Every film from Roger Ebert's "Great Movies" essays.
Movie-wise, there has never been anything like it - laugh-wise, love-wise, or otherwise-wise
The Apartment came out shortly after the success of ‘Some Like it Hot’ from director Billy Wilder and thus making it the most successful films of the year. Full of trivialities this comedy is a harsh critic of coporate world and the American way of life. Bud Baxter is a struggling clerk in a huge New York insurance company. He's discovered a quick way to climb the corporate ladder - by lending out his apartment to the executives as a place to take their mistresses. He often has to deal with the aftermath of their visits and one night he's left with a major problem to solve.
"Like old times: same booth, same song... same sauce, sweet and sour."
You lot sure picked some truly great films for me to watch this week. It's difficult to review classics like this in succession. For instance, The Apartment has in my opinion a 100% perfect, flawless screenplay. The plot progression, the emotional flow, the consistent energy level, it's all executed without faltering. It reminds me of 12 Angry Men in that it's brought to the screen with a clarity of vision and purpose only rarely achieved. And of course bringing this vision to life is the enviable triad of Jack Lemmon, Shirley MacLaine, and Fred MacMurray, all of whom…
When you're in love with a married man, you shouldn't wear mascara.
There is an air of melancholy in The Apartment that is instantly familiar to anybody who lives on the outside looking in. You're surrounded by perfectly nice people, you've got a job and you're doing pretty well for yourself, but then the holidays roll around and you realize you haven't got anybody to curl up beside and watch a Christmas movie with. But you shrug and go on with life anyway. C'est la vie, buddy.
This ever-present problem is further exacerbated for Bud Baxter because he can't even go to his own home during the holidays. He trades the key to his apartment for undeserved promotions at his…
**Part of the Best Picture Project**
Some films just scream perfect screenwriting at you. The Apartment takes a loudspeaker and puts it up to a microphone, and without any feedback whatsoever, clearly communicates its utter perfection to you in the loudest and most pleasant way possible.
Too many people are quick to shrug off the Romantic Comedy genre, and this is simply because they've seen too many crappy ones. The Apartment takes a unique concept for a RomCom, and plays with it like master musician. It's a very simple story, but Billy Wilder was such a gifted filmmaker that he could make simple things sing. The cinematic language of mere things happening on screen carries such a satisfying presence, that…
Instead of a big chested blonde dubiously sleeping her way to the top, how about a young man reaching the peaks of his profession by helping everyone else sleep around? Billy Wilder's role reversal shifts between melancholia and his usual razor sharp comedy at the end of a decade where being the 'company man' brought financial rewards and big city loneliness. Not a lot has changed it seems.
Baxter's slide up the greasy pole of success is used as a mirror to reflect the arrogant male promiscuity in the work place by the cigar munching executive types. Even though he is up to his neck in this slimy set-up, renting his bedroom like some sort of low-level whore house, his…
“The mirror...it’s broken.” “Yes, I know. I like it that way. Makes me look the way I feel.”
The Apartment should be broken. It shouldn’t work. There’s an obviousness to the setup that should be off-putting and a trickiness to the balancing of various tones that should be unmanageable. We quickly realize that C.C. Baxter (Jack Lemmon) and Fran Kubelik (Shirley MacLaine) will end up together, but that first Baxter will have to learn to stand up to Jeff Sheldrake (Fred MacMurray) and the other officious executives at Consolidated Life and that Miss Kubelik will have to learn to appreciate Baxter’s ordinary schmo more than Sheldrake’s oily womanizer. We see the film veer between light comedy and dark drama and…
Not sure everyone/everything is on the same page here. Neither a fully fleshed-out satire nor an engaging romantic comedy; full of partially formed ideas and unjustified empathy. [B-]
Billy Wilder films are known for their snappy dialogue and brilliant plots, and The Apartment is no exception. Wilder transforms an otherwise ordinary premise into a twisting romantic-comedy, infused with wit and heart.
Lemmon plays C.C Baxter ("but my friends call me Bud"), an insurance man looking for ways to rise in his company. He strikes upon a seemingly brilliant plan of letting his apartment to his superiors for their extramarital affairs in exchange for a corporate favour. But it all gets out of hand when one affair becomes too much to handle.
The story is simple, but the plot is twisting and layered. While we all know what the destination is, and that Bud will eventually end up with…
Maybe I wasn't in the mood...? Lemmon nails it here, but the film seems to be experiencing a bit of an identity crisis. Like I said, I think I need to try again later.
another great wilder film, but what a lot of schmucks in this movie! ugh. there weren't a whole lot of characters with which to identify, especially female ones. thank goodness for the indomitable jack lemmon, who once again rises above the mire, and for shirley maclaine, who is perfect in a bittersweet part. the ending is understated and yet classic; billy wilder has penned some of the absolute best final lines in cinema, ever!
The best last line in any movie.
Una vez Jack Lemmon dijo (según IMDb): "It's hard enough to write a good drama, it's much harder to write a good comedy, and it's hardest of all to write a drama with comedy. Which is what life is".
Bueno, pues aquí el amigo Billy lo consigue, y de qué manera.
¡Qué bien todo! :)
a thoroughly enjoyable romantic romp. while this might not be the best that Wilder has ever offered, it stands the test of time and still delivers. much could be said about the misogynistic ideals presented in the film, though they are overcome by the central characters, lending the film a feeling of being slightly ahead of its time.
Lemmon shines as an underling trying to make his way in a corporate landscape, and MacLaine is just darling as the sweet and naive woman of his dreams. MacMurray delivers well as the boss who manipulates them both. All of this adds up to a fun, and funny, movie, with a lot of heart, and much to talk about afterwards.
Wow. I'm generally not a fan of older films because of the saccharine plots, over the top acting with heavy-footed reactions, and the screaming-the-feelings music. But this movie is outstanding. Lemmon and MacLaine and MacMurray and the doctor are so natural and yet unique. I see the DNA that so many of my favorite directors must be carrying forward from Wilder. The Coen Bros, Wes Anderson, Paul Thomas Anderson, etc. The dialogue is so wonderful. "When you're in love with a married man, you shouldn't wear mascara." The set design is delicious. The framing is perfect. If you are a product of modern times - you will not find this film to be antiquated or an exercise in cinephile homework.
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