Some Like It Hot Reviews
Joe and Jerry are two Chicago jazz musicians who, after witnessing a gangland murder, are forced to go on the run. Obtaining some costumes, they board a train for Florida with an all girl jazz band as its newest and more homely members "Josephine" and 'Daphne".
Besides the obvious problems with having to keep up their ruse in general, things really get complicated (and hilarious) when Josephine falls for fellow band member Sugar Kane, and an aging playboy falls for Daphne. Also, the mob happens to find their way to Florida as well...
Everyone talks about how funny this film is, and yeah, I expected to laugh, but I also figured this film would be kinda overrated as well. Much to my surprise and delight, this film had me in stitches through almost all of the runtime, and I didn't think it was overrated at all. This really is a sharp, witty, and breezy comedy masterpiece. It set the standard for all future cross dressing related comedies, and has yet to be topped.
Tony Curtis is great as Joe/Josephine and Jack Lemmon is tremendously awesome as Jerry/Daphne. George Raft is fun as the mob boss who wants them dead, and Marilyn Monroe is a delightful knockout as Sugar Kane. As the man who falls for Daphne, Joe E. Brown is an absolute scream.
The film does go for some obvious targets with some of the jokes, but they are deftly handled, and feel quite relevant and fresh. Yeah, there is the obvious need for suspension of disbelief, but that only adds to the fun.
With a strong start that just keeps building and building, this truly is one of the all-time greats that you really must see if you haven't already done so.
I wish Monroe wouldn't play such a twat. Name me one movie where she's not playing one..
two men are forced to transvestitism by circumstance: one struggles to keep his manhood by his romantic conquest of THE BOMBSHELL; the other gradually gets assimilated into the gender he pretends to be. judith butler brings out the idea of gender performativity: you become what you perform to be, and genders are construed by performances, not your innate nature, for example, in sabrina, humprey bogart pretends he loves audrey hepburn in the beginning to keep her from ruing his million-dollar deal by mixing up with his brother, but gradually bogart becomes what he pretends be: the man in love with audrey.
the interpretation of curtis' character could be suppressed lesbianism: he cannot openly pursue marilyn monroe as a man (his own gender), he's trapped by the gender of "josephine," he has to hide and sneak and cheat for the object of his or "her" desire like some closet lesbian. lemmon has to continue telling himself he's a girl during the primary stage of his impersonation as a woman. lemmon does react like a man when the ravishing marilyn monroe crawls over his side (she thinks he's "daphne"), he gets so titilated that he cannot breathe well (so he has a positive straight side, or why so cuckoo over monroe)...later when curtis compels him to accept the pursuit of an elder millionaire, he becomes genuinely involved and swooned by the millionaire, dreaming how nice it is to marry him...and by disgusing as a millionaire, curtis also becomes honorable and committed as a digified millionaire is by giving away "daphne's" diamond bracelet to marilyn monroe.
billy wilder is playing you a big joke: you're what you perform to be and everyone could just go GAY all of a sudden, so what, NO BODY'S PERFECT.
Joe: What happened?
Jerry: I'm engaged.
Joe: Congratulations. Who's the lucky girl?
Jerry: I am!
A very good screwball comedy that balances its gender bending premise with a lot of great one-liners, witty banter, physical comedy, and plenty of sex appeal in the form of Marilyn Monroe. Frequently funny and holds up great.
Two struggling musicians (Tony Curtis and Jack Lemmon) witness the St. Valentine's Day Massacre and try to find a way out of the city before they are found and killed by the mob. The only job that will pay their way is an all girl band so the two dress up as women. In addition to hiding, each has his own problems; One falls for another band member (Marilyn Monroe) but can't tell her his gender, and the other has a rich suitor (Joe E. Brown) who will not take "No," for an answer.
Joe: But, you're not a girl! You're a guy, and, why would a guy wanna marry a guy?
All three leads accomplish exactly what they need to. Tony Curtis and Jack Lemmon make a great team, with both having a lot of fun with their cross dressing acts. Curtis also gets the chance to essentially make fun of Cary Grant for a good chunk of the film, once he stars posing as an English millionaire. Meanwhile, Lemmon has a ball playing his female side as a quick witted snark, with his fun laugh to tag most of his scenes. Then you have Monroe, who may not have been the greatest actress, but certainly knows how to shoot out the one-liners when needed and put on a good song and dance.
The presence of Billy Wilder's witty screenplay is certainly here as per usual for his films. The aforementioned one-liners come up frequently, but just the way he has this film play itself out is quite clever. There is an undercurrent of darkness, involving these men being on the run from the mob, which is balanced well with the breezy pace for this film. Basically, the movie is very well made in terms of its story, and keeping up the comedy.
A great film through and through.
Joe: There's another problem.
Jerry: Like what?
Joe: Like, what are you gonna do on your honeymoon?
Jerry: We've been discussing that. He wants to go to the Riviera but I kinda lean towards Niagara Falls.