The Apartment (1960)

Calificación de los usuarios:

8.4/10   

Director:

Billy Wilder

Escritores:

Billy Wilder (written by) and
I.A.L. Diamond (written by)

Fecha de Lanzamiento:

16 septiembre 1960 (France)

Género:

Romance | Comedia | Drama

Frase comercial:

A Billy "Some Like It Hot" Wilder Production

Plot:

A man tries to rise in his company by letting its executives use his apartment for trysts, but complications and a romance of his own ensue.

Plot Keywords:

Apartment | Executive | Insurance | New York | Elevator

Premios:

Won 5 Oscars. Another 17 wins & 8 nominations

Comentarios de los usuarios:

Becoming A Mensch

Reparto

Jack Lemmon	...	C.C. Baxter
Shirley MacLaine	...	Fran Kubelik
Fred MacMurray	...	Jeff D. Sheldrake
Ray Walston	...	Joe Dobisch
Jack Kruschen	...	Dr. Dreyfuss
David Lewis	...	Al Kirkeby
Hope Holiday	...	Mrs. Margie MacDougall
Joan Shawlee	...	Sylvia
Naomi Stevens	...	Mrs. Mildred Dreyfuss
Johnny Seven	...	Karl Matuschka
Joyce Jameson	...	The Blonde
Willard Waterman	...	Mr. Vanderhoff
David White	...	Mr. Eichelberger
Edie Adams	...	Miss Olsen

También conocida como:

Piso de soltero (Argentina) (Mexico) (informal alternative title) [es]
El apartamento (Spain) [es]

Duración:

125 min

País:

USA

Idioma:

Inglés

Color:

Negro y Blanco

Relación de Aspecto:

2.35 : 1

Sonido:

Mono (Westrex Recording System)

Clasificación:

Brazil:Livre | Argentina:16 | Australia:PG | Canada:14 (Nova Scotia) | Canada:AA (Ontario) (1994) | Canada:G (Quebec) (2000) | Canada:PG (Manitoba) | Chile:18 | Finland:K-16 | Ireland:PG | Spain:13 | Sweden:15 | UK:PG | USA:Approved (PCA #19647) | West Germany:16

Locaciones de Filmación:

205 Columbus Avenue, New York City, New York, USA

Compañía:

Mirisch Corporation, The

Trivialidades:

Although Adolph Deutsch received sole screen credit for the music score, the very popular "Theme from The Apartment" was actually a pre-existing piece of music (originally "Jealous Lover", 1949) by British composer Charles Williams, who was known for his scores for British films and BBC radio dramas.

Errores:

Continuidad: The shaving cream on Baxter's faces changes between the bathroom and bedroom.

Citas:

[first lines]
C.C. Baxter: [narrating] On November 1st, 1959, the population of New York City was 8,042,783. If you laid all these people end to end, figuring an average height of five feet six and a half inches, they would reach from Times Square to the outskirts of Karachi, Pakistan. I know facts like this because I work for an insurance company - Consolidated Life of New York. We're one of the top five companies in the country. Our home office has 31,259 employees, which is more than the entire population of uhh...

Conexiones de Película:

Referenced in "Happy Days: The Apartment (#5.7)" (1977)

Banda de Sonido:

The Jealous Lover

Becoming A Mensch

Ohhh - after my 4th or 5th viewing, I think this may be one of the most remarkable blends of comedy and drama to have ever been filmed - THE APARTMENT - in subtle ways - rises well above the conventions of any genre. It was my introduction to the great Billy Wilder, and my fondness for Jack Lemmon (a remarkable and sorely missed actor) begins here as well.

*SOME SPOILERS*

The cold take on the sex-and-money ethos to be found in many corporate environments hasn't dated one bit; it could be argued that THE APARTMENT stands a bit ahead of its' time in the depiction of (what would appear to be) educated employees treated like (and feeling like) tools to be used in generation of someone else's income. Lemmon's character never forgets that he's disposable, even if the optimist in him hopes that something better may be found in his superiors. Deep down he knows this to be a pipe dream - the sexual adventurism of those same superiors betrays their utter lack of ethics. Of course, Lemmon's character isn't entirely above it all; he's been more than willing to hire out his own apartment as a place for his colleagues' peccadilloes, in exchange for career advancement, which of course - as Wilder early on links amoral sexual conduct and professional/corporate/financial misconduct in a greater social critique - gets him into trouble.

The dialogue is - as is always true with Wilder - very finely crafted, yet seems natural - this film is a remarkable display of the kind of reactions any of us would offer in similar situations. Interestingly, our two protagonists are also wonderfully imperfect as human beings - Lemmon and MacLaine bear some responsibility for the very serious situations they've gotten themselves into; they manage to realize this ("Be a mensch!" Lemmon's doctor neighbor exclaims) just in time to set things right. MacLaine in particular delivers a remarkable, complex performance - sweet and smart in her earliest scenes, bleak and emotionally ravaged in her climactic scene with MacMurray, naive elsewhere, sharp but hopeful at the end. The cinematography captures the entire cast beautifully - with minimal movement, abundant long takes, and a sleek lack of visual clutter, all of the principals are free to reveal their own best and worst impulses, within an environment that is stripped of artifice. The end result is a film filled with great moments one can easily identify with.