Episode 99 - The Apartment

[00:00:01] Welcome back to Movie Mistrial, the podcast where we dive into the classics, the blockbusters and everything in between to determine what truly stands the test of time. I'm Johannes, your ever-enthusiastic co-host. And I'm Raji, here to debate, question and sometimes defend the films that have shaped cinema as we know it. Today we're traveling back to 1960 to discuss The Apartment, directed by Billy Wilder. This film blends romance, comedy and drama in a way only Wilder can.

[00:00:32] That's right, starring Jack Lemmon, Shirley MacLaine and Fred McMurray. This Best Picture winner gave us a sharp commentary on ambition, love and the morality in the corporate world. So does The Apartment still feel as fresh and poignant as it did back then? Or has time left it behind? Let's dive in and find out. Buckle up, this one's got everything. Heart, humor and some serious ethical dilemmas.

[00:01:00] This is Movie Mistrial and today, The Apartment is on trial. Do you swear to tell the truth, the whole truth and nothing but the truth, so help you God? Alright, my friend. The Apartment. We are almost at episode 100.

[00:01:30] Yes. We're reserving the 100th spot for Kubrick, I think. But the apartment. I should say first of all that we did see this in the cinema together. Yes. And this was the first time we actually met. Yes.

[00:01:48] And I will say that the cinema experience watching this movie was a very profound period for me because it never occurred to me that we could go watch this movie in the cinema. Uh-huh. And the interesting thing was the reaction of the crowd as the movie went on was very helpful in painting this picture in an interesting light, you know? Yeah.

[00:02:15] So it was a very, should I say unique experience for me, given the timeframe of this movie. But I will say that it's something that I would do again. Yeah. Yeah. It was a great coincidence that this film was playing locally, one night only, and we were able to meet up and check it out.

[00:02:40] And yeah, I agree that the audience really helped kind of drive home some of the points we were probably going to make. So, yeah, it was great. It was a great experience. All right. Let's got to test the coin. Let's not give too much away. Exactly. So what's it going to be? It's going to be heads as usual for me. Tails. All right.

[00:03:05] Um, I want to speak for this film. You want to speak for this film. All right, cool. So I get to start. And the witness will address this quote as judge or your arm. All right. Ladies and gentlemen, listeners of this podcast, every single person, um, whatever, however you identify, uh, I'm going to expand the spectrum as much as I can.

[00:03:31] And then we're going to talk about the apartment movie that came out in 1960 that still reflects the gender dynamics of the 1960s. Um, a movie that praises, um, that intoxifies itself with the gender dynamics of the time.

[00:03:53] Um, and kind of bestows on us this idea that the men have to be on top. Um, and the women have to be great secretaries or elevator workers.

[00:04:07] Um, and for them to, to, uh, uh, move up, they have to, um, basically sleep with the boss, uh, over the period of a summer, right before Christmas, when the boss gets back with his wife.

[00:04:30] Um, and at some point in the movie, um, the, the person who is victimized goes, you know, why don't I fall in love with nice guys like you?

[00:04:44] Um, so the, um, the, the moral ambiguity of the protagonist, the, um, simplistic resolution at the end of the film, despite everything she's been to, um, uh, runs in and he goes, you know, I love you, I adore you. And she goes, just, you know, play the cards. Um, and, you know, and some, of course, the limited representation that occurs in this movie.

[00:05:13] I think there was a part of this movie that I had an audible gasp where we had seen this movie that was filled with white people. And at the very end, uh, there was a black person in the room and all he did was shine the shoes and toss him a coin and he, he had to leave. That was the role representation of black people in that world. It was very uncomfortable to see.

[00:05:37] Um, but I will say, you know, those are the general ideas that I'm going to, to, to touch on. Um, and I think I probably, the last point I'm not going to touch too much on because we cannot remove every single film from the time it was made. Um, but it's interesting to look back on this and try to understand that the power imbalance wasn't with the men and women. It was also between the races too. So, um, that's my start.

