
THE APARTMENT (1960) is a classic comedy drama starring Jack Lemmon and
Shirley MacLaine. With a great supporting cast of Fred MacMurray, Ray
Walston and Jack Kruschen. And directed by Billy Wilder, it's certainly
a classic!
Jack Lemmon plays C. C. Baxter, a young employee for an insurance company in New York City. Four different company managers take turns in using his apartment for their various extramarital liaisons. Unhappy with the situation, but unwilling to challenge them directly, he juggles their conflicting demands while hoping to catch the eye of the beautiful elevator operator, Fran Kubelik (Shirley MacLaine).
Meanwhile the neighbours, a medical doctor and his wife, assume Baxter is a "good time Charlie" who gets a different woman drunk every night. Baxter accepts their criticism rather than reveal the truth.
The four managers write glowing reports about Baxter. The reports are a little too glowing. Personnel director Mr. Sheldrake (Fred MacMurray) suspects something illicit behind the praise. Mr. Sheldrake lets Baxter's promotion go unchallenged on condition that Baxter's apartment accept a fifth regular customer. Still delighted about the promotion, Baxter asks Miss Kubelik to a Broadway show. She agrees, then stands him up. On Christmas Eve Baxter is astounded to come home and find her in his bed, fully clothed, and overdosed on sleeping pills. Mr. Sheldrake had borrowed the apartment for the evening.
Baxter and his neighbour the doctor keep her alive and safe without notifying the authorities. She explains that she had an affair with Mr. Sheldrake the previous summer, ended it when his wife returned from vacation, and caved in to his appeals and promises later in the fall. When Sheldrake offered her money instead of a Christmas present she realised the ugliness of the situation and tried to commit suicide. The act shows a startling side of her usually sunny personality. Baxter tries to comfort her with assurances of Sheldrake's concern even though Sheldrake refuses to speak to her on the telephone.
Kubelik recuperates in Baxter's apartment for two days, long enough for her taxi driver brother-in-law to assume the worst of Baxter and come to blows. Sheldrake's catty secretary, one of his former mistresses, "educates" Mrs. Sheldrake. Faced with divorce, Sheldrake moves into a room at his athletic club and continues to string Fran along while he enjoys his newfound bachelorhood. Baxter finally takes a stand when Sheldrake demands the apartment for New Year's Eve, which results in Baxter quitting the firm.
Kubelik realises that Baxter is the man who truly loves her and leaves Sheldrake on New Year's Eve to be with him that evening and runs to him. They end as two misfits, both out of a job, playing a game of gin rummy. When Baxter declares his love for Fran, her reply is the now-famous final line of the movie: "Shut Up and Deal."
This comedy classic has remained a legendary classic since it's 1960 release. At the Academy Awards, the film won Best Picture, Best Director (Billy Wilder), Best Art Direction, amongst others. Meanwhile Jack Lemmon was nominated for Best Actor and Shirley MacLaine was also nominated for Best Actress.
It's a must-see for all fans of Jack Lemmon. The film definitely belongs to him. He steals every scene and gave a brilliant performance. Along with SOME LIKE IT HOT, it was one of the greatest performances of Jack Lemmon's legendary career.
Jack Lemmon plays C. C. Baxter, a young employee for an insurance company in New York City. Four different company managers take turns in using his apartment for their various extramarital liaisons. Unhappy with the situation, but unwilling to challenge them directly, he juggles their conflicting demands while hoping to catch the eye of the beautiful elevator operator, Fran Kubelik (Shirley MacLaine).
Meanwhile the neighbours, a medical doctor and his wife, assume Baxter is a "good time Charlie" who gets a different woman drunk every night. Baxter accepts their criticism rather than reveal the truth.
The four managers write glowing reports about Baxter. The reports are a little too glowing. Personnel director Mr. Sheldrake (Fred MacMurray) suspects something illicit behind the praise. Mr. Sheldrake lets Baxter's promotion go unchallenged on condition that Baxter's apartment accept a fifth regular customer. Still delighted about the promotion, Baxter asks Miss Kubelik to a Broadway show. She agrees, then stands him up. On Christmas Eve Baxter is astounded to come home and find her in his bed, fully clothed, and overdosed on sleeping pills. Mr. Sheldrake had borrowed the apartment for the evening.
