Set in 1936 Chicago during the final years of the Great Depression, the film is about a grifter who steals money from a courier with his partner only for his partner to be killed as the money belonged to a rich mobster forcing the grifter to team up with a veteran con artist in creating the ultimate con against this mobster. It is a film that is a bit of a revenge film but a caper film in which two men decide to go after a man who killed an acquaintance of theirs as well as using criminal activities to gain influence in corrupting those in politics and in the law enforcement. David S. Ward’s screenplay has a unique approach to structure as it plays into the journey that both the young grifter in Johnny Hooker (Robert Redford) and the veteran con man Henry Gondorff (Paul Newman) take in pulling the ultimate con on the Irish-American mob boss Doyle Lonnegan (Robert Shaw).
Ward’s script plays into Hooker’s motivations as he and his partner in Luther Coleman (Robert Earl Jones) had stolen money from a courier with help from their friend Joe Erie (Jack Kehoe) as it turned out the man was carrying $11,000 that was to be delivered to Lonnegan. Coleman planned to retire with his cut of the money only to be killed forcing Hooker to go to a friend of Coleman in Gondorff who is reluctant to go into the con game due to his own experiences and failures but becomes convinced as he assembles a team to go after Lonnegan. Ward also plays into Hooker being pursued by a corrupt detective in Lt. William Snyder (Charles Durning) as well as people working for Lonnegan even though Lonnegan does not know that Hooker is the one who stole from him. The script is also filled with twists and turns with several of Gondorff’s friends playing different roles in the con including Erie who joins in the con.
George Roy Hill’s direction is rapturous in terms of its overall presentation displaying a period during the waning years of the Great Depression. Shot on location at the Universal Studios backlot in Hollywood along with additional location shots in Wheeling, West Virgina, the Santa Monica pier carousel that stands as Gondorff’s home, and Chicago. Hill maintains a feel of the times in the usage of wide and medium shots to play into the energy as well as the sense of despair that was happening at the time. Even as Hill gives the film a look that does play into that period with its muted colors while he also uses wide and medium shots to get a scope of what it was like in Chicago as well as in the interiors such as a club that Gondorff and his team create to fool Lonnegan. Hill also maintains an intimacy in his close-ups as well as scenes where a poker game happens including a scene on a train where Gondorff acts as a boorish crime boss to play against Lonnegan while also aware that Lonnegan is a cheat. Hill’s direction highlights the detail into how Gondorff would beat Lonnegan in his own game with Hooker playing a role in this con.
Hill also plays into this sense of intrigue that occurs on whether everyone is playing each other in the con with Hooker wondering about its outcome as the FBI gets involved. The presence of the FBI does add more suspense and intrigue with Lonnegan also trying to figure out what to do and who to trust leading to this climax that is all about his own ego and thirst for power. The climax is also about Gondorff and Hooker both trying to understand what they want to do as individuals but also as partners where the stakes are big in terms of the money, they want to swindle from Lonnegan. Overall, Hill crafts a whimsical and riveting film about two men who decide to create the ultimate con against an Irish-American mobster who craves money and power.
Cinematographer Robert Surtees does brilliant work with the film’s cinematography with its muted colors for many of the daytime interior/exterior scenes as well as the usage of stylish lights for some of the scenes at night. Editor William Reynolds does excellent work with the editing for its usage of transition wipes, montages, and other stylish cuts to play into the humor and its offbeat energy. Art director Henry Bumstead, along with set decorators James W. Payne and Emile Kuri, does amazing work with the look of the sets from the building that Gondorff buys to create a fake gambling house as well as the places the characters go to. Costume designer Edith Head does fantastic work with the look of the suits the men wear in the film as well as the clothes the women wore as well as the design of the hats in those times.
The sound work of Ronald Pierce and Robert R. Bertrand is terrific for its approach to sound as it is presented on location as well as the way sound is presented from a radio during the horse races and in the effects used in some scenes in the film. The film’s music by Scott Joplin, which is adapted by Marvin Hamlisch, is incredible for its playful approach to ragtime piano music. Notably as Hamlisch brings in that sense of energy and melodic elements to the music, including his take on some standards of those times as it is a major highlight of the film.
