अपार्टमेंट

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

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.

Billy Wilder's The Apartment was one of a huge list of movies that are considered classics which I haven't seen, and indeed knew very little about (other than the level of admiration which many people have for it). Having a vague knowledge of the stars of the film (Jack Lemmon, Shirley MacLaine), for one reason or another I was expecting a light-hearted comedy filled with innuendo and witty banter, a tradition of filmmaking that was common around the period when this film was released. Thankfully I wasn't disappointed, as these elements are all in play in The Apartment, but what really thrilled and surprised me was the much more serious subject matter that the film deals with. To say this is simply a comedy is completely false, as it's a somewhat dark and daring study of the nature of love and infidelity, and the stunning performances and filmmaking on display had me enthralled from the first frame.

The film certainly begins as a comedy. C.C. Baxter (Lemmon) is a young bachelor trying to ascend the corporate ladder by allowing a group of his superiors to use his apartment for their extra-marital liaisons. After he falls for charismatic elevator attendant Fran (MacLaine), who is engaged in an illicit relationship with Mr. Sheldrake, the married head of the company, Baxter tries to free himself from the demands of his bosses, with hilarious results. While this is certainly risqué subject matter (for 1960), the film takes an unexpectedly sombre turn when Fran makes a suicide attempt in the apartment after learning the truth behind Sheldrake's motives. What follows is a touching, and at times heart-wrenching flowering of Baxter and Fran's relationship, and if the ending is a little predictable, the journey getting there is really something wonderful.

The Apartment features an excellent selection of fully-formed support characters, but the film really belongs to Lemmon and MacLaine. Lemmon's reputation as cinema's greatest everyman is really on show here, and it's impossible not to root for him and sympathise with his plight. Playing Baxter as a charming yet awkward underdog, his character is the embodiment of the 'nice guys finish last' maxim, and although some elements of his life may be a little shady to say the least, Lemmon is flawless. MacLaine is completely up to Lemmon's high standard as Fran, effortlessly making audiences fall in love with her just as Baxter has. She's just so damn cute that even when she's recovering from an overdose of sleeping pills, she exudes such a potent 'girl next door' allure that can't be avoided. Her chemistry with Lemmon is palpable, and when they inevitably end up together, it's one of those truly satisfying romantic moments seen all too rarely in modern cinema.

I'm not usually one to get nostalgic when it comes to film periods, but while I do have great fondness for many more recent romantic comedies, Hollywood really doesn't make movies like The Apartment any more. Wilder's screenplay (co-written with I.A.L. Diamond) is clever, witty and engaging, particularly in the subtle motifs and unique idiosyncrasies of all the characters, and the film is just so expertly crafted. I'm determined now to seek out more Wilder films, along with catching up on my Jack Lemmon and Shirley MacLaine. I can't recommend The Apartment highly enough!

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.

With thematic content that is still relevant today anywhere from NYC to Tokyo, the heart of this very real human dramedy is that quiet, simple love endures and triumphs in the end, and that there is hope for the millions of people feeling trapped and lonely in what seems to be otherwise insignificant lives.

The Apartment is a beautiful and endearing film that shows its audiences the greater meaning behind the vanities of life. How love, modest elegance and principles in character ultimately overrule self centredness, indulgence, and materialistic corporate ladder decadence. In fact, regardless of the corporate settings for the main character, the essential element of the rat race that everyone plays today, as well as the content delving into extramarital adulterous liaisons, considered taboo during its time, is what ensures the film its very timeless quality, and its relevance to the modern world till today. It is these qualities that have caused the film to earn labels like, being 'ahead of its time' or a 'classic'. And what a classic it is.

Billy Wilder, the writing talent behind such brilliant works as "Ninotchka", makes this film his second outing after the highly celebrated "Some Like it Hot". Many felt he might be hard pressed to top that, but in a totally different direction thematically, does so with this film. The story is much more about the dramatic pinpricks of human tragedy and loneliness insofar as it is laced with comedic turns about a man who loans his apartment out to bosses for their extramarital liaisons in order to gain their approval and climb the ladder at work. But complications ensue when he discovers a beautiful woman he desires to court is actually inimically one of the objects exploited beguilingly by his very boss in his very apartment, forcing him into an impugning quagmire. Wilder blends these elements in perfect harmony in this film, with the chemistry between the cast of the wry humoured Jack Lemmon and the cloy beauty of Shirley MacLaine (Wilder would pair them again for Irma Douce) neatly balanced with the pure wit and pacing of the script, whilst always undergirding the whole film with a sense of a genuine sanctity for compassion for the whole plot. Far from considering the film an insult on the many who play sycophantic roles on the way up the rat race or corporate ladder, or the adulterous men, the cynicism can be construed with much verecund indignation as it highlights the sadness of it all without being condescending. In fact, the characters speak of the struggle each City dweller in modern living can identify with.

There is no condescending need to present anyone as perfect, overtly altruistic, overtly feminine nor elegant (MacLaine's character is a lift attendant) nor flawless in their life choices. They make mistakes, sweat over them, and regret. A real rarity for films emerging out of Hollywood on the back of the 1950s with swashbuckling heroines and heroes. Lemmon's character is a simple bachelor with an air of inevitable loneliness in the meanderings of life in a NY apartment. That's why they call them a-part-ments. You live apart. And alone. He is an amalgam of a laid back yet pre-emptively self serving corporate machine, who ostensibly is forced into playing the only role he knows in order to better his predicament of being merely yet another average diploma staffer on Wall St- to climb up the corporate-ladder in his General insurance firm. The real beauty here in Wilder's script is that Lemmon, and also Maclaine (who makes the wrong choices by being mistress to Lemmon's boss), is that both characters harness a true propensity for love and care that is nestled within, waiting to exhale whilst in the midst of them being stuck in their cyclical ruts of despair.

The real satisfaction comes when both these characters reconcile each others pains, heal each other (literally too in the classic doctor scene) and find love amid the hustle bustle of the rat race in the world that goes on around them, championing each other on. They play gin rummy in the final scene, in heart wrenchingly beautiful emotional overtones, kept painfully modest by Wilder, and celebrating the simple love that triumphs over all hurts. The themes are relevant till today, and the quality of what this film achieved stylistically (as the last of the B&W generation) remains extant in full living colour today, because of the sheer timeless message of hope this film carries to anyone who's ever been that insignificant other, or ordinary person to be forgotten in that apartment out there.

For that alone, it deserves an 8/10.

By Stephen Thanabalan