After a stint in a mental institution, former teacher Pat Solitano moves back in with his parents and tries to reconcile with his ex-wife. Things get more challenging when Pat meets Tiffany, a mysterious girl with problems of her own.
David O. Russell
Robert De Niro
When two Chicago musicians, Joe and Jerry, witness the the St. Valentine's Day massacre, they want to get out of town and get away from the gangster responsible, Spats Colombo. They're desperate to get a gig out of town but the only job they know of is in an all-girl band heading to Florida. They show up at the train station as Josephine and Daphne, the replacement saxophone and bass players. They certainly enjoy being around the girls, especially Sugar Kane Kowalczyk who sings and plays the ukulele. Joe in particular sets out to woo her while Jerry/Daphne is wooed by a millionaire, Osgood Fielding III. Mayhem ensues as the two men try to keep their true identities hidden and Spats Colombo and his crew show up for a meeting with several other crime lords. Written by
Stories of the difficulty that cast and crew had with Marilyn Monroe during the making of this film have grown to almost mythical proportions. In the "farewell" telephone conversation between Monroe and Tony Curtis, her side-to-side eye movements clearly reveal that she was reading her lines directly from an off-screen blackboard. According to Curtis, Monroe was routinely 2 to 3 hours late to the set, and occasionally refused to leave her dressing room. See more »
The trumpet solo during "I Wanna Be Loved by You" is heard even though the trumpet player behind Daphne and Josephine is not playing her instrument. At one point in the same song, Daphne plays the bass, but the bass isn't heard. See more »
A Comedy that has it all, and lacks absolutely nothing. "Nobody's perfect" may be an inherent truism, but "Some Like it Hot" is a definite somebody in the universe of cinema, thus it IS perfect in every sense. Swing, sex and slapstick, (three words that immediately come to mind when trying to describe it) , are a mix so delicious, so fruitful in its possibilities that one cannot imagine a film which can live up to them, and yet this one does. Marilyn, her trademark, displeasingly infantile voice aside, is a bombshell of thermonuclear dimensions, whose powers of titillation will not expire so long as there are hormones and/or Viagra. The sexual content, for socio-historical reasons cannot be as explicit as we've come to expect, but there's still plenty of it, from Monroe's see-through outfit to the double entendre worthy of the Farelli Brothers ("What do I do if it's an emergency ? - Pull the emergency break!" ), including overtly gay themes that have a cult following of their own. The Lemmon/Curtis duo operates with gleeful, unrestrained vitality that can only be likened to Chaplin in his heyday. Though not a Musical, the combustive energy of this movie is so stimulating it almost makes you get up and dance.
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