[00:06:07] And, uh, I'm going to give you the floor. Stick into it. Yeah. At that moment, uh, you were like, oh no. Oh, the person in front of you turned around. It's like, what? Anyway. So let's focus back. Um, the apartment is, is a great movie for, for many reasons.

[00:06:30] I think the, the fascinating thing is that, uh, while it is a 1960s film, a lot of what we're seeing here is still relevant. The, uh, if, if, if we look at it from kind of a power dynamic structure and a, uh, we need to, um, go to great lengths to advance in companies, I think, uh, or, or in life.

[00:06:56] Like that, that idea that, uh, we, we have to, um, do favors, be it physically or in other shapes or forms, um, to advance in, in our lives is, uh, something that's still relevant.

[00:07:10] I think, um, but the, the unique thing about this film is that I don't think you would be able to make this film, um, in this time and place, uh, because it's, it's basically a, uh, like post me too era. Like you, you cannot do this film.

[00:07:32] Um, you couldn't make a film about, uh, Mira Max, um, which, which would be probably the closest equivalent here and, and Harvey Weinstein and, uh, kind of have somebody that is like renting out their apartment to Harvey Weinstein to, you know, to do his thing. Uh, that would be a very awkward movie, but somehow this film achieved that in the sixties.

[00:07:58] And I think that is fascinating, um, with, with everything that is kind of a comfortable around that, um, like encompassed in this film. The, the fascinating thing is too, that it is played for laughs. It's, it's, it's a comedy at its core. Um, it's a comedy that is not just haha funny, but it's also really going deep into, uh, some heavy stuff, which I find fascinating.

[00:08:26] Uh, because I think nowadays films are more often than not, if they're comedy, they're just straight up comedy, but we're touching on, on pretty heavy subjects here. Um, you know, unenlivening yourself and all that, all that stuff. And it's, um, it is fascinating that this film is able to, uh, thread that needle so expertly.

[00:08:50] And, uh, I think I'll, I'll close out with, um, every, I think in a way, everybody that is working in a, in a corporate job is recognizing kind of the, the, the dynamics,

[00:09:06] even that, even this being a film from the sixties, I think there's still a lot there that may not look the same or may not, um, be a one-to-one kind of, um, comparison. But, but I think a lot of the dynamics and the structures are still in place in a lot of companies.

[00:09:28] And I think everybody can kind of, um, recognize themselves in, in a few of these characters that are probably not in leadership. So, um, I'll, I'll start with that and then we'll, we'll cross the bridge further. Okay. Um, I think one of the things you just, the last point you mentioned about those, um, people understanding that this, what I take it as is that you are trying to say that people understand that what you're doing is wrong.

[00:09:58] Uh, in a sense, I think the meeting that they had with his boss at the very beginning where he calls in and he says, you know, he's talking about CC Baxter. I've been hearing a lot about the keys that are moving around and he's instantly feeling guilty about it. Um, and then the boss says, well, uh, you have to be a very smart boy. You have to be a very intelligent boy. And if you want to move up, you've got to have an imaginative mind. Um, and he was like, oh, okay, cool. Well, I guess you want my keys too.

[00:10:28] Um, and then he hands him his keys. Um, I think the problem I have with the protagonist is that he was complicit in all of the bad behavior in this movie. He had the ambition to move up in the world. Um, and he wanted to move out of the desk job he had where he had to type all day.

[00:10:51] Um, and the only way he had to do it is to enable his bosses to partake in the extracurricular activities they had on Tuesdays, Thursdays, Mondays, Fridays, Wednesdays, and Saturdays. Um, he had to abandon his apartment so that his bosses can have affairs on his bed, on his couch, in his fridge, all sorts of places.

[00:11:15] Um, and he wanted us to, he wanted us, he wanted to move up in the world. But towards the end of the movie, he starts to get a moral spine. And it's very difficult as a watcher of this movie to actually empathize with him.

[00:11:34] Um, because the only reason that he could even develop a moral spine was because the person that was affected by the actions of his boss was somebody he was actually interested in. He didn't care about any of the other people that were involved in these affairs. He had no, he had no interest in their history. He had no interest in how that affected them.

