Four Favorite Noirs

May 16th is National Classic Movie Day. As has become tradition, Rick at Classic Film and TV Café is hosting his annual blogathon in honor of the day. This year's theme is "Four Favorite Noirs." Click here and dive deeply into more of those shady dames and tortured guys.

When I learned the topic of this year's National Classic Movie Day blogathon, my heart sank a little. There are so many film folks who are really knowledgeable about Film Noir and I am definitely not one of those people.  So if you are, please forgive my limited exposure to the genre. I'm not sure what qualities define a film noir (I always see people asking "is it noir?" so maybe nobody really knows). There seem to be characters who are cold and cruel, yet there are also those who mask a romantic heart with cynicism. Oh, and at least one nutty, improbable thing happens to drive the story forward. Like I said, I'm no expert, but I am game, so here goes:

Too Late for Tears

Finders keepers, right?

I like this film because it is a great justification for driving a convertible in California. Not only is the weather great, but a bag of money might just happen to be tossed into your back seat. Hey, you never know!

Ugh..he's still breathing

I have to figure that Lizabeth Scott is on perfect noir babe and that Dan Duryea fits the bill as the guy who is bad but who underestimates the badness of his female partner in crime. Remember what I just said about a nutty plot device? I mean, Liz and her husband, poor Arthur Kennedy, are taking a ride in their convertible with the top down and a satchel full of money just lands in their back seat. When does that ever happen? The sight of all that dough really brings out the materialistic, faithless minx in little Liz and before you know it, she's involved in murder, blackmail and double crossing. What's a girl (who it turns out was a baddie before we even met her) to do when cornered? 

Every girl needs an assistant

Why accidently fall off her balcony in a fancy Mexican hotel, paving the way for the good guys to find peace and happiness, that's what.

Just in case you were feeling a little sorry for her

Kiss Tomorrow Goodbye

A rule of film noir: never mess with a seriously messed up dame

Oh my, James Cagney's Ralph Cotter makes Cody Jarret look like an honorable guy (didn't he always give his gang their fair share?). Cagney can't help but appear sympathetic, but he has a hard time of it here, especially after swatting Barbara Payton with a wet towel (well, she did throw a knife at him first). 

This film in no way comes close to "White Heat," but it does have some goodies to make it interesting in a I-can't-stop-watching-this-but-need-to-shower-afterwards kind of way.

First of all, it features the notorious Barbara Payton as some broken doll named Holiday. Initially she seems a little too nice for Cagney. She goes along for the ride with him for quite some time because I guess she has a yen for somewhat charming psychopaths. But - and this may be a film noir rule - never cross a crazy dame. How do we know she's crazy? After Cagney beats her with the aforementioned wet towel, she falls into his arms sobbing "I'm so alone!"

Cotter knows he's got one crazy dame here

There is a neat and weird little subplot about a New Age spiritualist church (that practices the psychology of knowledge) and Cagney's desire to seduce an heiress (Helena Carter) associated with the church. 

Cotter has only one philosophy and it ain't this one

He marries the heiress and they spend their wedding night in separate beds. Ah, 1950.....

Movie wedding night 1950 style: not only
separate twin beds, but full PJs, too

As Holiday finally has her fill of Mr. Nasty (his cheating and the fact that he murdered her brother finally push her over the edge), Cagney gets to deliver one more awesome death scene. Nobody died like Cagney. 

A broken champagne bottle is no match for
Holiday and her heater. Bye bye Ralph.

Brighton Rock

Pinkie and Rose

The most hateful character by far in my four chosen films is Pinkie Brown, the small time hood with a heart of pure lead. We never learn anything about his background or what makes him tick. He is simply presented to us, a fully grown psychopath. Pinkie is masterfully realized by Richard Attenborough, but this film adaptation of a Graham Greene story (and play) is downright depressing and fascinating at the same time. Maybe this is another rule of noir?

Set in the English seaside town of Brighton in the 1930s, Pinkie runs a brutal crime gang in a town that is crawling with brutal crime gangs. The Brighton Borough Council was so disturbed by the film's depiction of their city that a disclaimer was added to the beginning of the film stating that the gangs as shown in the story no longer existed (which may or may not have been true). 

Pinkie and Rose spend their wedding day by the sea

Probably the most disturbing part of the story is Pinkie's callous seduction of the innocent Rose. Pinkie's murder victim (a journalist) had a habit of leaving calling cards around places he visited. One such card, which could lead to the discovery of Pinkie's guilt, is found by Rose. In order to stop her from going to the police, Pinkie courts her and marries her.

