BODILY RESISTING AND REFUSING TO OBEY AN AUTHORITY
The 1958 film, The Defiant Ones, follows two escaped cons: one white and one black. They are chained together, on the run from the authorities who are tirelessly chasing them. Throughout their journey, the film explores racism, social injustice, and the impact an act of defiance can have.
Noah Cullen (Sydney Poitier) and Joe "Joker" Jackson (Tony Curtis) are chain-gang prisoners in the south. After a prison truck flips over in an accident, the two convicts escape but are unfortunately still handcuffed together. They are forced to work together in order to claim their freedom. The two men however have a mutual disdain for each other. Jackson, as a white racist bigot, hates Cullen because he's black; and Cullen hates Joker for being a white, racist bigot. Throughout their journey to outrun their pursuers, they slowly begin to overcome their prejudices, and an unexpected friendship emerges.
I was surprised when I found out this film was made in 1958. I was sure, based on its brutally honest portrayal of racism, that it had been made at least 10 years later than that. The director, Stanley Kramer, did not shy away from the harsh realities of discrimination: offensive language, unjust punishments, and cruel treatment. But Kramer doesn't include these disturbing examples of racism just for show. Throughout the entire film, he's using these examples to demonstrate the never-ending cycle of racism. He shows us the it takes bold and brave individuals- defiant ones - to put a stop to the cycle.
"What's eatin' you? Just because I called you a n? ... Don't crowd me. I didn't make up no names!... I didn't make any rules!"- Jackson
"No, but you breathe it in when you're born and you spit it out from then on!"- Cullens
I love the quote above. It encapsulates the whole point of the film. No, Tony Curtis' Jackson didn't create racism, but he also does nothing to stop it. He picked it up the day he was born and he continues the sick cycle of racism just because it's the status quo. The Defiant Ones shows us we have to be brave enough to not only recognize when social constructs are wrong, but also be brave enough to stand up and say "No, this is wrong."
One of the most disturbing parts of the movie is this young boy's reaction to Noah (Poitier).
Another example of discrimination starting "when you're born."
Cullen and Jackson are not the only defiant characters in The Defiant Ones. The film presents several different characters who are defiant in their own ways. One example is Big Sam, a resident of the small town Cullen and Jackson pass through in their travels. When the town discovers Cullen and Jackson, they organize an "old fashion prayer meeting;" it turns out, "prayer meeting" is a euphemism for lynch mob. Big Sam stands up to his friends and neighbors for two complete strangers. In a way, I think his act of defiance is even more commendable; it's easy (okay, easier) to stand up to our enemies, but standing up to loved adds another layer of consequences- losing those loved ones. Sam admirably stands up against what he knows is wrong, despite any possible repercussion for himself.
One of my personal favorite scenes in the movies. Big Sam's monologue gets me every time.
Another admirably defiant character is the county sheriff, Max Muller who is heading the manhunt for Cullen and Jackson. While his State supervisors want him to sic the blood hounds on the escapees and shoot them on sight, Sheriff Muller stands by his moral beliefs. He reminds them that it's a manhunt- not a manslaughter; that theses men were sentences to prison-time, not to death. Muller stands up to his superiors and colleagues, and jeopardizes his entire career, to maintain the pillars of justice he believes in.
Defiance played a role behind the scenes of The Defiant Ones as well. At the time of the movie's release, screenwriter credit was attributed to Harold Jacob Smith and Nathan E. Douglas. It wasn't until the 1958 award season rolled around, that it was discovered Nathan Douglas didn't exist. Douglas was a pseudonymous for blacklisted screenwriter, Ned Young.
Anti-Communist propaganda. Their argument was that Communist screenwriters were trying to brainwash the American public through film and television. Via.
Young was blacklisted after refusing to testify during 1953 House Committee on Un-American Activities (HUAC) trials: a nonsensical effort to purge Hollywood of communists and communist-supporters. Because of his defiance, Young was prohibited from writing or acting in Hollywood. Despite his ban, Young continued to write in Hollywood using his pseudonymous. "Nathan E. Douglas" (N.E.D.) actually won an Oscar for his work on The Defiant Ones, even though by then it was common knowledge that Ned Young was the true writer. It wasn't until 1993, however, that the Academy changed the credited to writer's real name- Young had already been dead for 25 years.