The casting by William Batliner and Robert J. LaSanka is marvelous as it feature some notable small roles and appearances from Sally Kirkland as a showgirl that Hooker goes out with early in the film, Ken Samson as a Western Union executive, Paulene Myers as Luther’s wife Alva, Joe Tornatore as a mysterious gunman, Lee Paul as a bodyguard of Lonnegan, James J. Sloyan as Lonnegan’s right-hand man Mottola, Dimitra Arliss as a diner waitress Hooker befriends in Loretta, Jack Kehoe as Hooker’s friend Erie Kid who joins Hooker and Gondorff in the con, and Dana Elcar as a FBI agent pursuing Gondorff. Other notable small roles as members of Gondorff and Hooker’s team include John Heffernan as Eddie Niles who pretends to be a casino cashier, Harold Gould as the veteran conman Kid Twist who would fool Lonnegan as a financier working with Hooker, and Ray Walston as J.J. Singleton who would get the racing results and help make the announcements.
Robert Earl Jones is superb as Luther Coleman as Hooker’s partner/mentor who has decided to retire only to get himself in trouble with Lonnegan and his business. Eileen Brennan is excellent as Billie as a brothel madam whom Gondorff is in a relationship with as she helps Gondorff and Hooker in the con as she also finds way to be involved and outsmart Lonnegan. Charles Durning is brilliant as Lt. William Snyder as a corrupt detective who is pursuing Hooker over some counterfeit money unaware that Hooker stole from Lonnegan as he is also a bully to others as he shares Lonnegan’s views on maintaining power. Robert Shaw is phenomenal as Doyle Lonnegan as an Irish-American mob boss that is eager to become legitimate through his connections as he becomes upset that someone stole money from him as well as endure some humility that he is unable to deal with.
Finally, there is the duo of Paul Newman and Robert Redford in spectacular performances in their respective roles like Henry Gondorff and Johnny Hooker. Newman’s performance has this air of charm and humor as a man who has been through the con game for years yet is inspired to do this to humiliate Lonnegan who he sees as a threat where Newman also brings a lot of laughs during a poker game where he acts like a buffoon. Redford’s performance as Hooker is the more serious of the two as someone that wants to avenge Luther’s death as well as learning more about the con game where he also learns about the tricks of the trade. Newman and Redford together has this rapport where they know how to play off one another, where they know what the other person thinks as well as the sense of trust that they have in one another as they are major highlights of the film.
The Sting is an outstanding film by George Roy Hill that features the tremendous leading performances of Paul Newman and Robert Redford. Along with its ensemble supporting cast, lively visuals, David S. Ward’s inventive screenplay, and a fun music soundtrack by Marvin Hamlisch. It is a caper film that is full of energy, wit, and suspense while also being this study of two men trying to outwit a powerful criminal and show him some humility. In the end, The Sting is a magnificent film by George Roy Hill.
George Roy Hill Films: (A Night to Remember) – (Period of Adjustment) – (Toys in the Attic) – (The World of Henry Orient) – (Hawaii (1966 film)) – (Thoroughly Modern Millie) – Butch Cassidy & the Sundance Kid - (Slaughterhouse-Five) – (The Great Waldo Pepper) – (Slap Shot) – (A Little Romance) – (The World According to Garp) – (The Little Drummer Girl) – (Funny Farm)
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Directed by Billy Wilder and written by Wilder and I.A.L. Diamond, The Apartment is the story of an ambitious office worker who begrudgingly lets his bosses use his apartment for their extramarital affairs where he ends up falling for one of his bosses mistresses. The film is an exploration into ambition and morality where a man deals with the way he tries to move up through things he didn’t like doing while falling for a woman who deals with her affairs with one of his bosses. Starring Jack Lemmon, Shirley MacLaine, and Fred MacMurray. The Apartment is a witty yet grand film from Billy Wilder.
