Lovesusti The Worst Film Ever

Jonah Abbott There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

Roxie The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

Cassandra Story: It's very simple but honestly that is fine.

Majikat A Jack Lemmon and Shirley Maclean treat! A great original concept, with both laughter and more serious moments.

ferbs54 After Billy Wilder came out with his hysterically funny and now-classic "Some Like It Hot" in 1959, many wondered how he could possibly top this truly inspired effort. The film had come at the tail end of a remarkable decade for the director; a decade that saw him come out with such films as "Sunset Blvd.," "Ace in the Hole," "Stalag 17," "Sabrina," "The Seven Year Itch" (one of his weakest films, sez me, but nevertheless highly popular, mainly due to Marilyn Monroe's iconic performance) and "Witness for the Prosecution." But as the new decade began (well, on June 15, 1960, anyway), Wilder stunned everyone by delivering a film that was perhaps the best he had ever done: the 1960 Best Picture Oscar winner "The Apartment." I first saw this film in the mid-'70s, at the now defunct Regency Theater on Broadway and 66th St., and for me, it was love at first watch. Since that evening, I have seen the film so many times that I could not even properly estimate the number, but it has to be at least 25, and most of those watches have been on the big screen. It is a film that never seems to grow old for me, dated as it might be in parts. I love every little bit of this movie, featuring as it does career-best performances by stars Jack Lemmon (OK, Lemmon would be better dramatically a few years later in "Days of Wine and Roses") and Shirley MacLaine, and an uncharacteristically cadlike role for the great Fred MacMurray (a last-minute replacement after Paul Douglas passed away). And, oh, that script...that wonderful script!As most of the world knows by now--or should--the film deals with a poor office shlub named C.C. "Bud" Baxter (Lemmon), who has decided that the only way to climb to the top of the office heap is by lending out the key to his apartment so that his various bosses might have a place in which to carry out their extramarital affairs. (Why those affluent bosses cannot afford to just rent out a hotel room for their shenanigans is not explored, and may be justifiably deemed a drawback to an otherwise perfect script.) Trouble looms when Baxter falls in love with cute elevator operator Fran Kubelik (MacLaine), who is having an affair with his own boss, played by Fred Mac. And things grow even worse when Bud finds Fran near dead in his bedroom, after the dumped and depressed woman attempts suicide on Christmas Eve. Yes, that's right: Even though "The Apartment" is one of the funniest comedies ever made, it surely does have a very dark streak, and one that pretty much stunned me the first time I saw it.It is hard to know where to begin when singing the praises of this film, but first and foremost, again, is that remarkable script by Wilder and I.A.L. Diamond, which throws jokes out willy-nilly and manages to build on those jokes throughout. Thus, the routine with "-wise," as hinted at in the film's poster, in which all three lead characters tend to add the suffix to their conversations ("marriagewise," "jobwise," etc.). The script generously gives the viewer any number of quotable lines, too. My favorite: when the elderly (probably Jewish) woman who lives in Bud's building complains about the weather, remarking "Must be all that misheGAS at Cape Canaveral!" I've been using that line for years now. Besides the marvelous performances turned in by the three leads (Oscar worthy all, sez me), there are also terrific supporting turns by Ray Walston, Edie Adams, Joan Shawlee and, particularly Jack Kruschen, as Bud's kindly neighbor, Dr. Dreyfuss. The film sports a marvelous piece of recurring theme music that manages to pop into my head at the most unlikely moments, as well as any number of truly affecting scenes filled with great emotional pathos. My favorite: Bud looks into a cracked hand mirror and realizes that Fran has been one of the gals having an affair in his own apartment. The look on Lemmon's face in that cracked piece of glass is just priceless. Also featured in the film: possibly the best and the wildest office Xmas party ever depicted on film. "The Apartment" takes place, incidentally, for a significant part, between the Christmas holiday and New Year's Eve, and is THE most perfect film to watch during that time period. No wonder my beloved Film Forum often shows it during the final week of the year.Writing in his essential film guide "Alternate Oscars," Danny Peary makes the case that "The Apartment" was not worthy of the Best Picture Oscar that it brought in, and that "Psycho" was more interesting and deserving that year. Much as I love that classic Hitchcock film, however, I have no problem whatsoever in how the Academy voted that year. For me, the Wilder film is pure entertainment. I might add that I was very happy when (the now disgraced) Kevin Spacey revealed, years back, that the reason he became an actor in the first place was because he was so very impressed with Lemmon's performance in this film! If you by any remote chance have never had the pleasure of seeing "The Apartment," on the big screen or small, I would surely recommend you putting it near the very top of your list. And don't wait for the last week of the year to do so. This is a film that can be enjoyed on any day of the year...laughswise, feelingswise or anywisewise!