Another behind the scenes player who showed his own defiance, was actor Tony Curtis. When Curtis first heard about the part of "Joker" Jackson, he immediately he wanted the role. He begged Kramer to consider him for the part. To Curtis, this was his chance to cast aside his pretty-boy imagine, and show his true acting skills in a gritty, unlikable role. He believed so deeply in the The Defiant Ones, he even helped raise the film's $1 million budget through him and his wife's production company, Curtleigh.
Curtis was finally awarded the role, after several first-choices turned the part down (including Kirk Douglas). He went on to give a spectacular performance as the racist and offensive Jackson. Upon the release of the film, Curtis showed Poitier great respect; according to his contract, Poitier was only to receive supporting billing. Curtis went to director, Kramer, and demanded Poitier share top billing with him. In his own account, Poitier said it was because of Curtis and his act of defiance, that he was able to receive "top billing for the first time in [his] life."
Poitier, Curtis, and Kramer on the set of The Defiant Ones. Via.
Throughout his prestigious career in Hollywood, Sidney Poitier collaborated with writer/directer/producer, Stanley Kramer three times. Kramer was known for using his films as a medium to address social issues of his day including racial discrimination, antisemitism, and nuclear warfare. Poitier also had a social cause driving his career; he was determined to only accept admirable and distinguished roles. He hoped that he could help break the stereotyping that affected so many African American actors in Hollywood. Between Kramer's social cause and Poitier's personal conviction, the pair was destined to make some great movies. And they did, starting with The Defiant Ones.
The Defiant Ones is well worth the watch. It features fantastic acting, directing, and great movie-making overall. It is also, unfortunately, a timeless film- unfortunate because it's timelessness only proves that the film's context is still more than relevant today. Racism, prejudice, and social injustices are still issues our society struggles to overcome. Fortunately, we have filmmakers, like Kramer, Poitier, and Curtis, to make us face our faults and help us define a brighter future with their defiance.
The first Academy Awards, held in the Blossom Room of the Hollywood Roosevelt Hotel, 1929. Via.
The Oscars are, and always have been, known as the biggest night in Hollywood. The one night that all of Hollywood's stars come together like a massive, glittering constellation. I personally have mixed feelings about the Oscars. On the one hand, it's an entertaining night of fashion, glamour, and, most importantly, film. On the other hand though, it also provides a glimpse into to the politics and money-making machine that always has and always will run Hollywood.
The menu and program from the first Academy Awards. Via.
The first Academy Award ceremony took place in 1929 and was organized, for the most part, for publicity purposes. At that time, film was still a fairly new entertainment medium. Unlike it's entertainment predecessors, film was available to the masses; it was cheap and widely accessible, both physically and cognitively. In contrast, theater was expensive, cultured, and, for the most part, only available in metropolitan cities; in other words, only wealthy, educated people could patron the theater. Although the mass-accessibility of film adds to the magic of the movies, it did not help to booster the status of the film industry. The industry was looked down upon as common, lowbrow, and primitive.
Bette Davis with her Best Actress Oscar for Jezebel, 1939. Via.
In order to bolster their image, Hollywood moguls decided to create awards for the year's contributions to the film industry. It was their hope, that by creating awards and honors within the medium, that the industry would begin to garner respect and be regarded as a true art form. Today, the Academy Awards continues to market and publicize Hollywood; it's a way to boost box office sales, and to keep alive the romantic and glamorous dream that is Hollywood.
Vivien Leigh and Olivia de Havilland at the 1940's Academy Awards where Gone with the Wind swept the awards. Via.
Also from its beginning, the Oscars have been about politics- Hollywood politics that is. The Hollywood moguls (i.e. the money men) lobby for their films and actors the way politicians lobby for their bills and candidates. I don't think it's possible to go through an award season and not hear about Harvey Weinstein's zealous campaigning tactics. And as cynical as it sounds, I'm sure just like real politics that deals are made and favors are called in.
