• Wilder’s 1960 tragicomedy features a tremendous set design (the endless rows and rows of desk in the insurance office) and career-best work from Jack Lemmon and Shirley MacLaine
  • Wilder was coming off Some Like it Hot (1959, so was Lemmon) and MacLaine off Some Came Running (1958)—Wilder had nothing to prove at this point, but for MacLaine and Lemmon they were still sort of considered comedians and this here gave them a chance to show their dramatic chops (as well as keeping a bit of their toe in the water as far as making audiences laugh—a real accomplishment when you read the synopsis of this film)
  • The film won five Academy Awards including Picture (the last black and white best picture winner for 33 years until Schindler’s List), director, screenplay, editing and the set decoration/design by Alexander Traune. Traune’s massive room (shot in widescreen b/w) recalls King Vidor’s 1928 The Crowd- making a statement with its sheer size. Lemmon’s C.C. Baster works at desk 861 on the 19th floor

the insurance office lighting design — set decoration/design by Alexander Traune

  • Wilder’s talent for balancing the lighter and darker moods rare gift- one of cinema’s greatest writers (he wrote with frequent collaborator during this period for him I.A.L. Diamond). The film starts with a voice-over that drops- it is just introducing us to the story/character
  • This is Wilder’s second time calling upon Jack Lemmon as his collaborator (they’d wind up working a total of seven times together)

the tone transitions are brilliant– here Lemmon’s Baxter sharply turns from jovial to gutted

  • Few could play weakness as well as Lemmon. He has a cold half the film it seems, he’s sniveling, whining—it is a testament to both the screenplay and Lemmon that the audience still roots for C.C. Baxter
  • Writing that has the ongoing “manpowerwise” “octoberwise”, “divorcewise”, etc joke—Wilder a surgeon and economic with his word choices (apparently the lack of freedom he gave his actors to ad-lib or improvise frustrated MacLaine). You wouldn’t know it though because again she’s never been better as the wounded Fran Kubelik. She is charming one minute and utterly tragic the next
  • Wilder working again with Fred MacMurry from Double Indemnity in 1944
  • You get Jack Kruschen (supporting nomination) as Dr. Dreyfuss with his excellent “be a mensch” speech
  • Strong lighting at the Richshaw Man Chinese restaurant with the big star fixture in the corner of the frame
  • Visually it isn’t just the massive office The Crowd row of desks wideshot that impresses— there is a reoccurring motif here, Lemmon’s Baxter is shot in isolation in a wideshot three times: at his desk, on the long park bench alone, and at the majestic theater after MacLaine stands him up. Strong visual cinema—depressing

Visually it isn’t just the massive office The Crowd row of desks wideshot that impresses…

there is a reoccurring motif here, Lemmon’s Baxter is shot in isolation in a wideshot three times: at his desk, on the long park bench alone…

…and at the majestic theater after MacLaine stands him up. Strong visual cinema—depressing

  • Famous for the last lines in the screenplay as well—the “shut up and deal” that would equal the “nobody’s perfect” sublime final line in Some Like It Hot
  • A Must-See film