Baxter and his neighbour the doctor keep her alive and safe without notifying the authorities. She explains that she had an affair with Mr. Sheldrake the previous summer, ended it when his wife returned from vacation, and caved in to his appeals and promises later in the fall. When Sheldrake offered her money instead of a Christmas present she realised the ugliness of the situation and tried to commit suicide. The act shows a startling side of her usually sunny personality. Baxter tries to comfort her with assurances of Sheldrake's concern even though Sheldrake refuses to speak to her on the telephone.
Kubelik recuperates in Baxter's apartment for two days, long enough for her taxi driver brother-in-law to assume the worst of Baxter and come to blows. Sheldrake's catty secretary, one of his former mistresses, "educates" Mrs. Sheldrake. Faced with divorce, Sheldrake moves into a room at his athletic club and continues to string Fran along while he enjoys his newfound bachelorhood. Baxter finally takes a stand when Sheldrake demands the apartment for New Year's Eve, which results in Baxter quitting the firm.
Kubelik realises that Baxter is the man who truly loves her and leaves Sheldrake on New Year's Eve to be with him that evening and runs to him. They end as two misfits, both out of a job, playing a game of gin rummy. When Baxter declares his love for Fran, her reply is the now-famous final line of the movie: "Shut Up and Deal."
This comedy classic has remained a legendary classic since it's 1960 release. At the Academy Awards, the film won Best Picture, Best Director (Billy Wilder), Best Art Direction, amongst others. Meanwhile Jack Lemmon was nominated for Best Actor and Shirley MacLaine was also nominated for Best Actress.
It's a must-see for all fans of Jack Lemmon. The film definitely belongs to him. He steals every scene and gave a brilliant performance. Along with SOME LIKE IT HOT, it was one of the greatest performances of Jack Lemmon's legendary career.
***SPOILERS*** ***SPOILERS***
Anyone that knows about comedy knows about "Some Like It Hot", and anyone
that know about "Some Like It Hot" knows about Billy Wilder. This was his
next film, and the reason I mention that is that this is a serious and
melancholy drama with the form and rhythm of comedy. But it's not a funny
movie, and part of the genius of the writing and direction is that
Lemmon's
character especially only figures this out in the third
act.
Jack Lemmon plays C.C. Baxter, an unmarried drone amongst drones in a huge insurance company, possessing of two important things: a bachelor's apartment near Central Park (check out his rent!!), and an amoral willingness to allow company higher-ups to use his place for after-hours trysts with their girlfriends and pickups they meet in bars. To C.C., the problems associated with operating a safe-house for affairs are merely logistical, not moral; in one scene, he is seen rearranging his and everyone's schedule to accomodate Jeff Sheldrake (Fred MacMurray) a real bigwig, with the expertise and interest of an air traffic controller.His hope is to promote himself within the company by pleasing his superiors, and for awhile that seems to be working. It turns out, however, that Sheldrake's current flame is Fran Kubelik (Shirley MacLaine), who C.C. has quite the crush on; in fact, she stands him up on their first date to meet Sheldrake at their favorite Chinese restaurant, where Sheldrake asks her to resume their affair, intimating that he will leave his wife for her (a lie that no-one except her even pretends to believe).
Without going into too many details, the joy of and intelligence this is how well this triangle works itself out slowly and with some pain by all concerned. Although C.C. really likes Fran, she won't give him the time of day, first because she's already bruised and involved with Sheldrake, and, later, because she sees his flaws better than he does (and, possibly, we do). At one point they agree that it's too bad that she doesn't fall for a guy like him, but the exchange is given additional bittersweetness not only by her inability to fall for a "nice guy" but her awareness that, as he is at that point, he's not really such a nice guy. One of the beauties of this script is that it takes awhile for us to notice that C.C. is just as bad as Sheldrake is; he's totally okay with the infidelities he is assisting in as long as he gets his promotion out of it, and it isn't his business whether anyone (wives or girlfriends) gets hurt in the process. Even the resounding disapproval from his next door neighbors (who just think he's a very busy playboy from what they can hear night after night coming through the walls) doesn't get him to think. Yet Lemmon plays the role with total innocence; he thinks he's in a comedy and it takes a real life-threatening problem halfway through to get him to start considering the error of his ways. Even then, he's still just trying to work the situation, without taking any stand himself. (There are only about two actors I know of that could pull this role off: Jack Lemmon and Tom Hanks, both of whom have such audience appeal that they can be this spineless without the audience despising them.) Interestingly, for all her personality, intelligence and self-awareness, Fran isn't much better; she's no stranger to the hazards of having affairs with married men, yet has little qualms about resuming her affair with Sheldrake. Both C.C. and Fran really are willing to sacrifice their integrity for something they hope to get from Sheldrake - him, the high-floor, corner window office, her, the gold wedding ring.