Oscar winners, Ginger Rogers and Jimmy Stewart at the 1941 Academy Awards | The first year the winners were kept secret and announced at the ceremony. Via.
If it wasn't bad enough that producers push their films like lobbyists, then there's the whole idea of pitting different films against one another. Much to the delight of the early Hollywood moguls, film has become a true art form. And, like any other art forms, at some point it comes down to the eye of the beholder. Is it really possible to pick an indisputable "best movie of the year?"
Presenters on stage at the Academy Awards, 1950. Via.
Sure you can say that a movie like Citizen Kane is a more accomplished film than say, Andy Hardy's Private Secretary; but when you round up a year's worth of success and acclaimed films, can you really pick an indisputable winner? The answer is you can't, because at that point it comes down to the individual opinion of the viewer and how they personally reacted to the film and performance.
Audrey Hepburn hugging her Oscar for Best Actress in Roman Holiday, 1954. If you've ever wondered about Hepburn's spiked bangs and heavy make-up here, she came to the ceremony directly from a performance of Ondine (the Broadway play she was starring in at the time) still in full stage hair and make-up. Via.
The genre of films also comes into play; its a known fact that dramas are highly regarded as the winners at the Oscars; comedies, musicals, and science fiction/fantasy movies are rarely deemed as true competitors. To me though that's like comparing apples to oranges; sure they are both fruit but they taste completely different. The experience that a comedic film provides is going to be vastly different from that of a historically drama; but does that make it less of a film?
Grace Kelly and costume designer, Edith Head admiring their Oscars, 1955. Via.
These criticism I've listed above are hardly new; the politics and voting process behind the Oscars have been questioned and criticized for years. It's sad and frustrating to see great films or performances get overlooked and snubbed. And yet, every year I found myself watching the Academy Awards.
Paul Newman and wife, Joanne Woodward celebrate at the 1958 Academy Awards, after her Best Actress win for The Three Faces of Eve. Via.
The Academy Awards is an iconic and long held tradition that's entertaining and fun to watch (usually). It's one of the few times we get to be a part of, or at least feel like we are a part of, that otherworldly planet known as Hollywood. And like any massive gathering of stars and celebrities, it's a great opportunity for pop culture history to be made.
Sidney Poitier made history when he became the first African American to win Best Actor for his role in Lilies of the Field, 1964. Via.
Here's just a few of my personal favorite Oscar moments:
Hattie McDaniels accepting her Oscar for Best Supporting Actress in Gone with the Wind, 1940. She was the first African American to win an Oscar in the history of the Academy.
John Wayne accepting the Oscar for Best Actor for his role in True Grit, 1970. A truly humble and heartfelt speech.
Charlie Chaplin receiving an Honorary Oscar for his life's work in film in 1972. He holds the record for the longest standing ovation in the history of the Academy Awards which was over 12 minutes long. If this moment does bring a tear to your eye, you're are not human.
Cher winning the Best Actress Oscar for Moonstruck, 1988. Some would say not the most deserving of winners, but I just love her speech. She's so down to earth!
Looking for a movie to watch with your Valentine this weekend? Look no further than Charlie Chaplin's 1931 masterpiece, City Lights. You'll laugh, you'll cry, and you'll sigh as Chaplin's Little Tramp melts your heart.
City Lights is a heartwarming story featuring Chaplin's famous Tramp character. This time, the little Tramp has found love, falling for a young blind woman who sells flowers on the street corner. The flower girl, through a misunderstanding , believes the enamored Tramp is rich millionaire. Wanting to impress her, the Tramp goes to great lengths to keep up this misunderstanding. As the Tramp falls more in love with the woman, the more determined he becomes to help her regain her vision. It's a very simple story line, as most of Chaplin's films are, however it is simple without being simplistic. The raw and sincere emotions mixed with the slapstick comedy Chaplin was known for, makes this more than just another silent film.
The Tramp meeting the flower girl for the first time. Via.
