Se Meu Apartamento Falasse

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.

Written by the great filmmaker Billy Wilder, this is a serious, sardonic comedy for people who've known what's its like to feel the pressure of compromising your principles or your self- respect for the sake of getting ahead in life. And there are very few over the age of consent who haven't had to at one time or another. This isn't the laugh out loud comedy of Jim Carrey or the Farrelly brothers, but a subtle, nuanced comedy about two people who have both been jaded in love and yet continue to hope again and again that it will someday work out for them -- mainly because despite the unlikeable things they do, they are both basically decent, nice people. Flawed and even weak at times, but good people. This is a movie that doesn't just make it you laugh, it makes you think. A rare find indeed.

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!

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