I've stressed that this is a drama in comedy form to emphasize that this screen play is one of the most intelligently written I have ever seen; it takes a non-story (or at least, obviously bedroom-farcical material) and inhabits it with character interaction and development of the most subtle and human kind. You expect lots of bedroom-closet-under-the couch people shuffling (like in The Pink Panther of three years later) and general hilarity, perhaps ending up with someone partially disrobed and dangling from a window; instead you find out that each of these characters has a little history of his own. I rented this the other night, thinking that it would indeed be a comedy, and about halfway through found myself thinking "This is REALLY good!". I've been renting lots of pre-1975 movies (The Sting, Spartacus, this one) in an unprecedented attack of escapist nostalgia, and have been rewarded with jewels like this. Winner of 5 Oscars including Best Picture, this is one of the best pictures I've seen this or any year. It's a cliche to say that Hollywood doesn't make movies like this anymore, yet the nearest thing to this is My Best Friend's Wedding?
(A couple of notes I really liked: Ray Walston's character is perfectly cast and played, as usual; the whole picture is a cynical Valentine to New York and the 50's at the same time; and anyone who saw this at the time could see that Shirley MacLaine was gonna be a big star).
Jack Lemmon plays C.C. Baxter, an unmarried drone amongst drones in a huge insurance company, possessing of two important things: a bachelor's apartment near Central Park (check out his rent!!), and an amoral willingness to allow company higher-ups to use his place for after-hours trysts with their girlfriends and pickups they meet in bars. To C.C., the problems associated with operating a safe-house for affairs are merely logistical, not moral; in one scene, he is seen rearranging his and everyone's schedule to accomodate Jeff Sheldrake (Fred MacMurray) a real bigwig, with the expertise and interest of an air traffic controller.His hope is to promote himself within the company by pleasing his superiors, and for awhile that seems to be working. It turns out, however, that Sheldrake's current flame is Fran Kubelik (Shirley MacLaine), who C.C. has quite the crush on; in fact, she stands him up on their first date to meet Sheldrake at their favorite Chinese restaurant, where Sheldrake asks her to resume their affair, intimating that he will leave his wife for her (a lie that no-one except her even pretends to believe).
Without going into too many details, the joy of and intelligence this is how well this triangle works itself out slowly and with some pain by all concerned. Although C.C. really likes Fran, she won't give him the time of day, first because she's already bruised and involved with Sheldrake, and, later, because she sees his flaws better than he does (and, possibly, we do). At one point they agree that it's too bad that she doesn't fall for a guy like him, but the exchange is given additional bittersweetness not only by her inability to fall for a "nice guy" but her awareness that, as he is at that point, he's not really such a nice guy. One of the beauties of this script is that it takes awhile for us to notice that C.C. is just as bad as Sheldrake is; he's totally okay with the infidelities he is assisting in as long as he gets his promotion out of it, and it isn't his business whether anyone (wives or girlfriends) gets hurt in the process. Even the resounding disapproval from his next door neighbors (who just think he's a very busy playboy from what they can hear night after night coming through the walls) doesn't get him to think. Yet Lemmon plays the role with total innocence; he thinks he's in a comedy and it takes a real life-threatening problem halfway through to get him to start considering the error of his ways. Even then, he's still just trying to work the situation, without taking any stand himself. (There are only about two actors I know of that could pull this role off: Jack Lemmon and Tom Hanks, both of whom have such audience appeal that they can be this spineless without the audience despising them.) Interestingly, for all her personality, intelligence and self-awareness, Fran isn't much better; she's no stranger to the hazards of having affairs with married men, yet has little qualms about resuming her affair with Sheldrake. Both C.C. and Fran really are willing to sacrifice their integrity for something they hope to get from Sheldrake - him, the high-floor, corner window office, her, the gold wedding ring.