This film boasts some of Chaplin's most famous comedic sketches and visual gags. The Tramp's unfortunate boxing match is one of the most revered scenes. In hopes of earning money to help the blind woman, the Tramp signs up for a boxing match. He and his opponent however strike a deal ahead of time; the Tramp will throw the match and his opponent will only pretend to hurt him. At the end they'll split the winnings 50/50. As the Tramp's luck would have it though, his opponent and co-conspirator drops out of the match at the last minute, and the Tramp finds himself facing a new opponent- a heavy weight determined to win the match fair and square.
Watch and see how the Tramp tries to avoid his opponent in the ring.
Even more impressive than the comedy, is the heart in this film. Despite being scatterbrained and eccentric, the Tramp is so incredibly lovable. His love for the blind flower girl is so innocent and sincere, and the lengths he goes to in order to help her is truly magical. He knows he's not the rich millionaire she thinks he is, but he wants to be her hero anyways. The final scene of the picture is one of the most beautiful scenes ever captured on film. It's unbelievable how much emotion is silently expressed in that scene.
I also particularly love the scene in which the Tramp is trying to help the woman wind her sewing yarn, except the girl accidentally grabs a thread from his shirt and starts unwinding it. Instead of correcting her and saving his sweater, the Tramp helps her continue to unwind his clothing. It's hilarious and incredibly sweet at the same time.
The ONLY clip of the sweater scene I could find is unfortunately and ridiculously paired with a song by Weezer. (I recommend muting, and enjoying in silence)
I think I could watch Chaplin's charming expressions and mannerisms all day long. From his waddle of a walk, to his crazy schemes and misfortunes, I just can't help but smile at everything that Tramp does. Chaplin always portrayed the little Tramp as a lovable and endearing goofball, but I think his delightful charm in City Lights is incomparable. And the Tramps's enthusiastic love for the flower girl makes him more relatable and endearing than ever before.
Chaplin himself was a true cinematic renaissance man. Not only did he create and portray the famous and beloved Tramp personae, he also wrote, directed, edited, and scored the majority of his films, including City Lights. He started the script for City Lights with the general idea of blindness. His initial screenplay had him starring as a blind circus clown who was trying to hide his condition from his young daughter. Somewhere along the way the story changed to a blind young woman who the Tramp falls in love with.
The young flower girl, played by Virginia Cherrill. Via.
From the get-go, Chaplin knew he wanted City Lights to be a silent film. In 1931 when the film was made, "talkie" films had really stolen the cinematic scene from silent pictures. Most production companies at the time would have probably considered City Lights to be a bad business investment that was destined to flop. But Chaplin was convinced, and rightly so, that the Tramp character would not translate to sound successfully. He knew that the beauty of the Tramp was that he was understood and loved worldwide; relying on muted, pantomime comedy, there was no language barriers. If the Tramp was going to start talking in his films, he would be isolating a huge portion of his worldwide fans.
Chaplin also understood that without sound, the Tramp's voice was filled in with the audience's imagination. His fans expanded the character of the Tramp in their own minds. If Chaplin made a concrete decision of how the Tramp sounded and talked, his interpretation would ruin the vision the fans had created of the Tramp in their mind. So the Tramp stayed silent, a decision which I think we are all grateful Chaplin made.
Charlie Chaplin and Albert Einstein who was his guest of honor at the premiere of City Lights.Via.
It is unsurprising that in additional to abundant talents, Chaplin was also a massive perfectionist. Because of this City Lights took a remarkably long time to finish. The filming took just over 180 days to complete; the initial meeting between the Tramp and the flower girl alone took 342 takes (for those of you who don't know, that scene is all of 3 minutes long). From the pre-production planning to post-production editing, Chaplin clocked in at a total of 2 years and 8 months working on City Lights. It was one of the most ambitious and involved undertakings of his career.
The Tramp meeting the flower girl. Also note, Chaplin's beautiful score.
Chaplin's hard work certainly paid off; not only do fans and critics consider City Lights to be one of his greatest achievements, the film also remained Chaplin's personal favorite of all his works until his dying day.
