Film Review: The Apartment (1960)

The authors of period dramas set in the 20th century possess a distinct advantage over those crafting narratives in earlier eras: the advent of cinema. This medium, particularly following the introduction of sound, has become an invaluable resource for authentically portraying the nuances of historical periods. Films provide a wealth of references for costumes, props, music, speech patterns, and social mores that would otherwise be challenging to recreate. A prime example of this is found in Babylon Berlin, a German television series that draws heavily on the legacy of late Weimar cinema to depict its era with striking authenticity. Similarly, Mad Men, especially in its inaugural season set in 1960, owes much to The Apartment, the 1960 Oscar-winning comedy produced and directed by Billy Wilder. This film is often hailed as one of Wilder’s greatest achievements and serves as a cultural touchstone for understanding the complexities of mid-20th-century American life.

Set against the bustling backdrop of New York City, The Apartment follows C.C. “Bud” Baxter, portrayed by Jack Lemmon, an office worker at Consolidated Life Insurance Company. Bud is ambitious and dedicated to his career, willing to lend his Upper West Side apartment to company executives for their extramarital affairs in hopes of climbing the corporate ladder. Despite his professional aspirations, Bud grapples with profound loneliness and unhappiness. His solace comes from Fran Kubelik, played by Shirley MacLaine, a charming elevator operator with whom he eventually seeks a romantic connection. The plot thickens when Jeff D. Sheldrake, a powerful executive played by Fred MacMurray, discovers Bud’s arrangement and decides to partake in it himself, leading to Bud’s promotion. However, complications arise when Bud learns that Fran is one of Sheldrake’s mistresses.

Upon its release, The Apartment was initially mischaracterised as merely another entry in the so-called “sex comedies” genre that had gained popularity due to the loosening of the MPAA Production Code few years earlier. This shift allowed filmmakers to explore previously taboo subjects such as adultery and promiscuity more openly. Although sex is referenced indirectly throughout the film, it serves as a significant source of humour rooted in misunderstandings rather than explicit depictions.

However, beneath its comedic surface lies a serious narrative that some scholars argue leans more towards drama than comedy. Wilder drew inspiration for his Oscar-winning screenplay—co-written with I.A.L. Diamond—from David Lean’s 1945 melodrama Brief Encounter. Additionally, Wilder's direction pays homage to King Vidor’s 1928 silent film The Crowd, which similarly eschews traditional comedic elements in favour of a more poignant exploration of human experience.

The seriousness of The Apartment is underscored by its realism. As a recent immigrant from Europe, Wilder possessed a unique perspective that allowed him to observe American society critically. He highlighted aspects often overlooked by native citizens, particularly the darker side of corporate culture. The film portrays its two main characters as mere cogs within a vast and impersonal machine, reflecting Wilder's own experiences within the Hollywood studio system.

Another critical observation made in The Apartment—one that would later influence creators of Mad Men—is the pervasive sexism entrenched within large corporations during this era. Executive roles are predominantly occupied by white men while women serve as secretaries and typists, often young and unmarried. This dynamic creates an environment ripe for exploitation by their superiors, who view them as mere objects rather than colleagues.

Both Baxter and Kubelik are depicted as victims and participants in this morally ambiguous world. They are portrayed as ordinary individuals grappling with their imperfections and suffering deeply—Baxter contemplated suicide at one point, while Kubelik even tries it during the film. Their journey leads them to achieve certain goals only to realise that these accomplishments do not equate to happiness. Ultimately, they confront moral dilemmas that challenge their initial desires; this culminates in an unconventional ending where both characters find themselves in a dark place with an uncertain future but comforted by their connection and newfound moral clarity.

Jack Lemmon’s performance is pivotal in transforming this dark narrative into comedy. Having previously collaborated with Wilder on Some Like It Hot, Lemmon brings depth and charm to Baxter's character, marking one of the high points in his illustrious career. His ability to balance comedy with poignant moments resonates throughout the film.

Shirley MacLaine also delivers an exceptional performance as Fran Kubelik, embodying vulnerability paired with an irresistible charm that lightens even the film's bleakest moments. The chemistry between Lemmon and MacLaine is palpable; their dynamic not only enhances the narrative but also contributes significantly to the film's enduring appeal. Their successful partnership would see them reunite in another Wilder classic, Irma la Douce, three years later.

Supporting performances are equally noteworthy; Fred MacMurray excels as Sheldrake, portraying a character that embodies hypocrisy and charm—a perfect foil for Baxter's earnestness. His portrayal adds layers to the narrative's exploration of morality within corporate culture. Other cast members like Hope Holiday shine brightly even in smaller roles; her character of a self-pitying woman inebriated Baxter picks up in a bar adds depth to protagonist’s journey.

Beyond its stellar cast, Wilder benefited from a talented crew that included cinematographer Joseph LaShelle whose visual style contributed significantly to the film's aesthetic appeal. The Apartment became notable for being the last black-and-white film to win an Oscar for Best Picture until Schindler’s List; this marked an important transition in cinematic history. The simple and likeable score by Adolph Deutsch further enhances the film's emotional resonance.

Wilder’s script serves as a time capsule reflecting contemporary popular culture through dialogue and references to television shows and Broadway productions; notably, it became one of the first major Hollywood films to mention Fidel Castro explicitly.

The Apartment clearly resonated with audiences upon its release; many viewers identified with Baxter and Kubelik's struggles amidst their corporate entanglements. Despite some critical backlash regarding its perceived immorality—particularly from those who disapproved of its themes—the film emerged as a commercial success and won five Academy Awards including Best Picture and Best Director for Wilder.

While undeniably great, The Apartment is not without its flaws; pacing issues arise particularly in the middle section which stretches its runtime close to two hours—a length that may challenge modern viewers accustomed to faster-paced narratives. Furthermore, contemporary audiences might find themselves grappling with cultural differences reflective of 1960s America—a society both similar yet distinctly different from today’s world.

Nevertheless, much like Mad Men, The Apartment demonstrates how certain films transcend their temporal limitations and continue to resonate across generations. Its exploration of human relationships amidst societal pressures remains relevant today—a testament to Billy Wilder's masterful storytelling and keen insight into human nature.

RATING: 8/10 (+++)

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