The Apartment

In the beginning of The Apartment we see C. C. Baxter (Jack Lemmon) being lost in a sea of desks within a gigantic office room. He works for a huge New York insurance company employing over thirty thousand souls spread over twenty-seven floors. Sometimes he is working overtime; "It's not like I was overly ambitious..." Baxter tells us defensively. "You see, I have this little problem with my apartment… I can't always get in when I want to."

The reason are several superiors, to whom he is lending his apartment for their extra-marital escapades. In exchange they promise to give his career a push by passing recommendations to the personnel manager, Mr. Sheldrake (Fred MacMurray). Although Buddy Boy (that's his disrespectful yet firmly established nickname) is daily surrounded by hundreds of people, he is drowning in lonesomeness. Apart from his mocking colleagues, there does not seem to be any family or close friends. In fact, the only decent person among his acquaintances is his neighbour, Dr. Dreyfuss (Jack Kruschen), ironically under the wrong impression that the man next door is a womanizing drunkard.

So Baxter meekly adapts to the mercilessness of corporate life, putting all hopes of happiness into his career. His free evenings consist of watching TV, preparing dinner or cleaning up after the occupants of his apartment. Yes, one could say that Baxter does not exactly lead a joyful life.

Yet, there is something, or rather somebody carrying light into the loner's gloominess when he falls in love with the pretty elevator girl Fran Kubelik (Shirley MacLaine). Although Fran likes him for his decency and kindness, she does not quite share the feelings of her ardent admirer. But Buddy Boy refuses to notice any signs of unrequited love and eventually talks her into going out with him. You can imagine how Baxter feels when she fails to turn up, and how things get significantly worse when he finds out that she is actually having intimate meetings with the personnel manager Mr. Sheldrake in HIS apartment. The image of purity Baxter had of Fran is gone. On Christmas Eve, he decides to drown his broken heart in a bar while his apartment is occupied by the cause of his misery. But Fran doesn't feel any happier than Baxter, and with the depressing effect Christmas can have on the lonesome and desperate, the story threatens to take a turn into tragedy...

It is hard to pin The Apartment on a single genre. The sharp, witty dialogue as well as Jack Lemmon's hilarious mimic would hint at a romantic comedy. Yet, one cannot overlook the tragic elements which let us dive into thoughtfulness, but never too deeply. Then again the film works on a satiric level, operating as cynical social commentary on corporate culture in the sixties (which is not very unlike today's business life). The remarkable thing about this film is that these three qualities merge perfectly into each other without ever losing the balance. The Apartment is a most entertaining picture, sometimes rushing from one hilarity to the next, and then suddenly slowing down to leave room for contemplation. Sometimes uplifting, sometimes depressing, sometimes both at the same time. Billy Wilder mixed these contrary moods, and most amazingly, it worked out just fine.

First and foremost The Apartment deals with loneliness and the everlasting search for unaccomplished love. "I used to live like Robinson Crusoe. I mean shipwrecked among 8 million people. And then one day I saw a footprint in the sand and there you were." Baxter tells Ms Kubelik. Does any relationship ever work out the way one dreamed it would? Additionally the film points out how people let themselves be treated badly out of total lack of self-esteem. Standing up for oneself and saying the simple word "no" can sometimes be an art of its own.

As an able filmmaker and scriptwriter (together with I. A. L. Diamond, "Some like it Hot"), Billy Wilder once again produced a film classic of outstanding quality. I have yet to see another picture, equally consistent at providing such humorous and well-timed dialogues. The amount of memorable quotes is remarkable and the entire cast did a terrific job at delivering them. Moreover, Wilder chose to shoot in black and white widescreen, shining with beautiful cinematography, and thereby gave the film a very special melancholy mood.

Maybe the greatest strength of The Apartment is its honesty. It doesn't lie to us by painting images of perfect love or of perfect people. Neither does it create scenarios of utter hopelessness. However, it shows us that although life can be unfair on default, everyone is responsible for oneself to work up the courage to achieve happiness. With the director's cynical, yet comic approach to life, the film takes itself serious and it doesn't. It lets us taste the bitter and the sweet, thereby lending itself a tone of reality. For that reason alone I don't feel cheated by The Apartment and its story never failed to cheer me up. Then again, I may be too much of a pessimistic optimist.

Billy Wilder's "The Apartment is his greatest accomplishment. It is his most successful melding of comedy and drama that he never quite pulled off again. I'm glad the Academy had enough good taste to award Wilder The Triple Crown: Best Picture/Director/Screenplay. But they still had enough bad taste to deny Jack Lemmon a Best Actor award, Shirley MacLaine a Best Actress award and Fred MacMurray a nomination and award.

The plot this time: C.C. Baxter (Lemmon; in case you're wondering: "C for Calvin C for Clifford, but most people call me "Bud")lends out his apartment to executives for their extramarital trysts in the faint hope of a promotion. Eventually, his boss, Sheldrake (MacMurray, excellent in a rare straight role) finds out and wants the key for his own affairs. Meanwhile, Baxter has a crush on Miss Kubelik (MacLaine, in a strong performance)the elevator operator.

