This influential and chilling science fiction tale about small-town residents who are being replaced by emotionless alien "pods" features a subtext borne out of 1950s Red-baiting, atomic-testing paranoia as adapted by Daniel Mainwaring from Jack Finney's novel. Don Siegel directed Kevin McCarthy and Dana Wynter as average citizens trying to come to grips with the unfathomable. Despite the film’s lowly exploitation movie roots, Siegel and his writers keenly explore the allegorical depths of their subject. The film's tight plot structure and stark, noir-influenced photography by Ellsworth Fredericks impeccably complements the escalating, suffocating sense of utter terror.
"Lemmon is demoniacally funny he really gives in to women's clothes and begins to think of himself as a sexy girl. ... Brown is inspired, the way he was years before in Max Reinhardt's movie of A Midsummer Night's Dream (1935), when he made us weep from laughter." Pauline Kael, 5001 Nights at the Movies (Henry Holt, 1982). "Billy Wilder has made many films that have walked the line of bad taste. With its references to homosexuality, lesbianism, sadomasochism, oral sex ("The fuzzy/sweet end of the lollipop"), transvestism, impotence, and sex change, with MM scandalously dressed, and with its numerous double entendres, it was bound to offend some critics. But most critical reaction was in favor of Some Like It Hot. That's because, quite simply, it is one of the truly great Hollywood comedies. It is endlessly clever, briskly paced, deliciously acted, daring." - Danny Peary, .
Ray Ashley (a.k.a. Raymond Abrashkin) shot this film on a tiny budget and with a cast of non-actors. Seven year-old Richie Andrusco—who would never appear in another film—stars as Lennie, the title character. The victim of a cruel and frightening trick perpetrated by his brother and his brother’s friends, Lennie flees his New York apartment and takes refuge amidst the sights and sounds of Coney Island. Through deft, mostly hand-held camera work, natural lighting and the unaffected acting of its young lead, “Little Fugitive” explores the innocence of childhood without self-consciousness or heavy sentiment.
In the history of Billy Wilder, it’s interesting to see where it can be placed in terms of the filmography. Despite an impressive, long career, both before and after , it would be hard to find a more emotional and moving film he’s written and directed. As premise driven as may be, there is something extremely personal about the characters and subtler themes of urban loneliness he addresses. Baxter is in danger of becoming one of the aggressive users of women, until faced with Fran who having been used, is struggling simply to survive in the cruel city without losing herself completely.
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Written by the great filmmaker Billy Wilder, this is a serious, sardonic comedy for people who've known what's its like to feel the pressure of compromising your principles or your self- respect for the sake of getting ahead in life. And there are very few over the age of consent who haven't had to at one time or another. This isn't the laugh out loud comedy of Jim Carrey or the Farrelly brothers, but a subtle, nuanced comedy about two people who have both been jaded in love and yet continue to hope again and again that it will someday work out for them -- mainly because despite the unlikeable things they do, they are both basically decent, nice people. Flawed and even weak at times, but good people. This is a movie that doesn't just make it you laugh, it makes you think. A rare find indeed.
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‘In the Mood for Love’ was filmed in Hong Kong, 2000 directed by Wong Kar Wai who is romanticism movie-maker tries to capture the reality of Hong Kong of the each moments (Bordwell,2010). The background of film is 1960’s to 1970’s Hong Kong, and the famous Hong Kong actor and actress, Tony Chiu Wai Leung and Maggie Cheung were act the main role in the film (IMDb). The movie starts as two families move into one neighboring apartment in Hong Kong, 1962. Then the sad story begins by two main characters find out that their spouse having an affair to each other, and the main characters also fall in love to each other. Original meaning of the title in Chinese means the happiest moment in the life.
Balancing the comedy and drama is perhaps the film’s finest achievement, maintaining a synchronization that keeps the story alternately funny and poignant, while examining timelessly polemic scenarios gives the film a pronounced, permanently relevant quality, approached in a genuinely sweet and idealistic manner. And although the romance may seem a touch outdated (many accuse Lemmon of overacting, but his performance is more along the lines of lovelorn timidity combating an unappeasable environment), “The Apartment” frequently ranks among the greatest comedies of all time. For many, it is also one of the best movies of any genre – an unforgettable masterpiece of laughs and pathos, with an undeniably classic ending, that went on to deservedly win five Academy Awards, including Best Picture and Director of 1960.
History of the communal apartment The rise of the communal apartment
Jack Lemmon owed Columbia Pictures one more movie on his contract. In order to be released to do Some Like It Hot, he had to promise the studio four more pictures.
There is no such thing as a sympathetic character in "The Apartment". Let's see, sleazy executives, a toady who pimps his apartment, a pathetic young woman who knowingly fools around with a married man, the most recent of some bad choices. The only one who deserves sympathy, mainly pity. is Fran. She is young, vulnerable, foolish, sad. I enjoyed every performance in this film except Lemmon. IMHO Jack Lemmon brings too many ticks and affectations to the part. It was distracting and self-indulgent. I generally like dark material the way Wilder delivers it. Brilliant movie, but it's Lemmon's performance that keeps me from re-watching this film.
I felt sorry for Fran that she settled for that toady, but just because the story ends with them together doesn't mean they stay together.Of all Billy Wilder's movies, and I know them all, "The Apartment" has always been my favorite. Some of the other comments alluded to the main reason--the darker dramatic elements mingled with the comedy. I love movies that can shift tones from light/comic to dramatic and even tragic, and it's something Wilder sometimes had a gift for, never more than here.
I personally love the look of the film for its art direction and great black and white cinematography. It's precisely because these settings are so prosaic, nothing there to be beautiful, that makes the imagination put into those aspects of the movie so brilliant for me.
And I like the characters. After her second Wilder film (maybe even beginning with it IRMA LA DOUCE) I've consistently disliked MacLaine and it's tiresome the way she even overrates herself, but for me was genuinely and appealingly individual in most of her films of the first decade, especially SOME CAME RUNNING but also this one. The versatile MacMurray is great in parts where his charm wears so sleazily (the moment where he gives her $100 for Christmas is one of the movie's most memorable). But I especially like Jack Lemmon--my favorite performance ever of his; I find his range with the comedic and dramatic elements inspired and can never dislike his character no matter how compromised morally he may be--after all, he suffers bitterly for this.
A comparison between Lemmon's character here and Tony Curtis' in SWEET SMELL OF SUCCESS doesn't feel valid for me. I see Lemmon's Baxter as an essentially decent guy, while Curtis' Sidney Falco has knowingly sold his soul, become morally pathetic and knows it, especially evident in the scene where he pleads with sometime girlfriend Barbara Nichols to "be nice" to a guy. It's brilliantly played by Curtis throughout--he knows we don't have to like or admire the guy in any way to be fascinated by him.
Even though I love the movie, I do think it's always good to go to any movie with even expectations and not be affected if they have a so-called classic status. The movie should earn it each time out for each viewer. Wilder has at times been overrated and can be glib, even if I don't believe that's the case here. I share your distaste for SUNSET BOULEVARD, which, even if its distinctive and has some evident strengths, is just not a movie I've ever been able to love, or even really enjoy.
But when his cynical and romantic sides find the right balance, he's a wonderful filmmaker.