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
The depiction of the St. Valentine's Day Massacre is deliberately inaccurate, to spoof Scarface and other classic gang movies which sensationalized and fictionalized real people (including Al Capone) and events. It's a comedy, not a documentary. To be specific, the shooting took place at mid-morning, not at night. The hitmen did not drive into the garage as shown; they parked outside. They drove a Cadillac, not a Duesenberg Model J as in the movie, and two of the four actual killers were dressed as policemen. 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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