[00:12:01] But when it affected the person that he liked, the person that he appreciated, he wanted to create, get a moral spine. So because of that, we have this ethically questionable, um, protagonist, um, who we have to view the world through. Um, and it makes the whole situation a little bit more complicated than it had to be.

[00:12:27] If we had a more sympathetic, um, protagonist, I think that the movie would have had a stronger moral tale. But because of that, because the person is, um, because C.C. Baxter is morally ambiguous, um, we have to go through this world with Mark and Merc feeling a little bit dirty. Because we are also complicit in his lies.

[00:12:54] We never get to tell the landlord that, hey, it's not him, it's multiple people. We never get to tell the neighbor that he's not, his body is not what you need for the science experiments. It's all the other bosses that have to deal with all this stuff. Um, so it's, it's, it's, it's an interesting moral, um, situation. And I think after everything that happened, the fact that, um, on New Year's Day, he decides to leave.

[00:13:22] And, you know, um, she heard the whole conversation he had about, uh, Mr. Sheldrick. Um, she heard a lot of that conversation while she was recovering on his bed. Um, and somehow she felt like she had to go back to him. Um, and it felt like a trap. It feels like a trap.

[00:13:47] Um, the secretary that was with him before that even told him about all the other relationships they had, she was forced to watch him continue with all the relationships. There's a level of power dynamics that is so strong in this movie that it makes everything seem uncomfortable. Um, where everybody is complicit in, uh, the bad behavior and the romanticization.

[00:14:16] Mr. Sheldrick leaves his wife and instead of you, um, saying like, hey, I need to improve myself. You go, all right, well, I guess I'll, I'll jump in bed with you and we can get engaged. Um, uh, there's no analysis of the toll the relationships have on you. So, yeah, those are a few more points I'm going to give the, um, I'm going to give Johannes a chance to talk. Um, I mean, you were saying, uh, they were forced into it.

[00:14:46] And I think that that's, again, it's kind of a fine line. This film is balancing in a way because there's, there's the, the force aspect of it is more around the, um, do you want to retain your job? Which I understand is, is, is, is a valid thing, right? But, but it's not like the, the actual affairs feel very consensual, uh, between adults. So I think there's not necessarily a force there.

[00:15:15] I think there's some moral, questionable morals around, um, the bosses just having these flings on the side. But, but those are kind of on the, on a little more complex. Uh, because I think the, the women they go out with, um, seem to be very eager and open to do so. Um, now false pretenses and all, you know, that's where kind of the, the moral complexities come in.

[00:15:43] And, uh, but, but they're not forced into, into these relationships. I don't think. Um, and, and same with, uh, with our protagonist, he's not necessarily forced into renting out his apartment.

[00:15:57] Um, he does it because he's an opportunist and, um, uh, that, that grows into a weird scheme that I'd be happy to talk about in the, in the, in the sidebar later, um, to kind of figure out what, what that's all about. But it's, it's, um, again, kind of, uh, on his own accord in a way.

[00:16:20] I think he's, he's giving some, some explanations on how, how that evolved from, uh, I need a place to, to, uh, what was it? Like try on suits or something? I don't know. Um, but, uh, I, I, I don't think there's anybody standing there, um, you know, with a, with a gun and forcing people to do this.

[00:16:41] Um, but again, I think the, the strong suits of this film are these moral, um, kind of gray zones and ambiguities and kind of like all these questions. And it's like, why, why is this happening? And why, why is everybody cool with it? Right. And I think that is kind of the brilliance of this film all wrapped up in this, in this comedy, um, and very, very tightly written comedy too.

[00:17:11] I think there's, there's, um, something there that is, uh, fascinating in, in that how, um, some things are set up and, uh, some things are red herrings and, uh, but they're paid off at the end. And I think that there's something great there as well. And, uh, at the end of the day, I think the, the performances are great.