Pinkie makes his recording: Rose can't wait to hear it

And just in case you are lured into believing that Pinkie has feelings for Rose, he makes this recording for her on their wedding day:

"What you want me to say is I love you. Well, here is the truth. I hate you, you little slut. You make me sick."

Shivers. Naturally, Rose doesn't have a gramophone to play the recording. When she can not go through with Pinkie's suicide pact as the law closes in, Pinkie dies while being pursued by the police and she is left only with the recording. Greene's original story ended with her hearing the recording in its entirety and being crushed by the truth. However, the movie's ending was changed in such a way as to preserve Rose's faith and innocence; she plays the recording and it sticks on the words "I love you." Greene hated it.

The Late Show

This photo of Martha Vickers is on Ira's bureau. What was she
to him? We never learn. It's just a neat noir nod

Not sure if this film could be called a noir - maybe a neo-noir with a New Age twist? But Art Carney's character certainly lives in a noir world that has passed him by and I just love it. 

Ira's partner (Howard Duff) turns up dead and he's on the case.

Carney is Ira Wells, an old school semi-retired detective with a bad gut whose former partner turns up murdered on his doorstep. Ira's quest to get to the bottom of the murder leads him to Margo Sperling, a New Age kook who wants Ira to find her missing cat. I think Margo, in another decade, would have visited that New Age church in "Kiss Tomorrow Goodbye," but I digress. Through a clever series of events, Margo's missing cat and Ira's dead partner are connected.

Ira and Margo work the case

There is a sexy femme fatale and lots of sleazy and quirky characters that fill in the blanks before all questions are answered.

The Femme Fatale

The quirky characters

Margo, played with such spirited joy by Lily Tomlin, begins to care about Ira and reluctantly, Ira starts to warm up to Margo. They are a real odd couple and their developing fondness for one another is at the heart of the film, although the story line is as good as any of the above-mentioned noirs (Robert Benton's screenplay was Oscar nominated). Not to spoil anything, but Margo gets her cat back and she and Ira might be available to crack another case.

Might as well take the ride together

So, I'm still not sure how to define film noir. It is usually black and white, but doesn't have to be, it usually is lower budget, but doesn't have to be, and there is a gorgeous and deadly femme fatale, but that is not necessarily so. I guess it's just a feeling, kind of like art: I'll know it when I see it.

National Classic Movie Day: 6 Decades/6 Double Features

This is my entry into The Classic Film and TV Cafe's annual National Classic Movie Day blogathon. This year's theme is 6 films - 6 decades. Click here to see more personal choices by some awesome movie lovers.

If you're like me, you have a list of favorites. And, because they are favorites, I've written way too many times about them. So, in the spirit of not boring myself, let alone you, to death, I've decided to pair an almost- top favorite with an absolute favorite to create a National Classic Movie Day Double Feature (remember those? If you do, you're probably a classic yourself). I'm also tying them together with a (sometimes very loose) thematic thread...sort of. Here goes...

1910s: The Immigrant and The New York Hat: Big Apple Love and Longing

The main feature is one of my favorite Chaplin shorts, 1917's "The Immigrant." The second feature is 1912's "The New York Hat." Chaplin gazes at the Statue of Liberty in New York Harbor and Mary Pickford gazes longingly at a fancy New York hat in a shop window. There's always been something about New York.

$10 is a  fortune for Mary in "The New York Hat."

Have you seen this film? This is a charming little short with a hefty pedigree. Directed by D.W. Griffith and written by Anita Loos and Frances Marion, it stars Mary Pickford and Lionel Barrymore in Mary Pickford's swan song to her Biograph association. I love everything about this film, including its sly and humorous take down of small town gossips, but mainly I am always - always - astounded by Mary Pickford's incredible star power. It is impossible not to take your eyes off of her or be enchanted by her. After 109 years, she is undeniably a bright and shinning and ever lasting star.

1920s: Our Hospitality and The Thief of Bagdad: Go Big. 

The main feature for this decade would be Buster Keaton's great first feature, 1923's "Our Hospitality." I love the incredibly clever story and, of course, Buster's humor. But mainly I love this film for Buster's bravery and audacity in both his stunts and his incredible period recreation. The little guy went big in all ways.