A very happy Valentine's Day from the Vintage Marquee!
Gaslight. It's the title of the 1944 film that earned Ingrid Bergman her first of three Academy Awards. It's also the name of the 1938 play which the film is based on. Gaslight is also now used, in result of both the play and film, as a psychological term that refers to a form of mental abuse. The impact this film had on the field of psychology is what fascinates the most about Gaslight.
The film begins with the cold blooded murder of a renowned opera singer. After the mysterious perpetrator escapes into the night, the singer is found strangled in her London home by her teenage niece and ward, Paula (Bergman). Understandably traumatized, Paula leaves for Italy where she will spend the next ten years of her life working to move past this ordeal.
"No, no. Don't look back, Paula. You need to forget about everything that's happened here... You must think of the future dear, not the past."
Teenage Paula, nearly catatonic, leaves her Aunt's home after discovering her Aunt's been murder. Via.
When we see Paula again she has blossomed in Italy, coming to cope with her Aunt's murder by avoiding her old life in London, and, more importantly, by finding love. A pianist named Gregory Anton (Charles Boyer), whom she has known for only a short time, has stolen her heart. Swept away in a whirlwind romance, Paula and Gregory quickly marry. Shortly after, Paula finds herself promising her new husband that they can return to London and live in the house Paula inherited, the house where her Aunt was murdered.
Paula young, in love, and making dumb promises. Via.
Paula is understandably nervous about returning to her Aunt's house after so many years and so many dark memories. But Gregory doesn't back down; he urges that they are meant to live there and promises Paula that they will make new memories together. However, within the first few days at their new home strange occurrences start to happen, and Gregory's true nature slowly starts to reveal itself, layer by layer.
Paula quickly falls under Gregory's charming spell. Via.
It all begins with a simple flicker of the house's gaslights. Paula becomes curious when she starts to see the gaslights in the house inexplicably flicker every night. Her curiosity turns to concern when she starts to hear strange noises coming from the attic that has been closed off for years. Gregory and the household staff, however, maintain that only Paula is seeing and hearing these disturbances. Gregory insists that she's imagining things.
When portraits and pieces of jewelry start to go missing, Paula's concern turns into fear. Gregory insists that Paula is the one who has been moving and misplacing their belongings for no reason. He explains that she's becoming forgetful and her memory has been failing her. At first he sympathizes and pities her, but soon Gregory starts insisting that Paula is being irrational and paranoid. Before long, Paula is on the verge of a nervous breakdown.
"Suddenly I'm beginning not to trust my memory at all." - Paula
Paula becomes constantly anxious and on-edge. Via.
Suddenly Paula's charming and gentlemanly husband becomes patronizing, impatient, and cruel. Gregory stops letting Paula leave the house, in fear that she'll have an embarrassing fit in public. He insults and ridicules her in front of their household staff, making sure they witness all her paranoid fits and nervous breakdowns. Scared and isolated from the world, Paula gives into her husbands accusations, and starts to question her sanity.
By disregarding Paula's concerns, belittling her fears, and denying her suspicions, Gregory convinces Paula that her irrational behavior is an onset of insanity. A prisoner of both her house and her fears, Paula is completely under Gregory's control. Could this have been his sadistic objective all along?
"I couldn't have dreamed it... Did I dream it? Are you telling me that I've dreamed all that happened?... Then it's true, my mind is going... Then take me away. I can't fight it anymore."
Inspired by the film Gaslight, psychologists today consider gaslighting to be a form of emotional abuse used to covertly gain control over an individual. While Gregory and Paula's situation is a more extreme example of this, the gaslight effect is still more than prevalent in our society today. For example, "Of course I'm not cheating on you; you're just being paranoid." Or, "It was a joke; you're not fat. Stop being so sensitive." Gaslighting is using manipulation and intimidation to make someone question and doubt their own perception of reality. This can be done in a number of ways, all of which are unfortunately very common in our society. Trivializing someone else feelings, shaming someone for being upset, denying any personal wrong-doing and placing all the blame on the other person; these are all forms of gaslighting. After hearing these accusations enough times, the victim starts to believe them, and think they are just "too paranoid" or "too sensitive;" the victim starts to think they are the source of the problem.