For those who accuse me of spoiling the whole movie: rest assured. This only covers the first 20 minutes or so of the 126 minute feature. Wilder has many twists and tricks up his sleeve and I'll leave you to discover what happens. What amazes me about "The Apartment" is that unlike most films, this isn't about the plot. It's a study in human nature and the mistakes they make. That is a strong trait of most Wilder films (including "Kiss Me, Stupid" and "The Fortune Cookie", both hilarious comedies with a hidden meaning)

Also the dialogue by Wilder and I.A.L. Diamond isn't just one-liners (although they are funny; especially when spoken by Lemmon and Ray Walston)There is real heartfelt sentiment here and it isn't the syrupy kind that makes my stomach churn (as in films like "Patch Adams") Wilder allows enough to make his points and then gets back to comedy.

The cinematography is fabulous too. Wilder's film (as most of his 60s films) is in widescreen Black and White (shot by Joseph LaShelle, in Panavision; one of the most unsung and unrecognized cinematographers in history, he was nominated but lost) It has a crisp,clean look and is one of the few widescreen films that actually make the viewer feel confined in a tight space.

"The Apartment" is a superior example of the "serious comedy", films that work as both comedy and drama. Sadly, many of today's filmmakers have lost touch with this genre. I can't help but feel that the freedoms granted today that weren't in the 1950s and 60s haven't been an advance. They've been holding us back. Smart characters have lost way to stupid and oversexed ones. That's a real shame and it's high time we go back to our roots.

**** out of 4 stars

What a wonderful way to spend an evening--dinner, Christmas and New Year's with CC Baxter (Jack Lemmon) and 'friends', accompanied by much champagne and laughter, and spaghetti and meatballs lovingly prepared by the host himself. There's even a game of gin rummy to get into that Baxter and Fran can't ever seem to finish--here's hoping it never does!

THE APARTMENT is one of those truly classic classic movies--for one thing, it has an absolutely top-notch cast, featuring Jack Lemmon (at his wryly humourous best); Shirley MacLaine (a glowing screen presence); Fred MacMurray (smarm personified); and a younger Ray Walston (still wisecracking, still hilarious). They also benefit from a clever, perceptive and timelessly relevant script by Billy Wilder, under his capable direction. Though there are plenty of brilliant one-liners, the best of the dialogue feels true and real, which adds to the feeling that you've known Baxter et al for years. I loved the score to the movie as well, artfully attributed to the Rickshaw Boys and used to great effect.

There are so many good moments scattered throughout the film (I can't even begin to enumerate them all here!). A lot of them are little touches that must have been added by the actors themselves (Jack Lemmon humming as he prepares the meatball sauce is just *so* funny!). I love the madness of the Christmas party scene, and when Baxter's doctor-neighbour takes charge of the situation with Fran, slapping her awake and marching her around the living room. I also love it when Baxter first starts playing gin rummy with Fran, and she reveals how she has a talent for falling for the wrong guy all the time. Best of all, Lemmon makes such a believable, sweet pushover that you often want to shake him and hug him at the same time--the things he would do for Fran! It makes his final scene with MacMurray that much more satisfying for the audience.

If you see this gem of a movie on a video store shelf, or (even better) playing in the cinema, don't let it pass you by. Join Baxter, Fran, Mr. Sheldrake and everyone else, and have a great time!

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.

Ohhh - after my 4th or 5th viewing, I think this may be one of the most remarkable blends of comedy and drama to have ever been filmed - THE APARTMENT - in subtle ways - rises well above the conventions of any genre. It was my introduction to the great Billy Wilder, and my fondness for Jack Lemmon (a remarkable and sorely missed actor) begins here as well.

*SOME SPOILERS*

The cold take on the sex-and-money ethos to be found in many corporate environments hasn't dated one bit; it could be argued that THE APARTMENT stands a bit ahead of its' time in the depiction of (what would appear to be) educated employees treated like (and feeling like) tools to be used in generation of someone else's income. Lemmon's character never forgets that he's disposable, even if the optimist in him hopes that something better may be found in his superiors. Deep down he knows this to be a pipe dream - the sexual adventurism of those same superiors betrays their utter lack of ethics. Of course, Lemmon's character isn't entirely above it all; he's been more than willing to hire out his own apartment as a place for his colleagues' peccadilloes, in exchange for career advancement, which of course - as Wilder early on links amoral sexual conduct and professional/corporate/financial misconduct in a greater social critique - gets him into trouble.

The dialogue is - as is always true with Wilder - very finely crafted, yet seems natural - this film is a remarkable display of the kind of reactions any of us would offer in similar situations. Interestingly, our two protagonists are also wonderfully imperfect as human beings - Lemmon and MacLaine bear some responsibility for the very serious situations they've gotten themselves into; they manage to realize this ("Be a mensch!" Lemmon's doctor neighbor exclaims) just in time to set things right. MacLaine in particular delivers a remarkable, complex performance - sweet and smart in her earliest scenes, bleak and emotionally ravaged in her climactic scene with MacMurray, naive elsewhere, sharp but hopeful at the end. The cinematography captures the entire cast beautifully - with minimal movement, abundant long takes, and a sleek lack of visual clutter, all of the principals are free to reveal their own best and worst impulses, within an environment that is stripped of artifice. The end result is a film filled with great moments one can easily identify with.