[00:17:36] I think the story is very engaging because like I said, I think a lot of people can find themselves in, in this corporate culture construct and, um, kind of recognize some patterns there. It's, it's, it's fascinating how much we've grown as a, as a, as a, as a people to not have that crazy of holiday parties. Um, though I think I've, I've seen kind of remnants of that in past holiday parties.

[00:18:05] Um, but not to that extent. Um, uh, I'm, I'm happy that we have evolved, um, in, in, in that nobody needs and wants to see that. I don't think. Um, and I, I'm, I'm happy that we have evolved, uh, from that time in, into something where the, the divide between male and female employees is, uh, not as big anymore.

[00:18:29] Uh, because I think this is a fascinating time capsule as well in that sense where we can see you brought that up where you could see that, that females are secretaries and, uh, elevator attendants. Uh, and the men are leadership and, uh, I'm happy that we, we see these things have evolved and for the better. Right.

[00:18:51] But, um, like with, with this film, like I said, the, the strong suits are that the, the, the story is still super relevant and recognizable, but now we can look back at it and be like, oh, thank, thank you that we're no longer living. To this, to that extent. Right.

[00:19:13] I think we're not, not fully there, there yet, but, uh, I, I think we've evolved and I think that that's kind of the, the greatness of this film that we can recognize that and see. We've done a lot. We can do better. But, um, if this was the sixties, you know, at least we now cannot make a similar film in the 2000 mid twenties anymore because people would be like, what the hell? Right. Like that is not okay. So I think there's, there's some greatness there.

[00:19:44] You know, the, the interesting thing about this movie, I mean, you were trying to argue that, um, your point, you were trying to say that, uh, nobody was forced to do anything and you are technically right. Right.

[00:19:56] But, um, I think that, um, you know, you're not a, you're not a, uh, you're not an idiot, are you? Um, I heard that you're a very imaginative person. And I, I feel like you want to be in the executive suites.

[00:20:23] Um, and if you play the game, uh, CC Baxter was all, all about the, um, the four bosses, uh, on the ground floor when he first started. Uh, and he was acquiesced into whatever they needed. But once he got the eye of, um, of the big boss, uh, Mr. Sheldrick, he put those people's, he put their feelings aside and he said it to acquiesce only to Mr. Sheldrick.

[00:20:52] And then what was his reward? He got a reward in the executive, right beside the executive offices, right beside Mr. Sheldrick's offices. Now he can eat with the executives. Now he can do all of that stuff. Um, those were his, um, those were his rewards for being, uh, for playing the game, for acquiescing to everything.

[00:21:14] And this was a conversation that was between two men, uh, both of whom had the potential of getting into that position. Um, now how would that conversation be with, uh, somebody who has a lower dynamic, uh, in the ladder?

[00:21:34] And I feel like we never got, uh, we never got, uh, uh, the chance to see a conversation about why the elevator, um, the elevator woman and Mr. Sheldrick ever got together. I've forgotten the name. By, uh, Shirley MacLaine. Uh, Shirley MacLaine's character. Look at me. Um, and, uh, why they got together. I think having, getting to see that conversation would have been very interesting.

[00:22:03] Um, and we're talking about the Christmas party. I can tell you for sure that those kinds of Christmas parties continued for at least another 30 years. Because while that Christmas party was going on, I was thinking to myself, this is Wolf of Wall Street before Wolf of Wall Street. Yeah. Uh, and the Wolf of Wall Street parties were wild. This party was wild by 1960s standards. So I would, I would say that it got worse for a while. And maybe these days it's a little bit better.

[00:22:30] Uh, but I cannot speak for all the companies that exist today. I think there are some parties that are just as bad. Uh, we just happen to not work for companies like that. Um, so yeah, um, it's interesting. It's interesting. Oh, the last one I wanted to make about this movie is the pacing. Yes. The pacing. This movie was, um, almost two, more than two hours long.

[00:22:55] Um, and I felt like some of this film could have been cut out for sure. Uh, the idea, the themes were already set. Um, I think the points were already made, but I think we wanted to see more witty banter. We wanted to see, um, more, uh, relationship dynamics.

