Some Like It Hot

Sit back and enjoy this comedy, I don't believe in greatest this and that when it comes to films, but boy, this is superb.

The acting here is fantastic, all actors, even Monroe are on top form.

The direction by Wilder is superb, the guy's style in this picture is perfect. He directed this film in a very clever way, by using one camera for the majority of the scenes, he could easily edit the film together without studio interference.

The script is well written. The dialogue between Lemmon and Curtis is beautifully balanced.

Monroe is just too hot for the screen in this picture. Although, Monroe had major off-screen problems (83 takes to get things right) she is fantastic on-screen. She may not have the best lines, but what the heck! She plays the role very well.

Overall, this is awesome, it really is.

What Jack Lemmon and Tony Curtis do in "Some Like it Hot" would be par for the course in modern movies – every other month, similar fish-out-of-water movies premiere with men posing as women ("Tootsie"), women posing as men ("The Associate"), black people posing as white people ("White Chicks"), and on and on. What makes "Some Like it Hot" different is two things: the strength of its comedy, and the presence of Marilyn Monroe, then at the height of stardom.

Lemmon and Curtis turn in admirable performances both as Joe and Jerry, and as Josephine and Daphne. Tony Curtis does Lemmon one better by creating a third identity, "Junior", in order to woo Sugar Kane (Monroe).

Tying the pair's story into the Chicago Valentine's Day Massacre, where a gang war spilled over into a parking garage, leaving a number of people lined up against the wall and shot, is a deft touch (though the serious tone of these gang sequences contrasts sharply with the bulk of the movie).

The movie does an excellent job building the far-fetched stakes of the movie ever-higher, from their finding refuge from vengeful gangs in a women's jazz band, to their showdown in the Florida hotel, to the eventual revealing of Curtis' and Lemmon's identities. The movie's surprisingly suggestive and risque content is at odds with the time frame of the movie, and even with the period of the movie's creation. The many smart double-entendres and plays on words are very well-written, and alternate between lowbrow and highbrow comedy,

The films only fault might be a couple of overlong musical numbers, performed either by the whole band or soloed by Sugar Kane. Though to be expected in a Marilyn Monroe film, these musical acts are literal "show stoppers" that bring the comedic momentum of the film to a screeching halt. However, it is easy to over look these minor defects in the movie as a whole, because by and large it is quite funny – no wonder it s considered a classic – and after all, "nobody's perfect".

Any camera loved Marilyn the best… In all her films, Marilyn dominated any photographer not just because of her ability with a script but ceaseless attention to the camera... More than anyone else on the set, she knew the importance of her sex appeal…The 'fifties belonged to Marilyn, and in that decade it almost seemed as if the world belonged to her also…

Sugar is one of Monroe's most loved and memorable character... She presents herself as a sensitive woman quick to feel compassion or affection, sensual and readily impressionable which is Sugar Kane... It was her greatest role and certainly her greatest film...

The film opens in 1929 Chicago during Prohibition, where Spats Colombo (George Raft) and his gang gun down seven men in a car garage… A couple of small-time Jazz musicians witness it and flee…

To avoid the mob, Joe (Tony Curtis) and Jerry (Jack Lemmon) disguise themselves as women and attach themselves to an all-girl band… Joe calls himself Josephine and Jerry calls himself Daphne…

The orchestra takes a train to play an engagement in Florida... On board, the two men have a hard time keeping cool with all the beautiful girls around, especially during a late-night pajama party in a Pullman sleeper… Needless to say, Joe falls in love with the sensual Sugar (Marilyn Monroe), a luscious ukulele player and singer with the troupe…

Once in Florida, Jerry meets a really wealthy bachelor Osgood Fielding (Joe E. Brown).

Of course, Jerry is still dressed as Daphne, and the seven time divorcée proceeds to pursue Daphne… Joe wants to romance Sugar but knows that he needs a wealthy front…

The boys think they are safe until the gangsters arrive at the same Miami hotel to attend a gangsters' convention…

Marilyn sang three songs in the film: "I'm Through with Love," "I Wanna Be Loved By You," and "Running Wild."

