"Baxter" (Jack Lemmon) has hit on an unique way to work his way up the greasy pole. He sublets his apartment, by the evening, to his bosses at work so they can entertain their lady friends - all in the hope that promotion from his $90-a-week job will result. This policy frequently ends up with him standing around in the cold whilst they polish off all his liquor. Promises, and more promises - will he every get that better job? His only bright spot in the day is the mysterious but jolly lift operator "Fran" (Shirley MacLaine) but it turns out that she is involved with another big-noise executive. It's this man "Sheldrake" (Fred MacMurray) who could really make a difference for "Baxter" but at what cost? He's undoubtedly a bit of a rake as he plays rather callously with the affections of the loved-up "Fran". Finally, she feels so very despondent and she takes drastic action that luckily our hero is able to thwart, and with her still dazed, confused and upset the scene is set for what you might think is a predicable denouement. This isn't one of my favourite Billy Wilder stories. I felt the first half hour verged too closely on a sort of intellectual slapstick for me and much as I did like his effort, I couldn't warm to Jack Lemmon's character at all. MacLaine and MacMurray, on the other hand, presented me with ones I could sympathise with and detest in equally affecting measure. The dialogue is a testament to what can be written without resorting to endless Anglo-Saxon, yet still convey sentiments of aggressiveness, frustration and yep - even affection. It's all set around Christmas which also proves quite useful as it shines a light on many of the hypocrisies that prevail around this time of so-called "good will". The supporting cast deliver strongly too, especially his neighbourly doctor (Jack Kruschen) and wife (Naomi Stevens) who think he's constantly womanising his way through his evenings next door and by the end it's a stinging indictment of office politics and their peccadilloes. Ultimately, this is down to three strong acting performances delivering a pithily poignant script that ought to suggest you never give your spare key to anyone!