I've stressed that this is a drama in comedy form to emphasize that this screen play is one of the most intelligently written I have ever seen; it takes a non-story (or at least, obviously bedroom-farcical material) and inhabits it with character interaction and development of the most subtle and human kind. You expect lots of bedroom-closet-under-the couch people shuffling (like in The Pink Panther of three years later) and general hilarity, perhaps ending up with someone partially disrobed and dangling from a window; instead you find out that each of these characters has a little history of his own. I rented this the other night, thinking that it would indeed be a comedy, and about halfway through found myself thinking "This is REALLY good!". I've been renting lots of pre-1975 movies (The Sting, Spartacus, this one) in an unprecedented attack of escapist nostalgia, and have been rewarded with jewels like this. Winner of 5 Oscars including Best Picture, this is one of the best pictures I've seen this or any year. It's a cliche to say that Hollywood doesn't make movies like this anymore, yet the nearest thing to this is My Best Friend's Wedding?
(A couple of notes I really liked: Ray Walston's character is perfectly cast and played, as usual; the whole picture is a cynical Valentine to New York and the 50's at the same time; and anyone who saw this at the time could see that Shirley MacLaine was gonna be a big star).
I wasn't a huge fan of Billy Wilder's "Some Like it Hot" when I first
saw it some years ago, but "The Apartment" didn't let me down at all.
Jack Lemmon is superb as C.C. Baxter, the meek corporate worker who
loans his apartment out to co-workers so they can spend alone time with
their mistresses. In exchange for his services, Baxter is rewarded with
high praise and before he knows it he is climbing the corporate ladder
to success.
The movie also stars Shirley MacLaine as the young woman Baxter falls in love with, and Fred MacMurray as his boss -- and the man who also has his sex-hungry eyes on MacLaine.
In fact in one of cinema's greatest cases of irony, Baxter accepts tickets to a play from MacMurray in exchange for a night in his hotel room. Baxter invites his crush to go with him -- little does he know that she's the girl going to his own apartment that very night with MacMurray's character!
"The Apartment" must have been very risqué and controversial when it was first released in 1960. This was an era of squeaky-clean, bright and colorful romantic comedies and this put a harsh twist on everything. The implications of sex are none-too-subtle and one of Baxter's neighbors tells him to keep the noise down at night -- followed by innuendo that nowadays would almost garner a film a PG-13 rating! Lemmon is really great in his role and displays perfect comic timing and Woody Allen-like nervous twitches and neurosis. Teamed with Billy Wilder it really is a great combination and the film itself is engaging and thoroughly entertaining.
"The Apartment" -- along with other 1960s films such as "The Hustler" and "Midnight Cowboy" -- helped pave the way for future films, but its revolutionary status does not outweigh its lasting impact as a quality feature. This movie holds up on its own. Some films gain reputations due to their effect and for nostalgic purposes on behalf of critics and audiences; "The Apartment" really is a great movie and still is.
The movie also stars Shirley MacLaine as the young woman Baxter falls in love with, and Fred MacMurray as his boss -- and the man who also has his sex-hungry eyes on MacLaine.
In fact in one of cinema's greatest cases of irony, Baxter accepts tickets to a play from MacMurray in exchange for a night in his hotel room. Baxter invites his crush to go with him -- little does he know that she's the girl going to his own apartment that very night with MacMurray's character!
"The Apartment" must have been very risqué and controversial when it was first released in 1960. This was an era of squeaky-clean, bright and colorful romantic comedies and this put a harsh twist on everything. The implications of sex are none-too-subtle and one of Baxter's neighbors tells him to keep the noise down at night -- followed by innuendo that nowadays would almost garner a film a PG-13 rating! Lemmon is really great in his role and displays perfect comic timing and Woody Allen-like nervous twitches and neurosis. Teamed with Billy Wilder it really is a great combination and the film itself is engaging and thoroughly entertaining.