[00:23:19] I mean, let's take, for example, um, the, the, the brother-in-law who comes in to save her. Um, that whole, um, that whole timeline could have been removed and she could just say, Hey, I have to leave here on my own volition. I think I've stayed here long enough. Um, I don't want to feel like I'm trapped in this, in this house and I need to get back home.

[00:23:45] Um, and we would have achieved the same result, but, you know, we had that storyline about the brother-in-law going in search of her, uh, going to the office, going into the house as they were making their Italian dinner. Um, and deciding to take her home after punching him in the eye. I feel like that kind of scene removes the urgency that, uh, uh, Shirley MacLaine has as a character

[00:24:13] in the movie and places it on the man as always, uh, for a 1960 film. And I feel like it kind of, um, plays into the dated gender dynamics conversation that I had too. Um, so I feel like those kinds of pacing issues, the places where they just talked, uh, even at the end where he, he, she's laying on his bed and the other, the other boss comes in and it's like, I thought I had Thursdays. Uh, and the guy's like, Oh, you got her?

[00:24:43] Oh, good, good boy. Uh, you get some hanky panky. And I was like, we already know that these kinds of things happen. Um, I feel like we're just retreading, uh, the old story. So in that sense, I felt like there was, there are parts of this movie that could be cut out and this movie would have, would have been even tighter, but it's, it's a good film. Yeah. I think, uh, like the fascinating thing again, also for this film is that it, it has a lot of room to breathe, right?

[00:25:13] That's kind of the flip side of what you were saying that, uh, we spent quite a bit of time around the aftermath of her, um, sleeping pill overdose. And, uh, like we spent a lot of time on that. We look at, um, like we, we bring in the neighbor who's a doctor. Um, and there's a lot that happens, uh, that all pays off, but we spent a lot of time.

[00:25:42] And I think the, the, the argument for this and giving it the room to breathe this because at the end, it's the payoff that they are coming together. And I think she's finally seeing the light that, Hey, you know, maybe you should get together with a person that actually cares about you and not just, you know, plays with you. Um, and, but I mean, I have to concede that, uh, her brother-in-law coming in is, uh, taking

[00:26:10] her agency away, which again is, uh, it's just up for the time, right? And she, she already has a lot of agency and, uh, she's, she's not a very passive person. I think we, we have a couple of clues on that, the way she operates the elevators and the way she banters with the people and, uh, pushes back and the way the bosses talk about her, that she's a tough nut to crack, right?

[00:26:35] Uh, tells her a lot to the point where it's almost, where she's almost queer coded. Uh, and, and they're, they're mentioning, he asks her, which I found fascinating too for the sixties, right? It's like, do you have a, a girlfriend or boyfriend? Right. And it's like, Whoa, okay. Um, we're going there because in a way she is kind of coded like that where, where you could make the argument that she's not even looking for, um, heterosexual relationship.

[00:27:04] But of course she is because, you know, it's, it's, it's important, but there's a lot of little things there that are kind of coded in a way that is a little ambiguous, but, um, we couldn't have that in November in the sixties, I don't think. Uh, but yeah, I found that fascinating too, but that, that's, uh, all I have. That's all I have too. I guess you can go to the sidebar. Let's do the sidebar. Overruled. Sidebar. Guilty. Speculation. Here's safe. Bailiff. Briefcase. Disregard. In my chamber. Stop Bieber and the witness. I rest.

[00:27:33] We could totally be lawyers. Sidebar. So yeah. So how, how, how does an arrangement like that come about? And why would you even have an arrangement like that with an underling in your company? Like if, if you're five bosses, six bosses in a company that already know that they're all screwing around, uh, like everybody knows that it's like, this is what we do because we're

[00:28:03] like, why don't they just go together and rent a freaking apartment? I don't get it. Like take out the, the, the hassle of it all. I think the interesting thing was there was a, there was a conversation he had when he went into the office with him where he was talking about somebody else who had done something and there was a record of it. And I think that might've been the reason why they were trying to remove complicity.

