The other apartments relate to Jeffries and Lisa in an interesting way. One can see it as a reflection of Lisa’s heart. For example: Miss Torso exemplifies Lisa’s young wild heart yearning for Jeffries. Although, the display of interaction is somewhat off. Think about it, both are young and both are looking for love. Miss Lonely Heart symbolizes Lisa’s frustration and sadness when it comes to getting Jeffries’ attention. Throughout the film she unsuccessfully tries to convince him she wants to be in a steady relationship with him. She goes as far as trying to pack “light” for an evening. However, her desperation isn’t in the same vein as Miss Lonely Heart, but as Lisa becomes frustrated she delves herself into Jeffries work… Whether he likes it or not.

As for Jeffries; the composer and the Thorwalds are the neighbors he can compared to. Him and the composer are nearly identical. Both are incredibly dedicated to their jobs and yet being so heavily affects their social lives. As corny as it may sound, both men want their work to have value. Not monetary value, mind you, but rather someone. AS for the Thorwalds, the parallels between them and Jeffries and Lisa are apparent. One is frustrated and tired of the other due to their nagging and arguing.

As for the other neighbors, one can gather that Jeffries is wary of the outcome of being with Lisa and that the neighbors are a reflection of that. First off is the newlywed couple. Although in the honeymoon phase the two are eventually on camera once more, but it is show that the relationship is deteriorating. This is the one aspect Jeffries is afraid of. He does not want to be dragged down from settling down. The middle-aged couple with the dog also terrifies Jeffries. The mundane lifestyle is something he does not want from being a photographer who was always on the road.

It wasn’t until the climax and conclusion that Jeffries succumbed to the idea of settling down with Lisa. Although one can say he grew tired of watching a play from his window and finally chooses to
leave his theatre (the rear window) to live life again. As it may be that he and Lisa may become just like the neighbors in the apartment complex, he still has the time and option to avoid all of the outcomes. The complex and its inhabitants are an embodiment of all the fears and other emotions within him and Lisa regarding their relationship.

Glengarry Glen Ross

It would be easy to agree with the misogynistic side and go with it, but I want to try to go the other way. From how I see it, the women in the play hold all the cards (their influence). They give the boys in the office the illusion that they’re in control. Think about it; Mrs. Lingk (although not in the scene with Mr. Lingk and Roma) lets her husband have the impression of “wearing the pants” in their relationship, but ultimately orders her husband to head back and back out of the sale the very next day. He begins to plead and panic while in the office just so his wife can have her way (by extension this can be seen as though Mr. Lingk has no free will of his own). This can also be seen as the leverage Roma uses to go through with the deal since he has no personal input and solely relying on his wife’s. By taking a good look at Mr. Lingk’s mannerisms it can be safe to confirm the fact that his wife has complete control over him (even more evident when watching the film adaptation).

Even if Levene’s daughter isn’t real, he still knows how to play the cards. Since women control everything who says you can’t use that to your advantage when you’re a guy? We men would be complete losses if it weren’t for women. As it would seem to be an exploit of women… Levene pulling the “Daughter” card allows him to pull the strings to get better leads out of Williamson. However, this momentary advantage eventually backfires and leads to Levene’s eventual downfall.

When it comes to Levene’s “big sale” with the Nyborgs… Who says the Nyborgs’s crazy act of signing contracts they have no intention of paying for wasn’t Harriet Nybog’s idea? It is Levene’s own fault for not carefully doing his job. I do believe karma comes into play here. Not just him, but everyone in the office who desperately attempts to sell property in illegal manners will one day reap what he has sown. In this case, Levene got what he deserved after misleading person after person.

As the chain of events picks up speed I would be bold to say that Williamson, in a sense, is a woman who pulls the strings and catches Levene. I only say this because of Roma’s previous rant peaking when he called Williamson a “C***”. Picking up where Roma left off, Levene boasts that he knew Williamson lied was the one thing needed to ensnare the older gentleman. No fabrication about his daughter can gain the sympathy of his co-workers or the authorities this time; Shelley Levene was dealt a poor hand.