"The Apartment" -- along with other 1960s films such as "The Hustler" and "Midnight Cowboy" -- helped pave the way for future films, but its revolutionary status does not outweigh its lasting impact as a quality feature. This movie holds up on its own. Some films gain reputations due to their effect and for nostalgic purposes on behalf of critics and audiences; "The Apartment" really is a great movie and still is.
I would first like to make the comment that this is no comedy. For
those that consider this film a valuable part of Hollywood cinema due
to the comedic aspects need to get their eyes examined along with their
minds. I do not think that I laughed at all during this film, but I
would like to mention that I do not think that is a bad thing. Not
laughing at this film means that it hit you at a different level. I
witnessed a beautiful film with some highly intelligent actors painting
a dark and disturbing picture of a sexual world circa 1960. I suppose I
was thinking that this was going to be a "screwball" comedy, which
completely threw me off balance when the events of this film occurred.
Never have I witnessed such a bold attack on the sexual revolution of
the 60s and its effect on the business world. It was a slap in the face
to see the way that Billy Wilder represented corporate America and
honestly, it felt really good. To see this lonely man turned away from
his apartment at all hours of the night because his boss needed a place
to take their mistresses was sad, not funny, yet in The Apartment it
worked beautifully.
To begin, this film revolved around the actors. If you would not have had such strong actors like Jack Lemmon, Shirley MacLaine, and Fred MacMurray honestly conquering their roles than this film would not have succeeded as it did. It won Oscars for a reason, and even watched by today's standard of Hollywood I think that everyone involved should be very proud. Their work was the best Hollywood had to offer. Lemmon successfully portrayed this hurt every-man that you could easily find yourself engulfed within. MacLaine, beautiful in her young age, was an emotional powerhouse. Her eyes could have told the story without any words. You could feel her emotions through her eyes, and it was outstanding. I must say that my favorite actor in this entire film was Fred MacMurray. His portrayal of the typical "boss" who seems to use his powers to control instead of help, was perfect. In fact, even if you watch the film today, you may still be able to see your boss in MacMurray's portrayal. For once, it was a solid cast. It had a structured story that was heightened by sublime actors that knew exactly what they needed to do. I would have to say that this is one of the greatest pairings in cinema history, these three together could have taken Hollywood by storm, and it is evident in The Apartment.
As I stated before, the characters are exceptional, but coupled with their performances is a rich story that seems developed well before its time. I was not expecting to see such a sexual driven film released from the 60s. Films of this nature typically hint towards sex, but never quite spell it out, but in The Apartment it is in your face throughout the course of the film. From the opening sequence until the end, sex seems to be the biggest underlying theme of this film. In the world of C.C. Baxter, all he seems to know is sex, business, and the occasional conversation with the elevator girl. You can't help but wonder if that wasn't what was going through the minds of our fathers as they headed to the corporate world on a daily basis. It was such a slap to the face of the day to day America. To think that in this nation portrayed with family values and moral uprising that The Apartment would emerge as the breakout film of 1960. It shocked me. I think the reason that it did so was because of the strong writing, the powerful story, and the emergence of such innocent "characters" (as mentioned above). There were moments during this film that I honestly wanted to walk into the television, tell everyone to stop, and explain what was happening because I didn't want anyone to get hurt in the end. Isn't that a sign of a long-lasting powerful film? To me it is.
Overall, I must say that The Apartment left my jaw on the floor. While my wife will disagree with me, I thought that it was a brilliant moment in cinematic history. Jack Lemmon could not have been handed a greater roll, nor could he have pulled it off with such beauty and pizazz. The story will shock and amaze you for nearly two hours. We are taken into a world in which we feel comfortable in, we feel as if we have been there before, and we can only thank the imaginative mind of Billy Wilder for that. He takes those moments in our lives that we wholeheartedly want to forget and places them in the window for all to see. His mockery of corporations, of the small man working his way to the top, and the disasters that follow are nothing short of classic. I have never witnessed a film quite like this and I hope I never do again. The Apartment was a once in a lifetime enjoyment, and I cannot wait to revisit it soon to see what I may have missed!