The film is essentially an exploration into the life of an insurance office worker named C.C. Baxter (Jack Lemmon) who hopes to climb up the ladder in becoming an executive. Yet, his loyalty and hard work isn’t enough where he reluctantly lets his managers use his apartment for their affairs which gets the attention of their boss Jeff Sheldrake (Fred MacMurray) who asks Baxter if he can use his apartment for his own extramarital affair. Sheldrake’s mistress turns out to be an elevator operator named Fran Kubelik (Shirley MacLaine) whom Baxter has feelings for where he later finds out about the affair which upsets him. Yet, Fran learns during the Christmas party on that same day that she is just another of Sheldrake’s revolving door of mistresses as she is hurt where she and the lonely Baxter bond over their loneliness and the humiliation they endure.
The film’s screenplay is in some ways a character study but also a love story of sorts between Baxter and Kubelik as they’re just people dealing with working in an insurance office. Baxter is just a man who just wants to make it in that world but he often endures moments of humiliation as his superiors call him “Buddy-boy” and sometimes call when they’re not scheduled to be at the apartment. Baxter would be outside of his apartment so he wouldn’t interfere as he would return to find his place a mess and lots of hairpins and such laying around in the couch and such. Adding to this humiliation is his feelings for Kubelik whom he thinks is a nice woman yet she, regretfully, stood him up on a date where he tries to forget about it until the office Christmas party where the broken hand mirror he found in his apartment belonged to Kubelik. It’s a moment that just adds to his own loneliness and despair yet it is balanced by Kubelik’s own revelation about Sheldrake.
Kubelik is just as interesting as Baxter as she’s a woman who later admits to falling for the wrong guy as she has this secret affair with Sheldrake whom she doesn’t see often. Yet, she becomes more uncertain that he will leave his wife where she is intrigued by Baxter but is in love with Sheldrake. The Christmas party scene is one of the key important moments in the film not just because of what Baxter discovers but also what Fran discovers from Sheldrake’s secretary Miss Olsen (Edie Adams) at the party that leaves Fran hurt and humiliated. The film’s second half becomes about Baxter and Kubelik dealing with the hurt and humiliation that both had endured as they deal with the things they’ve done where it would play to some growth in their characters as well as the fact that they could become a couple. Still, Baxter tries to protect himself and Kubelik from others including his neighbor Dr. Dreyfuss (Jack Kruschen) who has been suspicious about what goes on at Baxter’s apartment. Yet, it would take some events and such that would finally make Baxter stand up for himself and do what he feels is right for himself and Kubelik.
Billy Wilder’s direction is very mesmerizing for the way he explores the world of corporate offices where he uses the widescreen format and wide shots to get a sense of what goes on while putting in the middle of that shot is Baxter though he’s seen among the hordes of people in their desks. The use of dolly and tracking shots allows Wilder to create a world that is very go-go-go and busy but also quite raucous at times such as the Christmas party sequence where there’s a lot of fun that goes on and Wilder also knows where to put key important characters in the frame to help advance the story and such. Even as he creates some intimate moments in the offices such as the scene between Baxter and Kubelik where he discovers who that broken mirror belongs to. It’s among these very intense dramatic moments while Wilder also infuses a lot of melancholia to these moments to showcase the humiliation that Baxter and Kubelik both endure.
While there are some moments of humor in the film that includes Baxter’s superiors acting silly on their way to the apartment with their mistresses along with moments of how Baxter reacts to his situation. There is also a mixture of melancholia in some of the comedic moments that Baxter endures such as the scene where he’s at a bar drowning his sorrows with another woman. Yet, Wilder maintains that sense of loneliness that occurs in the story as he makes Baxter’s apartment as a key character in the story where it’s a place that represents his own lonely persona. Things liven up a bit once Kubelik stays there briefly following a very intense moment that plays into the growing bond she would have with Baxter. Even as he would maintain control about what he should do with his life and his apartment as well as what he wants for Kubelik who is stuck in her love for Sheldrake as well as her bad luck with men. Overall, Wilder creates a very engaging yet triumphant film about loneliness, humility, and overcoming all of that.