The second feature pairing is Douglas Fairbanks' 1924 "The Thief of Bagdad." This film is epic in its splendor and size and in its romance. Photos cannot do it justice. Check out this beautiful trailer for a real flavor of this film, accompanied by a beautiful Carl Davis (and Rimsky-Korsakov score). Norma Desmond (more about her later) said "they took the idols of the world and smashed them." Here at the height of his star power, Fairbanks creates an over-sized fantasy that is a feast for the eyes and imagination. This was the golden decade of movie magic and romance. Never again would film speak to the entire world in such a singular voice, never again would the private imaginations of movie goers soar in such private and personal splendor.

1930s: City Lights and Love Me Tonight: I Humbly Apologize...

The main feature is Chaplin's great 1931 "City Lights." I've written way too much about it already, so let's just focus here on the beautiful story of a poor fellow who will stretch the truth about his humble conditions to win the heart of his lady love.

Chevalier and MacDonald sizing each other up

The second feature here is 1932's "Love Me Tonight." Ah, "the son of a gun is nothing but a tailor!" (so the song goes). Chevalier, the humble tailor who masquerades as a nobleman to win his princess, oozes his most cheeky French charm, Jeanette MacDonald is at her sexiest and least artificial, there's a score to die for by Rodgers and Hart, and it's all directed in the Lubitsch manner by Rouben Mamoulian. An added plus: A delicious Myrna Loy, Charlie Ruggles and Charles Butterworth are along for this joyous and carefree ride. "Love Me Tonight" is a perfect cinematic confection that tastes like desert but is as pleasing as a full course meal. Isn't it romantic? Yes! 

1940s: Double Indemnity and Leave Her to Heaven: Pretty Poison

"Double Indemnity" (1944) is one of my all time favorites. What more can I say? It is Billy Wilder perfect - which is perfect x 10 (at least). Barbara Stanwyck's unforgettable femme fatale is poisonously fatal to everyone, including herself. But, she had us at the ankle bracelet.

Please don't let Ellen take you swimming.....

The second feature for this decade is 1945's "Leave her to Heaven." Talk about a poison femme fatale. This noir in glorious color has everything: great locations, sympathetic secondary characters, and an irresistible potboiler of a plot. However, it all bows in service to Gene Tierney's psychopathic Ellen. Beautiful to look at, deadly to hold. I can't think of a femme fatale more beautiful and ultimately more loathsome.

1950s: Sunset Boulevard and Strangers on a Train: Kooks and Unrequited Love

Kooks and unrequited love seems to be a theme that runs through this decade. Sunset Boulevard is my favorite film of any decade and Norma Desmond one of my most favorite characters. Period. Poor Norma.... fruitcake mad for Joe Gillis... and poor Max...fruitcake mad for Norma. More Billy Wilder perfection.

Criss Cross....

Hitchcock's 1951 "Strangers on a Train," the other half of this nutty double feature, also has a kook who seems to be, if not in love, at least enthralled with his unwilling partner in crime. The way the word "Guy" drips out of Bruno's mouth is about as creepy as it gets. I kind of think even Norma Desmond would head for the door in Bruno's presence.

1960s: The Apartment and Charade: surrounded by baddies

Billy Wilder again! I guess all I need are Chaplin and Wilder films to feel happy. Aside from the complicated and adorable love story between Jack Lemmon and Shirley MacLaine, one of the uncomfortable aspects of "The Apartment" is the casual immorality of of all those guys at Consolidated Insurance.

Seriously, what's not to love here?

1963's "Charade" finds Audrey and Cary (I'm on a first name basis with these 2) also surrounded by bad guys. That's about it for any connection to "The Apartment" (except maybe each has a memorable theme song). But, since this is one of my favorites from the '60s, I had to include it. It is beautiful, clever, thrilling and I love it. I never tire of it.

Oh wait! Can we have a triple feature for the 60s? I would gladly get more popcorn and sit through Mel Brooks' "The Producers" (1967) any time, any place. There are too many reasons why to count, but mainly because for the previous 4 years I kept repeating one line of the film over and over again (last line before the fade out):

Thank you, Mel Brooks, for all the laughs.

And many thanks to Rick at The Classic Film and TV Café for reminding us about National Classic Movie Day.. although for most of us, that's every day, right?

 

National Classic Movie Day: 6 from the 60s

This is my entry in the National Classic Movie Day 6 From the 60's Blogathon hosted by the great and powerful Rick at The Classic Film and TV Cafe. Please click here for more great films and memories from a great decade for film and a great decade to be young.