I find it fascinating that a story written purely for entertainment could hold so much truth. Gaslight influenced the entire discourse of an intellectual field; to me this proves that movies are not just for entertainment and escapism. Movies can portray our life, society, and culture in a way that reveals truths we're not even aware of. Movies force us to take a step back and observe the world we're living in; just maybe we'll walk away with a little more knowledge and self-awareness than we came in with.
Ingrid Bergman looking absolutely stunning in one of her beautiful Gaslight costumes. Via.
Gaslight was and still is a great success. It garnered much more critical acclaim than the British version which was actually released four years prior to this version. Bergman rightly deserved the Oscar for her performance as Paula. The dynamic changes and transformations her character goes through are impeccably portrayed. Bergman successfully establishes Paula as a strong, beautiful, albeit naive woman at the beginning of the film, only to drown that strength in the self-doubt and paranoia of a woman who believes she's going mad.
Joseph Cotton, director George Cukor, and Ingrid Bergman behind the scenes of Gaslight. Bergman is resting on a leaning board which were (and sometimes still are) used on movie sets to allow actors to rest in between scenes without messing up their intricate hair, make-up and costumes. Via.
Gaslight also boasts Angela Lansbury's cinematic debut as the sassy and indifferent house maid, Nancy. Quickly convinced that Paula is just an uptight and crazy woman, Nancy openly dotes on Gregory. She flirts and teases him in front of Paula just to humiliate her. Lansbury is brilliant and actually earned a nomination for Best Supporting Actress for her role. Merely 17 years old at the time of filming, Lansbury showed no timidity or hesitation in this saucy role; she owns it. Although Bergman is the one who won the Oscar for Gaslight, I think Lansbury shines just as much, if not more. She admirably holds her own among a veteran cast.
"That maidservant is most impertinent."
I think you can tell from this picture, that Nancy doesn't give a fig. Via.
I highly recommend watching Gaslight. It is definitely a melodrama which can be hard for viewers today, living in the naturalist era of film, to understand and respect. Too often people label melodrama as "campy" or "over-the-top." I suggest approaching the melodramatic genre as you would approach opera. Both melodrama and opera are time-honored art forms, yet very different from more contemporary performances today. By approaching opera however, with an open mind and consciously restraining ourselves from comparing opera to Beyoncé, we can at least appreciate and respect the art form.
Melodramas need to be approach in the same manner; you can't go in expecting Marlon Brando. Instead of a naturalistic and subtle performance, you need to expect an emphasis on the emotions and drama. If you keep that in mind, I think any movie-lover can at least see Gaslight for what it is, an accomplished work of art. If you haven't seen it yet, check out Gaslight and share what you think in the comments below.
On January 1st, for those of you who don't know, Netflix added over 60 films to their online streaming list. For a film-lover like myself, it pretty much made the New Year. They've added really fantastic films, some that I love and some that I haven't had the pleasure to explore yet. One newly added film is Billy Wilder's 1960 classic, The Apartment. I was so excited that this title was now available, that it's one of the first films I watched this year. As I re-watched this classic, I realized that it's actually very appropriate to watch in celebration of the New Year. Not only does it take place during the holiday season, it also reminds you that the New Year is a time to take a look at your life, both the positive and the negative, and embrace necessary change.
Going off the movie poster alone, you'd think The Apartment was another rip-roaring, witty comedy from Billy Wilder; full of big of laughs and love. And the film does start actually off that way initially; you are introduced to C.C. Baxter (Jack Lemmon), an average office worker living the average, uneventful bachelor life. He works in a large skyscraper in the heart of New York City, as just one of the many cogs in the corporate machine. He likes his job, even though he is of a little significance to anyone there. That is except to four executive in his company. To these men, Baxter is "buddy boy;" the office schmuck who they've promised quick promotions in exchange for the use of Baxter's bachelor apartment for their extramarital rendezvous.