[00:28:29] So, you know, when he was trying to hassle C.C. Baxter, he was saying like, Hey, you know, there was somebody, I don't remember who he was. Basically there was something that happened previously. Um, and he was using that, uh, as a means to say like, Hey, you know, the consequences for not doing the right thing. Um, and when he started to get scared, he then twisted it around and said, Hey, but I heard you've got a key.

[00:28:58] Um, I don't remember what it was. I think it's skipped my mind, but I don't know if that is the reason why, but you bring up an interesting point. I mean, they could afford to get it, but, but it could also be a situation where it could also be a situation where they don't control the money. That's the, one of the fascinating dynamics of the sixties. Uh, the wife gets the paycheck.

[00:29:24] Uh, and if every paycheck you see like, Hey, there's an apartment out, there's a $300, you know, apartment gone. Oh, should I say 300? I said 300, a $40 apartment. Jeez. You know, the crazy thing about that movie was the prices of everything. Yeah. Give her a $1. You can go get yourself a Tiffany bag. And I was like, what? Tiffany bags cost a dollar? Man. Uh, those were the good times, man.

[00:29:50] Um, but yeah, I think that that could have also been a dynamic that wasn't like specifically stated, but I know for sure that the women controlled the money. Uh, whenever the husband got the paycheck, they took the money and they used it. For the household. So that was the dynamic that was in those days. Uh, maybe it was unspoken, uh, but yeah. Well, but there was also a conversation around, uh, you owe me money for this.

[00:30:17] Um, but like CC Baxter. So he, he's being compensated in some form. So that would lead me to believe that these men already figured out a way to siphon money. Right. So if they just pool together and, and then get out. Yeah. It's just weird. I understand that like getting a hotel and all that kind of stuff is, is probably more complicated. It's not as flashy as let's go to my apartment.

[00:30:46] On the other hand, it's also weird to be like, this is the apartment of my, was a mother-in-law or whatever. Right. Like what's that CC Baxter that said? No. Like he said, it's his apartment. But there's weird excuses for, um, who's this apartment? This is, which is, um, very strange. Uh, but yeah, so that, that was kind of the main thing that I was thinking about. It's like, why, why, why is this even a thing?

[00:31:16] Um, and why would anybody do this? Right. Like, uh, why would anybody do this for multiple people in the company? Because it's setting you up for, uh, blackmail too, in a, in a twisted way. And it's setting up your, your bosses for blackmail. Um, and, and the fact that we see Baxter caving in immediately when he goes to HR and

[00:31:42] it's like, oh, you know, he tries to come clean only to then revert back to, hey, how about I get a copy of the key too? So it's, uh, fascinating that he's not a good candidate to be in this, uh, rouse to begin with. Hmm. I, I, I also, I also, let's be fair. I want to state this categorically that this movie is, it's very, very good.

[00:32:08] The, the direction, the writing, um, the, the, what do you call it? The, um, sceneries, the scenery, uh, there were strong performances from the main actor, the way they use, like that Christmas, uh, party was very, uh, was very, very, was a very strong scene for me. The people were kissing for more than, for more than 40 seconds. I was like, wait, what the hell is going on?

[00:32:33] Uh, um, and it also is a critique of, uh, the time that the movie was made. So I don't think, I think the movie is very good. I don't have a problem with that. I still, I still do think that the movie has pacing issues. Um, but I think that the, the, the way it's a weird dynamic, especially given the fact that Sheldrake didn't care about her. And for some reason she assumed that he did.

[00:33:01] I mean, she didn't think he cared, but Cece Baxter convinced her that he did care. And then at the end of the movie, she goes back to Cece Baxter and he's like, I adore you. I love you. And she's like, ah, shut up. Let's deal. Um, I thought the whole thing was very too, too tight. It was too neat of an ending.

