Das Appartement

Certain films travel in time, undisturbed. Always relevant. "The Apartment" is such a film. Jack Lemmon at the top of his form and the luminous Shirley MacLaine at the center of this bitter romantic comedy. The cynics with the keys and the ambition are also the corruptors of the little man. The ones dangling the golden carrot. Billy Wilder finds a way out, where love, if not triumphs, survives. Fred MacMurray is a surprisingly believable corruptor, living a socially acceptable life, at least on the surface. The laughs are well earned but with that Wilderian aftertaste that makes "The Apartment" a unique piece of film art.

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.

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!

One of the finest examples of smart, satiric comedy-drama ever created for the screen. Jack Lemmon (in amazing comic form) plays a working stiff in Corporate America--via New York City--whose bachelor apartment inadvertently becomes a love-nest for amorous, married executives. The film is extremely modern for 1960 and features a non-stop barrage of funny, clever talk. Lemmon is a mad genius at frenzied (yet sympathetic) characterization, and "The Apartment" catches him at his professional peak in the movies. Working alongside huggable neurotic Shirley MacLaine (also at her peak) and shady Fred MacMurray (parlaying his slimeball role with curt persuasion), Lemmon creates a new kind of acting: screwball realism. **** from ****

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.