To begin, this film revolved around the actors. If you would not have had such strong actors like Jack Lemmon, Shirley MacLaine, and Fred MacMurray honestly conquering their roles than this film would not have succeeded as it did. It won Oscars for a reason, and even watched by today's standard of Hollywood I think that everyone involved should be very proud. Their work was the best Hollywood had to offer. Lemmon successfully portrayed this hurt every-man that you could easily find yourself engulfed within. MacLaine, beautiful in her young age, was an emotional powerhouse. Her eyes could have told the story without any words. You could feel her emotions through her eyes, and it was outstanding. I must say that my favorite actor in this entire film was Fred MacMurray. His portrayal of the typical "boss" who seems to use his powers to control instead of help, was perfect. In fact, even if you watch the film today, you may still be able to see your boss in MacMurray's portrayal. For once, it was a solid cast. It had a structured story that was heightened by sublime actors that knew exactly what they needed to do. I would have to say that this is one of the greatest pairings in cinema history, these three together could have taken Hollywood by storm, and it is evident in The Apartment.
As I stated before, the characters are exceptional, but coupled with their performances is a rich story that seems developed well before its time. I was not expecting to see such a sexual driven film released from the 60s. Films of this nature typically hint towards sex, but never quite spell it out, but in The Apartment it is in your face throughout the course of the film. From the opening sequence until the end, sex seems to be the biggest underlying theme of this film. In the world of C.C. Baxter, all he seems to know is sex, business, and the occasional conversation with the elevator girl. You can't help but wonder if that wasn't what was going through the minds of our fathers as they headed to the corporate world on a daily basis. It was such a slap to the face of the day to day America. To think that in this nation portrayed with family values and moral uprising that The Apartment would emerge as the breakout film of 1960. It shocked me. I think the reason that it did so was because of the strong writing, the powerful story, and the emergence of such innocent "characters" (as mentioned above). There were moments during this film that I honestly wanted to walk into the television, tell everyone to stop, and explain what was happening because I didn't want anyone to get hurt in the end. Isn't that a sign of a long-lasting powerful film? To me it is.
Overall, I must say that The Apartment left my jaw on the floor. While my wife will disagree with me, I thought that it was a brilliant moment in cinematic history. Jack Lemmon could not have been handed a greater roll, nor could he have pulled it off with such beauty and pizazz. The story will shock and amaze you for nearly two hours. We are taken into a world in which we feel comfortable in, we feel as if we have been there before, and we can only thank the imaginative mind of Billy Wilder for that. He takes those moments in our lives that we wholeheartedly want to forget and places them in the window for all to see. His mockery of corporations, of the small man working his way to the top, and the disasters that follow are nothing short of classic. I have never witnessed a film quite like this and I hope I never do again. The Apartment was a once in a lifetime enjoyment, and I cannot wait to revisit it soon to see what I may have missed!
For me Billy Wilder has always been one of my all time favourite
directors and he has not made a single film that has not appealed to
me. Billy Wilder sums up perfection all his films manage to succeed in
what they set out to do. Billy Wilder is not just one of the greatest
directors; he is also one of the finest scriptwriters ever. Creating
flowing dialogue like no other and perfectly making his actors and
actresses work with the script brilliantly. Billy Wilder has made dark
noirs, hilarious musicals and studies of human nature. It is extremely
difficult to fully describe a director as versatile and genius as Billy
Wilder. His films have held up for generations and will continue to
have the same mass appeal that his films have had since their opening
days.
On the surface The Apartment might seem like a comedy and yes that's what it is on the surface. Once you start watching The Apartment you realise that actually it is a very dark film underneath and actually has characters that contemplate suicide. The fact is that The Apartment captures the realism of the everyday workman and makes you laugh as well as feel pity. The script is what keeps the film moving and shows how the characters in The Apartment change as the film progresses. The Apartment is about becoming somebody rather than being something that someone uses.
Jack Lemmon creates C.C. Baxter the young aspiring workman who just wants to have a good career and the perfect woman. Though something always goes wrong and he's perfectly able to get a woman, but not the one he wants. At times you pity C.C. Baxter because he's so kind to everyone and never gets the thing he wants in return because something will always get in the way. I think there are times in every man's life where you probably feel like C.C. Baxter in one way or another.