Amazingly (to me, at least), I have reached the age where I can write about classic films from the first hand experience of actually having seen them in the theater when they were released. My earliest memories of movies in a theater came from the decade of the 1960's. Seeing films with either my Mom or friends or  - most memorably - alone was like watering a hungry little seed that blossomed into a life long love. Accordingly, I have chosen to write about films from that decade that had an impact on me as a young person in the dark. Not all are classics, but they all hold a special place in my heart. Clearly, first loves leave a lasting imprint there.

Here we go, paisley mini skirt, go-go boots, poor boy sweater and all!

The Parent Trap (1961)

One Hayley is wonderful; 2 Hayleys is heaven

This is the film that made me love Hayley Mills. Forget the fact that a Boston sister and a western sister both spoke with British accents, I was mad for all things Hayley after that. There was not a movie magazine that printed a mention of her that I did not covet or collect (want to see the "Summer Magic" paper dolls I still have?). My favorite scene: the summer camp dress sabotage. Oh, and Maureen O'Hara, to me, was the most beautiful woman I had ever seen. She reminded me of my Mom, who took me to see this.

And my love for Hayley endures. Last year I saw her in a play in New York...front row seats...she was beautiful...I swooned.

The Thrill of it All (1963)

Doris as Beverly Boyer: The Happy Soap Girl

My Mom took me to see this one, too. I remember laughing a lot, but especially at the scene where James Garner drives his car into a soap filled swimming pool (hey, I was 10). Since that day, Doris Day has always seemed like a warm hug for me. Plus, I thought she was Beautiful, loved her hair and clothes and just the naturalness of her. I saw this film recently on TV and it still charmed me. Her chemistry with Jame Garner was equal to the sparks she shared with Rock Hudson. They were great together. This film was a narrow choice over their other film, "Move Over, Darling." What sent this over the top was Zasu Pitts as the family maid who I recognized from morning reruns of "The Gale Storm Show."

A Shot in the Dark (1964)

I'm pretty sure my older brother took me to see this one, probably because he wanted to see it and he was stuck with me for the afternoon. I'm so glad he did, because this was my introduction to Inspector Clouseau and the wonderful Peter Sellers, who became a favorite of mine. And you know, girls always notice other girls, and to me Elke Sommer was gorgeous. The scene at the nudist camp had the entire theater in hysterics (a wonderful memory; will we ever experience it again?), but the billiard scene was my favorite... even more now because at the time, I had no idea how divine George Sanders was.

Hush Hush Sweet Charlotte (1964) 

A most memorable day at the movies for me, the first movie I saw alone. I was feeling a little self-conscious, thinking that I might be the only solitary person there. However, when I paid for my ticket and entered the lobby, I noticed quite a commotion. People were filling out cards with questions, but I was so focused on getting a seat and looking like I did this ALL the time, I ignored all the hub-bub. 

First: the film. Gripping stuff, right? And for an 11 or 12  year old, pretty darn scary. Truthfully, it took me decades to be able to look at - much less appreciate - Joseph Cotten. I did scream and jump out of my seat when he (allegedly) crawled up those stair from a muddy grave.

Next: It turns out all of those cards and questions were for the appearance after the film of the 2 stars: Bette Davis and Olivia de Havilland. Yes, that was in the day when stars actually did these those things. Truly, after that film, all I wanted to do was leave, but I recall being forced to sit in my seat. I remember nothing of what the 2 greats had to say. My only memory is that Olivia looked beautiful and glamorous in a sky blue dress and that Bette was quite dowdy looking, but her answers to the questions elicited laughs and applause.  Oh how I wish that I had been able to appreciate them at that time. All I could think of was Joseph Cotten.

Lastly: That was the day I learned that going to the movies alone was okay - maybe even preferable. And I wish I had been able to appreciate Mary Astor, who made a brief, kind of sad, appearance in the film.

A Hard Day's Night (1964)

Simply a dream come true for this Beatles fan. Since my bedroom wall was covered with pictures of the Fab Four (I was a John girl, thank you), the day this film came to town was the day my friends and I just had to see it. Loved the music and loved those guys.

This is one film that got even better for me as time went by. Not only is it fast, fun, inventive, great looking and a wonderful showcase for John, Paul, George and Ringo, it makes my eyes mist over with the happy memory of a youthful passion.

Rosemary's Baby (1968)

Oh that "R" rating caused quite a controversy, didn't it? Everyone, and I mean everyone, had read the book and eagerly anticipated the movie. But, that damned "R" rating meant I needed an adult to get in with. So yet another thanks to Mom for taking me, probably against her better judgement, to see this devilishly great film which is so true to the book.