theresamgill This movie won 4 other Oscars-- including director and writer-- and a handful of nominations like nods to the 2 lead roles in Jack Lemmon and Shirley MacLaine. Lemmon plays Mr. Baxter, a gullible schnook (his coworkers' words, not mine. Well... yeah, my words too) who can't say no to his superiors at the office. They borrow his key to the apartment, and they use it for their scandalous affairs; in return, Mr. Baxter keeps getting high recommendations which result in promotions. It's not exactly the lightest of fares, but a consistent script and an endlessly likable lead keep the comedic tone. The light-hearted tone mixed with egregious company behavior is seen in full swing on the elevators. Here, executives are quick to play off contact with the elevator girls that laugh it off; such is not the case with the respectable Mr. Baxter. He treats elevator girl Fran with care and shows genuine interest in her. It is indeed the makings of a rom-com, but the film actually gets quite melancholy. Mr. Baxter's boss Mr. Sheldrake finds out about the key, and it turns out he wants in on the action. Only, unbeknownst to Lemmon at the time, that action is supposed to be with Fran. There's an interaction that takes place halfway through the movie that, to me, shows the style of wit, character interaction, and overall mood of the film. Mr. Baxter is feeling down on his luck since it is New Year's Eve and everyone seems to be having the time of their life (including a coworker who has Baxter's apartment reserved for the night), and even though he is being promoted at a breakneck pace, he does not really have any companion to tell about-- now not even Fran. This leads him to a bar with quite an intoxicated woman whose husband is currently on the other side of the country. She tries striking up a conversation, asking about his family (he has none) and relationships (none). After his deadbeat attitude, she says, "Night like this, it sorta spooks you, walking into an empty apartment," to which Lemmon replies, "I said I had no family. I didn't say I had an empty apartment." It's not really laugh-out-loud kind of wit that we think of in today's sense, but it is just that clever twist in writing that tries to uplift a story that has its darker moments. This will not be the funniest comedy you see, but there are plenty of reasons to watch it. The story unfolds nicely, and I think the leads bring loads of charm to the screen. But really, the main quality brought about upon a viewing today is the level of nostalgia that comes along. The music is fitting but completely over the top, the dialogue is clever without pushing the envelope, the clothes and cars and elevators and lights all reek of 1960, and heck, it is a black and white film. There is inexplicably some joy of watching people have to twirl their fingers to dial each number to make a phone call, and I had the greatest time seeing the remote control Mr. Baxter had for his tv. For those of you that think old films are too slow-paced, unrelatable, too black and white, and simply not interesting, really take a look at this movie. The story is one of the most engaging, the characters are vibrant (and yes, a little old-timey), and you will ultimately leave the movie feeling better than before. I'm not really sure how stiff the competition was, but the Oscars for this film feel well-deserved. You hear about Casablanca and Citizen Kane and To Kill a Mockingbird and whatever else, but despite all the acclaim, you don't really hear about The Apartment. And I think that is a bit of a shame because this film should be right up there in being considered a classic. You can find this review and dozens more at gillipediamoviereviews.blogspot.com