"I said I had no family; I didn't say I had an empty apartment." - C.C. Baxter
Baxter alone in his office, waiting for his apartment to be vacated. Via.
Before Baxter knows it, these executives are getting more use of his apartment than he is. He spends most of his time staying late at the office or wandering snow-filled parks, waiting for his bosses and their mistresses to vacate his apartment. And, this "little problem" with his apartment isn't Baxter's only problem.
Jack Lemmon as Baxter, surrendering his apartment key once again. Via.
His next door neighbor, the middle-aged Dr. Dreyfuss, assumes Baxter is the one loudly entertaining a new women every night, and takes every opportunity he can to lecture Baxter about the dangerous road he's on.
"Why don't you grow up, Baxter? Be a mensch! You know what that means?
A mensch- a human being." - Dr. Dreyfuss
Things aren't much better at work either; on top of waiting anxiously for that promised promotion, Baxter struggles daily, attempting to woo the building's elevator girl, Fran Kubelic (Shirley MaClaine). While Baxter dreams of having the title of Junior Executive, Fran dreams of having the title of Boss' Wife.
Unbeknownst to Baxter, Fran happens to be one of the mistresses frequenting his apartment with none other than his boss, Mr. Sheldrake (Fred MacMurray). It all plays out like a typical romantic comedy, that is until Baxter comes home on Christmas Eve to find a broken-hearted Fran unconscious on his bed.
After realizing that, despite all his promises, Sheldrake is never going to leave his wife, Fran in a fit of grief tries to commit suicide, overdosing on sleeping pills at the apartment. Suddenly the romantic comedy takes quite a dark and cynical turn. Thanks to the help of Dr. Dreyfuss next door (who of course thinks Fran took the sleeping pills over Baxter), Fran survives the overdose. She spends the next few days with Baxter at the apartment recovering.
Baxter distracting Fran with a game of rummy. Via.
As Fran recuperates, she and Baxter discuss many things; Mr. Sheldrake, love, and heartbreak. Baxter adorably tries to cheer Fran up and distract her from her heartache. Although this darker twist in the film could easily become over-the-top or melodramatic, it's actually portrayed very subtly and realistic. It's this honesty from both the script and the actors, that makes it all the more heart-wrenching.
Baxter: "The mirror... it's broken."
Fran: "Yes, I know. I like it that way. It makes me look the way I feel."
Behind all the comedy and witty dialogue, you realize that Baxter and Fran are both lonely individuals who fill their lives with fruitless ambition; Baxter thinks the big title and private office is what will make him happy, just as Fran thinks that Sheldrake leaving his wife for her will make her happy.
"Some people take, some people get took. And they know they're getting took and there's nothing they can do about it. - Fran
Fran on New Year's Eve, thinking she finally got what she wanted. Via.
Funny thing though; what we want isn't always what's good for us. In those few days at the apartment, Baxter and Fran find comfort in one another and their similar situations. And once they return to normal life, with Baxter back in the boss' pocket and Fran back in the boss' bed, suddenly the status quo doesn't seem enough any more. Their dreams and ambitions have been overshadowed, by their few days of sincere human interaction at the apartment. They both find themselves entering the New Year with a decision to make; will they listen to their head or their heart?
"Ya know, I use to live like Robinson Crusoe. I mean, shipwrecked among 8 million people.
And then one day I saw a footprint in the sand, and there you were." - Baxter
This why I think The Apartment resonates so well at the New Year. Fran and Baxter remind you that the New Year is a blank slate, a new page. It's the opportunity to candidly look at your life and think about what's working and what's not. Like Fran and Baxter, we all get the chance to change the status quo. Moving forward in 2014 let's all remember to make decisions with both our heads and our hearts, and embrace the change that's needed for us to become a happy, healthy mensches- human beings.
Happy New Year!
Lisa Helene.
While working on this blog post, I found this fan-made movie poster below.
(You do have to have seen the movie to get his one though.)
Alternative poster for The Apartment. Designed by Matt Owen.
Also, take a look at this memo I found.
Director, Alfred Hitchcock sent Billy Wilder a commending note after seeing The Apartment:
