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The Apartment

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Title: The Apartment  
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Subject: Billy Wilder, 33rd Academy Awards, 18th Golden Globe Awards, The Artist (film), Joyce Jameson
Collection: 1960 Films, 1960S Comedy-Drama Films, 1960S Romantic Comedy Films, Adultery in Films, American Comedy-Drama Films, American Films, American Romantic Comedy Films, American Satirical Films, Best Film Bafta Award Winners, Best Musical or Comedy Picture Golden Globe Winners, Best Picture Academy Award Winners, Black-and-White Films, Compositions by Charles Williams, English-Language Films, Films About Businesspeople, Films Directed by Billy Wilder, Films Featuring a Best Musical or Comedy Actor Golden Globe Winning Performance, Films Featuring a Best Musical or Comedy Actress Golden Globe Winning Performance, Films Set in New York City, Films Whose Art Director Won the Best Art Direction Academy Award, Films Whose Director Won the Best Director Academy Award, Films Whose Editor Won the Best Film Editing Academy Award, Films Whose Writer Won the Best Original Screenplay Academy Award, New Year Fiction, Office Comedies, Screenplays by Billy Wilder, Screenplays by I. A. L. Diamond, United Artists Films, United States National Film Registry Films
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The Apartment

The Apartment
original film poster
Directed by Billy Wilder
Produced by Billy Wilder
Written by
Starring Jack Kruschen
Music by Adolph Deutsch
Cinematography Joseph LaShelle
Edited by Daniel Mandell
Distributed by United Artists
Release dates
  • June 15, 1960 (1960-06-15)
Running time 125 minutes
Country United States
Language English
Budget $3 million
Box office $24,600,000[1]

The Apartment is a 1960 American comedy-drama film produced and directed by Billy Wilder, which stars Jack Lemmon, Shirley MacLaine, and Fred MacMurray.

It was Wilder's next movie after Some Like It Hot and, like its predecessor, a commercial and critical success, grossing $25 million at the box office. The film was nominated for ten Academy Awards, and won five, including Best Picture. The film was the basis of the 1968 Broadway musical Promises, Promises, with book by Neil Simon, music by Burt Bacharach, and lyrics by Hal David.


  • Plot 1
  • Cast 2
  • Production 3
  • Reception 4
    • 33rd Academy Awards (Oscars) – 1960 4.1
    • Other awards and honors 4.2
  • See also 5
  • References 6
  • External links 7


Calvin Clifford (C. C.) "Bud" Baxter (Jack Lemmon) is a lonely office drudge at a national insurance corporation in a high-rise building in New York City. In order to climb the corporate ladder, Bud allows four company managers, who reinforce their position over him by regularly calling him "Buddy Boy", to take turns borrowing his Upper West Side apartment for their various extramarital liaisons, which are so noisy that his neighbors assume that he is bringing home different women every night.

The four managers (Ray Walston, David Lewis, Willard Waterman, and David White) write glowing reports about Bud, who hopes for a promotion from the personnel director, Jeff D. Sheldrake (Fred MacMurray). Sheldrake calls Bud to his office but says that he has found out why they were so enthusiastic. Then he goes on to promote him in return for exclusive privileges to borrow the apartment. He insists on using it that same night and, as compensation for such short notice, gives Baxter two company-sponsored tickets to the hit Broadway musical The Music Man.

After work, Bud catches Fran Kubelik (Shirley MacLaine), an elevator operator on whom he has had his eye, and asks her to go to the musical with him. They agree to meet at the theater after she has a drink with a former fling. The man whom she meets, by coincidence, is Sheldrake, who convinces her that he is about to divorce his wife for her. They go to Bud's apartment as Bud waits forlornly outside the theater.

Calvin Clifford (C. C.) "Bud" Baxter (Jack Lemmon) and Fran Kubelik (Shirley MacLaine), in a still from the film's final scene: "Shut up and deal."

Several weeks later, at the company's raucous Christmas party, Sheldrake's secretary Miss Olsen (Edie Adams), drunkenly reveals to Fran that Fran is just the latest in a string of female employees whom Sheldrake has seduced into affairs with the promise of divorcing his wife, with Miss Olsen herself being one of them. At Bud's apartment, Fran confronts Sheldrake, upset with herself for believing his lies. Sheldrake maintains that he genuinely loves her but then leaves to return to his suburban family as usual.

Meanwhile, Bud accidentally finds out about Sheldrake and Fran. Disappointed, he picks up a woman (Hope Holiday) at a local bar. When they arrive at his apartment, he is shocked to find Fran in his bed, fully clothed and unconscious from an intentional overdose of his sleeping pills. He enlists the help of his neighbor, Dr. Dreyfuss (Jack Kruschen), to revive Fran without notifying the authorities and sends his confused bar pickup home. To protect his job, he lets Dreyfuss believe that he and Fran are lovers who had fought, which he took so lightly that he was meeting another woman while she was attempting suicide. Fran spends two days recuperating at his apartment, while Bud tries entertaining and distracting her from any further suicidal thoughts, talking her into playing numerous hands of gin rummy.

Since she has been missing, Fran's brother-in-law Karl Matuschka (Johnny Seven) comes to the office looking for her. She has not been there and neither has Bud. The previous day, one of the executives had seen Fran in the bedroom when he came to the apartment hoping to borrow it and mentioned it to the other executives. Resenting Bud for denying them access to his apartment, the executives direct the man there. Bud again takes responsibility for Fran's actions, and Karl punches him twice in the face.

Sheldrake rewards Bud with a further promotion and fires Miss Olsen for telling Fran his history of womanizing. However, Miss Olsen retaliates by telling his wife, who promptly throws him out. Sheldrake moves into a room at his athletic club but now figures that he can string Fran along while he enjoys his newfound bachelorhood. When Sheldrake asks Bud for access to the apartment on New Year's Eve, Bud refuses and quits the firm. Sheldrake tells Fran about Bud quitting at a New Years party they are attending. Fran finally realizes that Bud is the man who truly loves her. Fran then deserts Sheldrake at the party, and runs to Bud's apartment. Arriving at the door, she hears a loud noise like a gunshot. Afraid that Bud has shot himself, Fran pounds on the door. Bud, holding a bottle of overflowing champagne, finally opens the door, surprised and delighted that Fran is there. Bud has been packing for a move to another job and city. Fran insists on resuming their gin rummy game, telling Bud that she is now free as well. When he declares his love for her, her reply is the now-famous final line of the film: "Shut up and deal", delivered with a loving and radiant smile.



Immediately following the success of Some Like It Hot, Billy Wilder and I.A.L. Diamond wished to make another film with Jack Lemmon. Wilder had originally planned to cast Paul Douglas as Jeff Sheldrake; however, after he died unexpectedly, Fred MacMurray was cast.

The initial concept for the film came from Brief Encounter by Noël Coward, in which Celia Johnson has an affair with Trevor Howard in his friend's apartment. However, due to the Hays Production Code, Wilder was unable to make a film about adultery in the 1940s. Wilder and Diamond also based the film partially on a Hollywood scandal in which high-powered agent Jennings Lang was shot by producer Walter Wanger for having an affair with Wanger's wife, actress Joan Bennett. During the affair, Lang used a low-level employee's apartment.[2] Another element of the plot was based on the experience of one of Diamond's friends, who returned home after breaking up with his girlfriend to find that she had committed suicide in his bed.

Although Wilder generally required his actors to adhere exactly to the script, he allowed Jack Lemmon to improvise in two scenes: in one scene he squirted a bottle of nose drops across the room, and in another he sang while making a meal of spaghetti (which he strains through the grid of a tennis racket). In another scene, where Lemmon was supposed to mime being punched, he failed to move correctly and was accidentally knocked down. Wilder chose to use the shot of the genuine punch in the film. Lemmon also caught a cold when one scene on a park bench was filmed in sub-zero weather.

Art director Alexandre Trauner used forced perspective to create the set of a large insurance company office. The set appeared to be a very long room full of desks and workers; however, successively smaller people and desks were placed to the back of the room ending up with children. He designed the set of Baxter's apartment to appear smaller and shabbier than the spacious apartments that usually appeared in films of the day. He used items from thrift stores and even some of Wilder's own furniture for the set.[3]

The film's title theme, written by Charles Williams and originally titled "Jealous Lover", was first heard in the 1949 film The Romantic Age.[4][5][6] A recording by Ferrante & Teicher, released as "The Theme from The Apartment", reached #10 on the Billboard Hot 100 chart later in 1960.