Mia and New York in 1968 were enchanting, but it was Ruth Gordon who stole the show for me. As Minnie Castevet she was equal parts charming and frightening. Oh Rosemary, don't drink that concoction she brings over for you every morning! And wouldn't L'Air du Temps be better than tannis root? Of course, the big reveal was "the baby" and just the memory of those beady red eyes sends shivers down my spine. 

* Extra second feature: The Art of Love (1965)

* this is for the memory of the time when we got 2 for the price of 1. 

"The Art of Love" would not make anyone's list of classics and I think you might be hard pressed to find someone who actually saw it, but it's a silly film that I remember loving so much. And what's not to love? It had Elke Sommer (the girl who caught my eye in "A Shot in the Dark"), James Garner (who was so wonderful with Doris Day in "The Thrill of it All"), Dick Van Dyke (the star of one of my favorite TV shows) and Ethel Merman, who memorably had green hair in this. It was just great 1960's innocent fun. However, in doing a look back here, this little forgotten film had more great pedigree: a Ross Hunter production, written by Carl Reiner and directed by Norman Jewison. And the opening credits (remember them?) were pretty darn great, too.

What I love about all of these films is that I still love them - each and every one. While not all are classics, they are all solid fun in their own way and made even more precious because of the happy, enduring memories. 

Thanks again, Rick, for hosting another great National Classic Movie Day Blogathon!

It's National Classic Movie Day!

May 16th is National Classic Movie Day! And, as is tradition, Classic Film and TV Cafe is hosting a blogathon. Wander on over HERE to read about everyone's 5 favorite films of the 50s.

Okay, so since my real most favorite films of the 50s (Sunset Boulevard, Singin' in the Rain to name 2) are probably on lots of people's lists and since I've written about them way too much, I decided to go with 5 films that are favorites, but not most favorite. The sub-genre of favorite-but-not-most favorite is a worthy one, too. No?

Love Me or Leave Me (1955)

My love for this film takes on some extra poignancy due to the recent passing of one of my favorite stars, Doris Day. For my money, Doris was one of the most underrated of Hollywood stars. She could so it all in a way that looked natural and effortless - Judy without the neurosis.

Come on, Doris, he's not that bad......

Doris, as singer Ruth Etting, proves her acting ability in more than just sunny fluff. Of course, having a powerhouse performance by James Cagney as her gangster/obsessive lover probably helped elevate her performance. Cagney is amazing and kind of heart-breaking here. His love for Ruth is hopeless, no matter how hard he tries to strong-arm her into it, and Doris, as Ruth, is a gal who uses Marty's influence to get ahead and maybe, just maybe, has a bit of a yen for him (even though it disgusts her).  There is real and unexpected chemistry between Day and Cagney. Their relationship is, as they say, complicated, especially when true love Cameron Mitchell comes on the scene. Of course it ends happily for all (even Marty gets an ounce of satisfaction after a stint in the pokey after shooting Mitchell) because it was, after all, the 1950s.

The Court Jester (1955)

What can I say?

Hawkins: I’ve got it! I’ve got it! The pellet with the poison’s in the vessel with the pestle; the chalice from the palace has the brew that is true! Right?
Griselda: Right, but there’s been a change. They broke the chalice from the palace.
Hawkins: They broke the chalice from the palace?!
Griselda: And replaced it with a flagon.
Hawkins: A flagon?
Griselda: With the figure of a dragon.
Hawkins: Flagon with a dragon.
Griselda: Right.
Hawkins: But did you put the pellet with the poison in the vessel with the pestle?
Griselda: No! The pellet with the poison’s in the flagon with the dragon! The vessel with the pestle has the brew that is true!
Hawkins: The pellet with the poison’s in the flagon with the dragon; the vessel with the pestle has the brew that is true.
Griselda: Just remember that.

It's better when you watch it:

It is hilarious, clever and Danny Kaye's talents are on full display. He has always been one of my favorites, but his movie roles did not always do justice to his special brand of zaniness that always had a touch of sweetness to it. A good man in a great role. And with Glynis Johns, Basil Rathbone, Angela Lansbury and the sly Mildred Natwick along for ride, what could be more delightful? It's a gem. It will uplift you on a dreary day.

Gigi (1958)

"a rock from some obnoxious little king is love..."
Gigi does not understand the Parisians

For me, this musical is perfection. Beautiful to look at and listen to, this romantic depiction fin de siecle Paris hits all of the right notes for me. Leslie Caron is a perfectly petulant French lass on the brink of womanhood, Louis Jordan is a perfectly petulant playboy, Gaston, on the brink of love and, best of all, Maurice Chevalier and Hermione Gingold are golden as 2 Parisians who have fond memories of youth and love. 