Mark Turner Director Billy Wilder and screenwriter I.A.L. Diamond were known to write witty dialogue and pertinent films that took a look at what was going on around them. Who could have foreseen that one of their movies would be as timely in today's world as it was when it was released over 50 years ago?THE APARTMENT stars Jack Lemmon as C.C. Baxter, an insurance office worker who's making his way to the top. While he definitely qualifies for his position it's not his abilities that are helping him step up. Instead it's the use of his apartment by various heads above him for their non-marital trysts. They take advantage of using the apartment with promises of moving him up in the insurance world.While this may involve giving up sleep when a sudden need arises Baxter has his eyes set on a top spot. He gets that opportunity when the head of human resources Mr. Sheldrake (Fred MacMurray) calls him into his office. At first fearful that Sheldrake is going to reprimand him for allowing his apartment to be used, he discovers that Sheldrake has a need to use it himself. He gives him a key and Baxter is suddenly in the office next door.Baxter has another item he's interested in as well. An elevator operator by the name of Fran Kubelik (Shirley MacLaine) has caught his eye and he wants to take her out on a date. They make plans when Sheldrake gives him 2 tickets to a hit play. Unfortunately Fran can't make it. Unbeknownst to Baxter she is the woman Sheldrake has been seeing and is planning on taking to his apartment that night.With promises of leaving his wife Sheldrake keeps Fran on the hook until at the office Christmas party she learns that this is the norm for Sheldrake, leading a woman he's having an affair with on until he moves on to someone new. That night at Baxter's apartment he adds insult to injury giving Fran a $100 bill rather than a gift for Christmas and leaving her there.She takes the rebuff poorly and attempts suicide only to be found by Baxter and saved with the help of the doctor next door. Over the next few days Baxter and Fran talk things out and become close. But what will this mean for him? Is he willing to ignore the actions of Sheldrake in return for office success? Will he toss those dreams aside for a potential romance with Fran? And what about Fran, is she still holding out hope that things will change with Sheldrake?The movie combines melodrama, office politics, romance and humor in just the right dosages to make it an entertainment where one wouldn't expect to find it. There are no clear cut heroes or villains in the movie. Nearly everyone involved has some sort of self-interest involved in their motivations. The higher ups at the office appear to be sex starved louts who think nothing of their families and only about their libidos. Of the characters here only Baxter comes across as a decent guy who allows himself to be caught up in something he isn't fond of.The movie is a look back at the times, how things were going in the high level offices of the time. AMC's MAD MEN took a look at the same sort of behavior. What makes it interesting to view now is the social climate we're in with men like Harvey Weinstein being accused of sexual harassment. The actions of the characters involved in this film would have resulted in major upheavals at the insurance company had they taken place in today's world. That's what makes this movie even more interesting to view when put in perspective.The performances of all involved are near perfect. Lemmon was always the average ordinary guy, an actor that was skilled at playing roles like this. He was the guy that knew the good jokes in the neighborhood, who was friendly with all and well liked. MacLaine comes off as an innocent waif caught up in the idea of romance and love but who fails to consider who she's offered those emotions to. And MacMurray offers a completely different character to those who grew up with him as the father on MY THREE SONS or the nutty professor in THE ABSENT MINDED PROFESSOR. His slimy side shows here and little sympathy can be felt for his character.Wilder and Diamond made many films together and this was one that won them the Oscar for best picture. It stands the test of time even though the New York depicted isn't quite what we think of now. But the story remains solid and that makes it a film worth watching.Arrow Video is releasing this as part of their Arrow Academy collection. The quality of the picture is amazing to see. Many think that black and white movies aren't a) worthy of noting and b) can't tell that a restoration of a b&w film would make a difference. They are and it does. One of the nice extras included here shows the restoration process comparing images of before and after restoration. It makes a nice item to have on hand to explain it to those who don't understand the process.But there are more extras as well. Included are a commentary track by film historian Bruce Block, a short entitled "The Key to The Apartment" and a select scene commentary by writer/critic Philip Kemp, a video essay by David Cairns called "The Flawed Couple", "A Letter to Castro" is an interview with actress Hope Holiday who is in the film, a 23 minute conversation with Wilder done for the Writers Guild Foundation, the 2 minute long presentation on the restoration of the film mentioned earlier, a short entitled "Magic Time: The Art of Jack Lemmon", a documentary called "Inside The Apartment" and a booklet on the film.Readers may tire of me saying this but Arrow Video is proving to be a company to be trusted when it comes to the way they handle their releases. One can only hope they are allowed access to more great films like this one.