At the time of release, the film was a critical and commercial success, making $25 million at the box office and receiving a range of positive reviews. The New York Times film critic Bosley Crowther enjoyed the film, calling it, "A gleeful, tender, and even sentimental film." Chicago Sun-Times film critic Roger Ebert and ReelViews film critic James Berardinelli both praised the film, giving it four stars out of four, with Ebert adding it to his "Great Movies" list. The film has a 93% "Certified Fresh" rating on Rotten Tomatoes, based on 54 reviews; the site's consensus states that "Director Billy Wilder's customary cynicism is leavened here by tender humor, romance, and genuine pathos."

However, there was also a wave of criticism. Due to its themes of infidelity and adultery, the film was controversial for its time. It initially received negative reviews for its content. Film critic Hollis Alpert of the Saturday Review called it "a dirty fairy tale".[7] According to Fred MacMurray, after the film's release he was accosted by women in the street who berated him for making a "dirty filthy movie" and once one of them hit him with her purse.[3]

The film earned a profit of over $1 million during its theatrical run.[8]

33rd Academy Awards (Oscars) – 1960

The Apartment received 10 Academy Award nominations and won 5 Academy Awards.[9][10]

Award Result Nominee
Best Picture Won Billy Wilder
Best Director Won Billy Wilder
Best Writing (Original Screenplay) Won I. A. L. Diamond
Billy Wilder
Best Actor Nominated Jack Lemmon
Best Actress Nominated Shirley MacLaine
Best Supporting Actor Nominated Jack Kruschen
Best Cinematography (Black-and-White) Nominated Joseph LaShelle
Best Film Editing Won Daniel Mandell
Best Art Direction-Set Decoration, Black-and-White Won Alexander Trauner
Edward G. Boyle
Best Sound Nominated Gordon E. Sawyer

Although Jack Lemmon did not win, Kevin Spacey dedicated his Oscar for American Beauty (1999) to Lemmon's performance. According to the behind-the-scenes feature on the American Beauty DVD, the film's director, Sam Mendes, had watched The Apartment (among other classic American films) as inspiration in preparation for shooting his film.

Within a few years after The Apartment's release, the routine use of black-and-white film in Hollywood had ended. As of 2014, only two black-and-white movies have won the Academy Award for Best Picture after The Apartment did: Schindler's List (1993) and The Artist (2011).

Other awards and honors

The Apartment also won the BAFTA Award for Best Film from any Source and Lemmon and MacLaine both won a BAFTA and a Golden Globe each for their performances. The film appears at #93 on the influential American Film Institute list of Top 100 Films, as well as at #20 on their list of 100 Laughs and at #62 on their 100 Passions list. In 2007, the film rose on the AFI's Top 100 list to #80. In 1994, The Apartment was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and selected for preservation in the National Film Registry. In 2002, a poll of film directors conducted by Sight and Sound magazine listed the film as the 14th greatest film of all time (tied with La Dolce Vita).[11] In 2006, Premiere voted this film as one of "The 50 Greatest Comedies Of All Time".

See also


  1. ^ The Apartment.Box Office Information for The Numbers. Retrieved April 13, 2012.
  2. ^ Billy Wilder Interviews: Conversations with Filmmakers Series
  3. ^ a b Chandler, Charlotte. Nobody's perfect: Billy Wilder : a personal biography.
  4. ^ 5107 Charles Williams & The Queen's Hall Light Orchestra at Archived from Charles Williams at
  5. ^ Eldridge, Jeff. FSM: The Apartment
  6. ^ Adoph Deutsch's "The Apartment" w/ Andre Previn's "The Fortune Cookie"
  7. ^ Fuller, Graham. An Undervalued American Classic. The New York Times. 2000-06-18.
  8. ^ Tino Balio, United Artists: The Company The Changed the Film Industry, Uni of Wisconsin Press, 1987 p 170
  9. ^ "The 33rd Academy Awards (1960) Nominees and Winners". Retrieved 2011-08-22. 
  10. ^ "NY Times: The Apartment". NY Times. Retrieved 2008-12-23. 
  11. ^ BFI | Sight & Sound | Top Ten Poll 2002 - The rest of the directors' list

External links

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