Gigi celebrates Paris and love in all of its ages.

People Will Talk (1951)

Dr. Noah Praetorius (Cary Grant): "I consider faith properly injected into a patient as effective in maintaining life as adrenaline, and a belief in miracles has been the difference between living and dying as often as any surgeon's scalpel."

Ah, I do like this film. Billed as a comedy (not suitable for children), it is a rather serious film about a young woman who is pregnant with unmistakable echoes of the 1940s and 1950s anti-communist witch hunts. Our hero, Dr. Noah Praetorius (Cary Grant) is a compassionate and holistic doctor and teacher. His methods of treatment (body, mind and spirit) are viewed with suspicion by the more conventional and small-minded healers in his community who accuse him of quackery. He meets a young lady at one of his lectures (Jeanne Crain) who harbors a secret - she is pregnant and without a husband. He marries her, she thinks out of pity, but it is because he genuinely loves her. He's just such a great guy. Check out his bedside manner:

Meanwhile, the doctor is also a fierce defender of his friend, Mr. Shunderson, a convicted murderer who was, literally, given a second chance at life by Dr. Praetorius. As the black hearted lynch mob tries to add this to all of his other accused crimes, Dr. P refuses to name names to save himself if it means hurting his friend. Grant plays this all with a very light touch, but this is pretty meaningful stuff. The doctor's generous and humane spirit triumphs, just as we always hope all such things conclude.

Will Success Spoil Rock Hunter? (1957)

Jayne out-Monroes Monroe as Rita Marlowe

Jayne Mansfield might have gotten top billing, but Tony Randall as the hapless Rock Hunter (otherwise known as "Lover Doll") steals the show, again proving my contention that Tony Randall makes everything better just by his presence. Take a sneak peek at the trailer:

A funny satire on television and pop culture, Randall and Mansfield, as the Stay-Put lipstick girl, shine and are supported by the always welcome Joan Blondell, Betsy Drake as Rock's true love, and a fun cameo by Groucho Marx.This movie makes me happy in so many ways, but mainly because Tony Randall, for once, gets the girl.

National Classic Movie Day: The Apartment is One Big Movie Hug

This is my contribution to the Classic Comfort Movie Blogathon, hosted by Rick at The Classic Film & TV Cafe. Click HERE and find out what movies comfort us when we need a movie hug. it's an awesome lineup!

Having a bad day? Whose day could be worse than CC Baxter’s?

CC Baxter needs his sleep

Shut out of his own apartment while his married insurance company superiors use it for a trysting place, there is no rest at home for him and no love in his life.Worse still, his boss, Mr. Sheldrake (rhymes with snake), dangles a huge promotion in front of him if CC gives Sheldrake exclusive rights to his apartment for his extra-marital affair.

The key to success

It’s a moral dilemma, but the one shining light in his day is Fran Kubelik, the lovely elevator operator and the object of his affection. He scores a date, but she stands him up.

CC and Fran take a shine to one another

Maybe a worse day than CC’s is Fran’s. Trying to break away from her affair with Sheldrake, she is once again drawn into it with a promise that he will soon leave his wife. And where does he take her for this renewed affair? The apartment, of course.

Same Chinese restaurant, same married man

Pretty much an even more horrible day for both is Christmas Eve. CC is stuck at a bar while his boss spends some time with Fran and Fran tries to kill herself after Sheldrake goes home to celebrate the holiday with his wife and kids (after slipping her some cash for a Christmas present).

Merry *!@#**& Christmas, CC

Now, I’ve had bad days, but never one like these two are having. Time to settle in and let all of my empathy for them warm my heart.

sadness, despair, concern, love

Once CC and Fran learn the truth about one another, they spend some time together while Fran recuperates from her attempted suicide. CC cooks spaghetti for her, plays gin rummy with her and generally shows himself to be the better man for her. He is smitten; she is scared and ashamed.

Bonding over pasta

Their time together in the apartment is like a comfy robe.

Philosophy - gin rummy-wise

In a twist, Sheldrake’s wife is tipped off about his infidelities by a former flame. He is now free to pursue Fran. She assents, but soon realizes that this creep is not the man for her. Racing back to Baxter, "The Apartment" warms my heart because fundamentally decent people win. And sometimes, I just need to believe that is true.

All's well that ends well