Jack Lemmon perfectly progresses with his character to make himself one of the most distinguishable character actors ever. Jack Lemmon works with an elegant skill at comedic performances and always captures the true essence of his characters. He seems to be one of those actors who are able to find the perfect chemistry with his fellow cast. What makes C.C. Baxter so brilliant is the fact he stands for everything the film is about. He becomes one of the mot uplifting and joyous ever put on screen. Shirley MacLaine is also excellent as the lovable Fran Kubelik (C.C. Baxter's heartthrob). From first impressions you'd think she is a beautiful and happy women, but she's actually very different to what you might expect.
The script is fast paced, memorable and most of all it helps sum up all the characters so well. It's a script that works so easily with its actors and helps to make some of the most superb character situations. The script is realistic as well and actually does feel like the kind of talk that would be used in similar situations in life. The script is extremely natural and the subtle undertones prove Billy Wilder's crafting of intellectual film-making.
The film is actually very similar to that of its A Wonderful Life and you could say Jack Lemmon is very similar to that of James Stewart. The direction is simple and fulfilling. It captures the image of "the apartment" perfectly and though just like any other New York apartment it feels extremely likable and memorable. The film's use of music is another high point and feels perfectly hand picked for the scenes it's used in. The film is actually quite sexually vibrant and does have many sexual undertones in its dialogue. Though subtle, it definitely is there and perfectly helps add more subtext to the film as a whole. A film to be studied in depth and not just watched.
A film that never gets old and always manages to make the viewer feel uplifted with happiness. A first class example of perfected film-making you're ever going to see. Yes it's a definitive must-see, a masterpiece that was way ahead of its time and much more than just a movie.
On the surface The Apartment might seem like a comedy and yes that's what it is on the surface. Once you start watching The Apartment you realise that actually it is a very dark film underneath and actually has characters that contemplate suicide. The fact is that The Apartment captures the realism of the everyday workman and makes you laugh as well as feel pity. The script is what keeps the film moving and shows how the characters in The Apartment change as the film progresses. The Apartment is about becoming somebody rather than being something that someone uses.
Jack Lemmon creates C.C. Baxter the young aspiring workman who just wants to have a good career and the perfect woman. Though something always goes wrong and he's perfectly able to get a woman, but not the one he wants. At times you pity C.C. Baxter because he's so kind to everyone and never gets the thing he wants in return because something will always get in the way. I think there are times in every man's life where you probably feel like C.C. Baxter in one way or another.
Jack Lemmon perfectly progresses with his character to make himself one of the most distinguishable character actors ever. Jack Lemmon works with an elegant skill at comedic performances and always captures the true essence of his characters. He seems to be one of those actors who are able to find the perfect chemistry with his fellow cast. What makes C.C. Baxter so brilliant is the fact he stands for everything the film is about. He becomes one of the mot uplifting and joyous ever put on screen. Shirley MacLaine is also excellent as the lovable Fran Kubelik (C.C. Baxter's heartthrob). From first impressions you'd think she is a beautiful and happy women, but she's actually very different to what you might expect.
The script is fast paced, memorable and most of all it helps sum up all the characters so well. It's a script that works so easily with its actors and helps to make some of the most superb character situations. The script is realistic as well and actually does feel like the kind of talk that would be used in similar situations in life. The script is extremely natural and the subtle undertones prove Billy Wilder's crafting of intellectual film-making.
The film is actually very similar to that of its A Wonderful Life and you could say Jack Lemmon is very similar to that of James Stewart. The direction is simple and fulfilling. It captures the image of "the apartment" perfectly and though just like any other New York apartment it feels extremely likable and memorable. The film's use of music is another high point and feels perfectly hand picked for the scenes it's used in. The film is actually quite sexually vibrant and does have many sexual undertones in its dialogue. Though subtle, it definitely is there and perfectly helps add more subtext to the film as a whole. A film to be studied in depth and not just watched.
A film that never gets old and always manages to make the viewer feel uplifted with happiness. A first class example of perfected film-making you're ever going to see. Yes it's a definitive must-see, a masterpiece that was way ahead of its time and much more than just a movie.
Abonați-vă la:
Postări (Atom)