[00:33:26] She probably should have just not gone there at all, but it's, it's the sixties, I guess. And, uh, yeah, things happen. Yeah. I mean, a lot around that are a little iffy, right? Like she's, she's being told it was like, oh yeah, this is his pattern. This is his MO. And he does this to everybody. And like the, his secretary, which I find weird too, that she's still working there after all of this.

[00:33:53] That is, is strange to me, but, uh, she tells me that that's what he does. This is what he says. He always says, you know, I'll, I'll, um, divorce my wife.

[00:34:06] Um, and he's done that with, you know, countless women in this company and, uh, the, the Shirley MacLaine character does not hear that, does not like process what that means in a way she, she kind of does. And then it's, you know, takes pills and all that, but she's not really.

[00:34:30] So, and which I find a little strange because I would think, you know, like give her some agency back, but, but she's not. Right. And then at the end, she kind of gets that redemption of she finally sees the light, but it's like, it's, it's not fully earned because she already had all the, all the, the warning signs spelled out very directly. Hmm. Yeah. It was a good film. I enjoyed it.

[00:34:56] And I think, I think the, uh, the, the watching it in a movie theater, um, was also very helpful because, uh, one of the things that happened at the very end was, uh, the, the loud pop sound. Uh, I won't give you too much context, but I think that the whole, there was an audible, there were several audible gasps in the museum, uh, in the movie theater. And I was actually shocked too. Um, but it was a very good, good play by the director.

[00:35:26] I think that, you know, if you are one of the proponents of, if you show it, you gotta use it, then you would, you would be very, very, um, taken aback by that scene. So it was very good. I liked this film a lot. Yeah. Yeah. That was a good, good time. Um, there are little things from like, oh, this was like his apartment.

[00:35:46] It's like the, the classic, uh, sitcom, um, apartment flaw in a way, like where the, the locations of doors and rooms don't make sense with the location of his neighbor's apartment. Yeah. Like, oh, there's a lot of rooms that are not supposed to be there, but, uh, like little things like that. The, um, and again, like if we, if we just think about, okay, I'm renting out my apartment. Um, I'm probably getting compensated for that.

[00:36:15] I probably would not necessarily spend the full night outside in the winter in New York. Yeah. I would probably get a room somewhere. Right. And not get sick. Yeah. Like there's little things like that where I'm like, I don't fully understand the main characters motivations around what he's doing. And why he's such a pushover, because the only thing they have on him is, uh, potential promotions.

[00:36:40] But it seems like he's been, he's been, uh, following that, uh, carrot for quite a while to the point where he is doing this for the, for the chance of a promotion for four different people. Yeah. Right. So I don't know. Get a clue, my dude. Right. But yeah, good, good film. Very enjoyable film. Um, a little long, I agree with that a little long. We spent a lot of time on little things. Um, yeah.

[00:37:11] That, that are not super consequential. We could tell that in a different way, in a faster way, but, um, you know, good film. Yeah. I would say movies even timeless in a sense, because a lot of the themes that they talked about, uh, are still evident till even today. Yeah. But, you know. Talking about loneliness. The next movie we are going to be talking about is, uh, 2001 A Space Odyssey.

[00:37:41] That is correct. Stan Nick Yerbig. Yeah. Film number 100 for us. This journey. It is. It is. It is, uh, I mean, I'm, I'm looking forward to talking about that one. I think it's going to be difficult to argue forward against this movie because this is one of those directors, directors films. Um, but I'm looking forward to talking about 2001 A Space Odyssey. Yeah. Yeah. I mean, we'll see what happens.

[00:38:09] Uh, it's going to be like the fifth time I've seen this film. Uh, and like, I've seen it twice in theater. Like, I've seen the, the symphony, the orchestra, the San Francisco symphony play the soundtrack while the film was playing and all that. Oh, wow. So, yeah. There's, there's some, something to talk about there, I'm sure. Uh, until then though, where can people find us? They can find us on Blue Sky.

[00:38:34] They can find us on Instagram and Facebook at, at movie, on, at movie mistrial. Or you can send us an email to contact at movie mistrial.com. All right, folks. Have a good one. Take it easy.