The Best of Everything 1959

Caroline Bender, a recent Radcliffe College graduate, lands a secretary job at Fabian Publishing Company and finds herself working under Amanda Farrow, Joan Crawford, a bitter, demanding editor who resents Caroline and quietly suspects that she’s after her chair. Amanda is entangled in a troubled affair with a married man, a situation that underscores the tense, competitive atmosphere of the office and foreshadows the compromises many young women will face as they navigate ambition, romance, and power.

In the typing pool, Caroline befriends two other young women who soon become her closest allies and roommates. April Morrison, Diane Baker, is a bright-eyed, energetic newcomer from Colorado who views publishing as an exciting stepping stone. Gregg Adams, Suzy Parker, is a glamorous, hungry-for-success actress who longs for a breakthrough on stage. The three women, sharing a cramped apartment in the city, lean on each other as they juggle careers, friendships, and the ever-present lure of romance.

Caroline’s personal life grows more complicated after her fiancé, Eddie Harris, Brett Halsey, marries another woman. On a blind date arranged by their mothers, Caroline meets Paul Landers, Lionel Kane. The evening falls flat until a co-worker, Mike Rice, Stephen Boyd, joins them and the trio ends up spending more time together than planned. A drunken night at Mike’s apartment leaves Caroline worried she and Mike may have slept together, though Mike insists nothing happened the next day at the office, where the atmosphere remains charged with unspoken desires and professional rivalries.

Caroline’s editorial instincts begin to shine at Fabian. She starts inserting her own comments into manuscripts, a move that catches the attention of management. Mr. Shalimar, Brian Aherne the editor-in-chief, takes notice of Caroline’s sharp eye and promotes her to manuscript reader. Yet Amanda Farrow, who had recommended Caroline for the position, reveals that she had advised Shalimar not to promote her, exposing the depth of professional politics behind a seemingly straightforward promotion. Meanwhile, Mike’s negative view of Caroline’s ambition—urging her to pursue marriage instead of a career—highlights the conflicting pressures faced by young women in the workplace.

April’s trajectory takes a harsher turn when she’s assigned to work under the same lecherous editor-in-chief, Shalimar. The atmosphere grows increasingly exploitative, and at an alcohol-fueled office party, Shalimar makes overt sexual advances toward Barbara Lamont, Martha Hyer while Barbara is alone in her office. The outburst is interrupted by Sidney Carter, a coworker who is quietly entangled in an affair with Barbara. Shalimar’s callous attitude toward the consequences of his actions reveals a culture that tolerates predatory behavior.

Meanwhile, Gregg Adams is cast in a play directed by David Savage, Louis Jourdan the director, and the two quickly become lovers. Gregg’s talent and charisma win her a chance on stage, but the dynamics of the production soon place her in a precarious position. Her initial success gives way to insecurity as she falters with her lines, and she is demoted to understudy. When David ends his affair with Gregg, she becomes obsessed and begins stalking him. Her fixation culminates in a fatal accident: while lurking outside his apartment, a boisterous neighbor startles her, she panics, and a high-heeled shoe gets caught in a fire escape grate, sending Gregg to her death.

April’s romantic life takes a dramatic turn when she meets Dexter Key, Robert Evans, a spoiled playboy at a company picnic. They begin dating, but Dexter threatens to end things unless she agrees to have sex. When April discovers she is pregnant, Dexter orchestrates a cruel plan to marry her only to force an abortion by driving her to a doctor. Distraught at the prospect of ending her pregnancy, April leaps from Dexter’s moving car. She survives the fall, but the impact causes a miscarriage and necessitates hospitalization. Her emotions and priorities shift, and she eventually becomes involved with the attending physician who helps her through the crisis.

Back at the office, Mike and Caroline entertain thoughts of something more than friendship, but their plans are disrupted when Eddie returns to the story, visiting Caroline in New York and implying he wants a different arrangement. Eddie admits he does not intend to divorce his affluent wife and only seeks a clandestine relationship with Caroline, forcing her to weigh the costs of romance against her career.

Farrow eventually quits Fabian to marry and move to St. Louis, and Caroline steps into her former mentor’s shoes. Yet the reassessment of goals continues when Farrow returns to New York after her marriage falters, explaining that she no longer has enough to give. The office remains a place of change and promise, where ambition collides with vulnerability and the people around Caroline continue to pivot between opportunity and consequence.

As the film closes, a quiet, decisive moment unfolds: Caroline, fatally aware of the interplay between ambition, romance, and risk, bumps into Mike on the street. She removes her hat, their eyes meet, and they walk away together, leaving the audience with a sense that the work and the personal lives of these women—and the men who orbit them—are inseparably linked, shaping a future that remains uncertain, but undeniably their own.