Cinematographer Joseph LaShelle does brilliant work with the film‘s black-and-white photography to play into the sense of despair the protagonists endure as well as the use of lights in the offices and as well as the low-key look in Baxter‘s apartment. Editor Daniel Mandell does excellent work with the editing with its use of rhythmic cuts to play out some of the film‘s drama and humor as well as sequence where Sheldrake and Kubelik are in Baxter‘s apartment as he is in the bar drowning his sorrows. Art director Alexandre Trauner and set decorator Edward G. Boyer do fantastic work with the look of Baxter’s apartment that is very intimate and sort of a mess to represent Baxter’s loneliness while the look of the offices and places where he works is also unique to display more of his sense of isolation.
The sound work of Gordon E. Sawyer is superb for capturing some of the chaos in some of the moments in the office such as the Christmas party as well as the intimate moments in Baxter‘s apartment. The film’s music by Adolph Deutsch is amazing for its somber yet flourishing score with its mixture of orchestral and jazz music to play with some of the film’s melancholia while the soundtrack consists an array of music from jazz, classical, and pop.
The film’s cast is just splendid for the ensemble that is created as it includes some notable small roles from Joyce Jameson as the woman Baxter meets at the bar after the Christmas party, Johnny Seven as Kubelik’s brother-in-law, Hal Smith as the drunk Santa Claus in the bar, Naomi Stevens as Dr. Dreyfuss’ wife, Hope Holiday as Baxter’s suspicious landlord, and Joan Shawlee as one of the mistresses of Baxter’s superiors. In the roles of Baxter’s four superiors, there’s David Lewis, Ray Walston, Willard Waterman, and David White as they each give very funny performances as men who take advantage of Baxter’s generosity in order to have fun with their mistresses. Jack Kruschen is excellent as Dr. Dreyfuss as a neighbor of Baxter who is suspicious about what goes on in Baxter's apartment as he also tells Baxter to grow up and be a man.
Edie Adams is wonderful as Sheldrake’s secretary Miss Olsen who accidentally reveals to Kubelik about Sheldrake’s previous affairs at the Christmas party as she would also play a part in trying to bring Sheldrake down over his affairs with other women. Fred MacMurray is great as Jeff Sheldrake as a man who likes to maintain control over his affairs as he is also someone who is a bit cruel to the way he treats Kubelik as he is also quite slimy towards Baxter as it’s definitely one of his finest performances.
Finally, there’s the duo of Jack Lemmon and Shirley MacLaine in astonishing performances in their respective roles of C.C. Baxter and Fran Kubelik. MacLaine brings this presence that is very upbeat and playful in the way she interacts with Baxter early on though there’s a fragility to her that is just compelling as she deals with heartbreak and disappointment. Lemmon is very funny in some of his reactions but also has this melancholia that is just endearing where he has this physicality that is just amazing to watch in the way he deals with humility as well as his actions for what he’s doing. Lemmon and MacLaine have this chemistry that is just undeniable in the way they make each other laugh or bond over the pain they deal with in their loneliness as they are some of the best highlights of the film.
The Apartment is a magnificent film from Billy Wilder that includes incredible performances from Jack Lemmon and Shirley MacLaine. The film is truly an engaging and thoughtful piece on the world of loneliness and ambition that plays into the troubled morality of two people lost in their own chaos as they bond through that pain. It’s also one of the most charming and touching romantic comedies that strays from convention with characters that audiences can root for. In the end, The Apartment is an outstanding film from Billy Wilder.
Billy Wilder Films: (Mauvaise Graine) - (The Major and the Minor) - (Five Graves to Cairo) - Double Indemnity - The Lost Weekend - (The Emperor Waltz) - (A Foreign Affair) - Sunset Boulevard - Ace in the Hole - Stalag 17 - (Sabrina) - (The Seven Year Itch) - (The Spirit of St. Louis) - (Love in the Afternoon) - (Witness for the Prosecution) - Some Like It Hot - (One, Two, Three) - (Irma La Douce) - (Kiss Me, Stupid) - (The Fortune Cookie) - (The Private Lives of Sherlock Holmes) - (Avanti!) - (The Front Page) - (Fedora) - (Buddy Buddy)
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