Classic Movie Review: Billy Wilder's Sunset Blvd.

Sunset Blvd. is probably director Billy Wilder’s best film, but when you’re talking about a man who made Some Like It Hot, The Apartment, The Lost Weekend, Stalag 17 and Double Indemnity, you’re really just splitting hairs with a statement like that. As with most of the best films throughout history, it is great not only because every element is part of a unified vision that coalesces into a finished product, but also because it employs several groundbreaking techniques to achieve its goal. There’s a reason why it’s ranked 32 (at the time of writing) on the IMDb’s Top 250 and has made the top 20 American films on lists prepared by the AFI. It’s also had two lines consistently singled out as among the most memorable in film history: “I am big. It’s the pictures that got small;” “All right, Mr. DeMille. I’m ready for my closeup.”

Classic Movie Review: Billy Wilder's The Apartment

Billy Wilder made a great career out of handling delicate subject matter in surprisingly frank ways. From murder for profit and marital infidelity in Double Indemnity (1944) to sexual politics in Some Like It Hot (1959). In his last great film, The Apartment (1960), he deftly crosses the serious subjects often present in his previous directorial efforts (most, if not all, of which he also wrote) such as infidelity, sexual politics, attempted suicide with a light-hearted and well-intentioned touch. This film, which pushes its 2 hour running time along at a brisk pace, brought Wilder his second directing Oscar, his third for screenplay and his first as a credited producer of a Best Picture winner (his The Lost Weekend won Best Picture, but Wilder did not win a statuette).

Jack Lemmon earned his third Oscar nomination as C.C. Baxter, a low-level accountant in a firm that boasts a city’s worth of employees in one building (so many that the start and finish times of the workday are staggered by floor so as not to overrun the elevators). He is a pushover for several executives to whom he lends the key to his Upper East Side bachelor pad so they can engage in their extra-marital flings. He enjoys a carefree lifestyle and the eventual benefits of being in the good graces of company execs until he witnesses firsthand the damage that can be inflicted on the young women who are led to believe (however naively) that these men might leave their wives.