Some Like It Hot Reviews
This is a very likable movie that holds up incredibly well. Check it out and have a good laugh.
The part that made the movie succeed despite its familiarity was the fact that they had a second guy in drag. You see, while Tony Curtis' plot-line with Marilyn Monroe was entirely predictable, they kept surprising me with the twists and turns of Jack Lemmon's experience. There's one scene where the two guys are back in their room together and Lemmon goes on and on about marrying a man for his money, and I was laughing like crazy. That whole relationship is one that I didn't see coming, and it made the entire film a little bit better. What I struggled with most is the fact that I didn't particularly like Marilyn Monroe's character. It's as if the movie expects us to sympathize with her because she's attractive and she turns on our heroes. But she's dumb, irresponsible, and seriously just wants to seduce/marry a man for his money. The character is redeemed in my eyes by the end, but they needed to establish her from the beginning as more than just a set of boobs and legs in order to make her a sympathetic character. Yet I liked the acting, some of the clever lines in the script, and the little surprises in the story. That was enough to make Some Like It Hot a good film-watching experience. Sadly, it fell short of being the classic I know it has become for many other film fans.
Not the "best comedy ever made", should that actually be a thing, but quite clever, funny, and endearing, and filled with excellent set-piece choreography; of course, I would expect nothing less from Billy Wilder. There's just as much belly-laugh broad humor as there is understated chuckles, like the way Curtis and Lemmon's characters overact in terms of voice and poise when in their various disguises, be they playing conservatory-graduate band-women or vaguely British oil barons. Also, the film makes some bold-for-its-time hints towards social commentary on male/female double standards and homosexuality in the '50s, which is a lot better than what I can say for a later (and also much less believable) variation on the drag premise, Mrs. Doubtfire, which is casually transphobic. Still could do without the skeezy trombone music that plays whenever Monroe makes her first couple appearances, but this is kind of a progressive film, and a final nail in the coffin for the Hayes Code to boot!