The movie's closing line is one of the most celebrated in movie history…The film won an Oscar for Best Costume Design and was nominated for six Academy Awards…

Irresistibly funny this black-and-white shot comedy is a definite must-see!

Legendary comedy masterpiece from filmmaker Billy Wilder and IAL Diamond that Won Oscar and another 13 wins & 8 nominations . Immensely charming comedy set among Chicago and Miami , being starred by an all-star-cast . When two unemployed musicians witness a mob hit , the St Valentine massacre in Chicago carried out by mobster chief (George Raft) they flee the state in an all female band disguised as women and headed for Florida , but further complications set in. There appears a gorgeous singer , Sugar Kane (Marilyn Monroe) , who is object of pursuit by the musicians (Jack Lemmon , Tony Curtis) who cannot reveal their identity because are dressed as women in order to getaway from killer gangsters' retaliation .

Rightly enjoyable and fun-filled , milestone comedy which neatly combines humor , mirth , entertaining situations and amusement . This noisy comedy is intelligently and pleasingly written to gives us lots of fun , laughters and smiles . Mordantly funny , though by time of premiere was rated as bad taste and some discomfort ; however , is todays considered a real classic movie . Billy Wilder kept the studio Paramount happy , the picture consistently made money and was hit at box office . Flawless comedy with a trio of sensational protagonists , including an unforgettable Marilyn who parades sexily at her best and more relaxed and enticing than ever . The hit of the show is undoubtedly for the fetching Marilyn Monroe who gives one of the best screen acting and sings marvelous songs as ¨Running wild¨, ¨I'm through with love¨ and the immortal ¨I wanna be loved you¨. Magnificent performances from Jack Lemmon as angst-ridden musician dressed in drag and sensational Tony Curtis as a philander young , playing his Gary Gray Grant impression . Furthermore , a splendid secondary cast , a variety of notorious actors who make sympathetic interpretations such as Pat O'Brien , George Raft , Mike Mazurski , Nehemia Persoff and , of course, smitten Joe E Brown , including his now-classic closing line .

The motion picture was very well directed by Billy Wilder who includes several punchlines . Billy was one of the best directors of history . In 1939 started the partnership with Charles Bracket on such movies as ¨Ninotchka¨ , ¨Ball of fire¨ , making their film debut as such with ¨Major and the minor¨ . ¨Sunset Boulevard¨ was their last picture together before they split up . Later on , Billy collaborated with another excellent screenwriter IAL Diamond . Both of them won an Academy Award for ¨Stalag 17¨ dealing with a POW camp starred by William Holden . After that , they wrote/produced/directed such classics as ¨Ace in the hole¨ , the touching romantic comedy ¨Sabrina¨ , the Hickcoktian courtroom puzzle game ¨Witness for the prosecution¨ and two movies with the great star Marilyn Monroe , the warmth ¨Seven year itch¨ and this ¨Some like hot¨. All of them include screenplays that sizzle with wit . But their biggest success and highpoint resulted to be the sour and fun ¨¨The apartment¨. Subsequently in the 60s and 70s , the duo fell headlong into the pit , they realized nice though unsuccessful movies as ¨Buddy buddy¨ ,¨Fedora¨ , ¨Front page¨ and ¨Secret life of Sherlock Holmes¨, though the agreeable ¨Avanti¨ slowed the decline . The team had almost disappeared beneath a wave of bad reviews and failures . ¨Some like hot¨ rating : Above average , essential and indispensable watching ; extremely funny and riveting film and completely entertaining . It justly deserves its place among the best comedy ever made . One of the very funniest films of all time and to see and see again . It's the kind of movie where you know what's coming but , because the treatment , enjoy it all the same .

Admittedly biased, "Some Like It Hot" can certainly stand on its own merit with or without my thunderous round of applause. More than a decade ago, I had the privilege of performing both the Tony Curtis and Jack Lemmon roles in "Sugar," the musical adaptation of "Some Like It Hot" which originally starred Tony Roberts, Robert Morse and Elaine Joyce on Broadway in the 70s. Though it hardly compares to the film's original (how could it???), the musical nevertheless is still a big hit with live audiences. I can't remember ever having a better time on stage than I did with "Sugar," and it's all due to the irrepressible talents that instigated it all.

In the 1959 classic, Curtis and Lemmon play two ragtag musicians scraping to make ends meet in Prohibition-era Chicago during the dead of winter who accidentally eyewitness a major gangland rubout (aka the St. Valentine's Day Massacre). Barely escaping with their lives (their instruments aren't quite as lucky), our panicky twosome is forced to take it on the lam. Scared out of their shoes (sorry), the boys don heels and dresses after they connect with an all-girl orchestra tour headed for sunny Florida. Killing two birds with one stone, they figure why not go south for the winter while dodging the mob? Once they hit the coast, they'll ditch both the band and their humiliating outfits.

Enter a major detour in the form of luscious Marilyn Monroe as Sugar Kane, given one of the sexiest (yet innocent) entrances ever afforded a star. Snugly fit in flashy 'Jazz Age' threads, a blast from the locomotive's engine taunts her incredible hour-glass figure as she rushes to catch her train to Florida. The boys, stopped dead in their high-heeled tracks by this gorgeous vision, decide maybe the gig might not be so bad after all. As the totally unreliable but engagingly free-spirited vocalist/ukelele player for the band, Sugar gets instantly chummy with the "girls" when they cover for her after getting caught with a flask of booze. As things progress, complications naturally set in - playboy Curtis falls for Monroe but has his "Josephine" guise to contend with, while Lemmon's "Daphne" has to deal with the persistently amorous attentions of a handsy older millionaire.

What results is an uproarious Marx Brothers-like farce with mistaken identities, burlesque-styled antics, and a madcap chase finale, all under the exact supervision of director Billy Wilder, who also co-wrote the script. Lemmon and Curtis pull off the silly shenanigans with customary flair and are such a great team, you almost wish THEY ended up together! Curtis does a dead-on Cary Grant imitation while posing as a Shell Oil millionaire to impress Marilyn; Lemmon induces campy hilarity in his scenes with lecherous Joe E. Brown (who also gets to deliver the film's blue-ribbon closing line). As for the immortal Monroe, she is at her zenith here as the bubbly, vacuous, zowie-looking flapper looking for love in all the wrong places. Despite her gold-digging instincts, Monroe's Sugar is cozy, vulnerable and altogether loveable, getting a lot of mileage too out of her solo singing spots, which include the kinetic "Running Wild," the torchy "I'm Through With Love," and her classic "boop-boop-a-doop" signature song, "I Wanna Be Loved by You."

The film is dotted with fun, atmospheric characters. Pat O'Brien and George Raft both get to spoof their Warner Bros. stereotypes as cop vs. gangster, Joan Shawlee shows off a bit of her stinger as the by-the-rules bandleader Sweet Sue, Mike Mazurki overplays delightfully the archetypal dim-bulbed henchman, and, if I'm not mistaken, I think that's young Billy Gray of "Father Knows Best" fame (the role is not listed in the credits) playing a snappy, pint-sized bellhop who comes on strong with the "girls."

For those headscratchers who can't figure out why the so-called "mild" humor of "Some Like It Hot" is considered such a classic today, I can only presume that they have been brought up on, or excessively numbed by, the graphic, mindless toilet humor of present-day "comedies." There was a time when going for a laugh had subtlety and purity - it relied on wit, timing, inventiveness and suggestion - not shock or gross-out value. It's the difference between Sid Caesar and Andrew "Dice" Clay; between Tony Curtis and Jack Lemmon and Chris Farley and David Spade; between "I Love Lucy" and "Married With Children"; between Lemmon's novel use of maracas in the hilarious "engagement" sequence, and Cameron Diaz's use of hair gel in a scene that ANYBODY could have made funny. Jack Lemmon could do more with a pair of maracas than most actors today could do with a whole roomful of props. While "Some Like It Hot" bristles with clever sexual innuendo, today's "insult" comedies are inundated with in-your-face sexual assault which, after awhile, gets quite tiresome -- lacking any kind of finesse and leaving absolutely nothing to the imagination. I still have hope...

Having ultimate faith in my fellow film devotees, THAT is why "Some Like It Hot" will (and should be) considered one of THE screwball classics of all time, and why most of today's attempts will (and should be) yesterday's news.