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Some Like It Hot
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Some Like It Hot More at IMDbPro »

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3 out of 4 people found the following review useful:

OHHHH.. She is So Marilyn !!

Author: ahmed elshikh (ahmed_abd_elreheem@yahoo.com) from Egypt
1 September 2007

Great wicked comedy no doubt, and you'll have maybe 250 reviews about that, and they're all very good. BUT HEY, I want to talk about the sexiest woman in history; the one and only Marilyn Monroe. And Ahh.. how my heart beats like crazy when I only say her name !!

She's a sexy force of nature, the movies' ultimate goddess, and my love. Although she was exploding on the screen in any of her colored movies, but this time in black and white she was more dazzling, and our dear director Billy Wilder seemed to be having all the time in the world to show, rather show off, her unbelievable sexiness !

I see that anybody wants to say Voluptuous or Sexy; must say Marilyn instead. They should put it in the dictionary as a redefinition. Never doing that before simply means that whether the dictionary's authors are unfair.. or they didn't watch Marilyn to date !

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4 out of 6 people found the following review useful:

Where did you get that phony accent? Nobody "talks loike thet!"…Some Like It Hot

8/10
Author: jaredmobarak from buffalo, ny, usa
6 January 2008

I was finally able to catch up with what many people call the funniest movie ever made, Some Like It Hot. This is now the first and only film I have seen with Marilyn Monroe as well as directed by Billy Wilder. The hype on these two seem to be correct and I look forward to checking out more from both. However, the real success of the film is the portrayal of our two leads by Jack Lemmon and Tony Curtis. Both bring a fantastic comedic element to the story and play their roles to perfection. So many films afterwards have taken the general plot line—two people see a gang shooting and run away/change identities to not get killed only to end up running into the mobsters coincidentally in the city they have relocated to, and remade it. None of them come close to the level of achievement that this one has, way back in 1959.

Right from the get-go, seeing the thug/big-nosed Italians hiding in the back of a hearse in order to smuggle whiskey during Prohibition, we know exactly what we are in for. Wilder allows the story to play out on both a dramatic and comedic level, never straying too far into one to let the other fall away. Sure there are some laughs at the start, especially between Lemmon and Curtis in the funeral bar and a couple moments poking fun at the "coffee" code language, but only after the two go on the lam as women instrument players in Florida do the big laughs come. The two men are just so manly that looking at them in drag brings a smile to your face, let alone when they actually talk. Lemmon is brilliant as Daphne, the loquacious girl that likes to talk too much and have fun, slowly getting so good at being a female he starts to believe he is one. "Just keep telling yourself you're a boy." As for Curtis, he shines as three separate roles. He must be believable as the gambling, womanizing, sax player Joe; the millionaire, yacht-owning Shell Oil tycoon; and the best friend, Conservatory-trained musician Josephine. Each character is created and used to enhance all the others as he tries to con Marilyn Monroe's Sugar into falling in love with him.

Monroe plays the flighty blonde to great success. She continually calls herself dumb and the words that come out of her mouth, as well as the believing of all the drivel that comes from Curtis' tycoon (some real funny lines), prove that fact. Being that I had always heard she wasn't too bad an actress, I wasn't quite sure what to expect since my impression of her was more model used to sell seats, not any skill at the craft. While she is definitely radiantly beautiful here, I have to believe she isn't just being the pretty face. Yes, she gets top-billing, but although she isn't in the movie for that much compared to her co-stars, she does well with the time she is given. I'm not sure how successful the movie would have been without her to have the boys play off of. The glowing smile and sex appeal are one thing, but her scene of depression upon being dumped shows a vulnerability and strength through tears, yet keeping a calm, collected voice, show that maybe there really was something there.

Where the film really works is with the situations brought about by the duality of our leads. Their fighting with themselves and each other, sometimes forgetting what sex they are at the moment, let alone truly are, is priceless. Lemmon's fast-talking naïveté gets him to bring the biggest laughs, thanks in part to a wonderful supporting role from Joe E. Brown as Osgood Fielding III, but Curtis is right there behind him. His machismo, used to put Lemmon in line, contrasted to his gentility, when with Monroe, is spot-on, as is the accent of affluence used to win her heart. Credit goes to Wilder for one of the best scenes from the film involving all four characters. The transitional cuts between Curtis and Monroe, attempting to let him feel love again, with Fielding and Lemmon, cutting up the tango dance floor, are absolutely hilarious. The juxtaposition of Daphne's tall, muscular frame—at times leading the dance—with the small, thin, elderly Brown can't be viewed without some amount of giggling.

It may not be the funniest film I have ever seen, but I can totally see where people are coming from when making that statement. Released just before the 1960's, this film can be seen as incredibly influential to the comedy genre and cinema in general. One-liners are present throughout and the acting is professionally handled at all times, bringing the laughs, but also staying grounded for those moments of seriousness when relationships are failing and death seems awfully close at hand. I hope to catch up with more work from all four principals here, to view some movies of an era I am not very proficient in, and to hopefully enjoy myself as much as I did here.

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4 out of 6 people found the following review useful:

"I don't care how rich he is, as long as he has a yacht, his own private railroad car, and his own toothpaste."

9/10
Author: ackstasis from Australia
16 December 2007

*** This review may contain spoilers ***

If films directors could be characterised as different types of beverages, then Billy Wilder would surely be the glass of sparkling champagne. To date, I've seen three of his films {the other two being 'Double Indemnity (1944)' and 'Sunset Blvd. (1950)'}, and every single one absolutely brims with class, a triumph of witty writing and procificient direction. Even though 'Some Like It Hot (1959)' was voted #1 in the American Film Institute's '100 Years… 100 Laughs,' I didn't initially consider it the sort of film that I would enjoy. After all, who wants to watch a movie about men dressing up as women? Needless to say, I had completely underestimated the talent of both Wilder and his terrific cast, and 'Some Like It Hot' revealed itself to be a very funny film, indeed. Tony Curtis and Jack Lemmon star as two jazz musicians who witness the Saint Valentine's Day Massacre of 1929 and are forced to flee Chicago posing as two members of an all-girls band. Comedic sparks fly when both men fall for sexy blonde vocalist "Sugar Kane" Kowalczyk (Marilyn Monroe) and, maintaining their female disguises, begin to fight for her affection.

The most astonishing thing about 'Some Like It Hot' is that it never goes to where you expect it. The script, co-written by Wilder and I.A.L. Diamond {from a story by Robert Thoeren and Michael Logan}, is basically a romantic screwball comedy, but with flourishes of the film-noir and gangster genres, most noticeable in the scenes featuring hardened mob-boss Spats Colombo (George Raft). Not many comedies open the proceedings with the brutal, cold-blooded murder of seven men, but Wilder's film does, and it's executed in such a way that, somehow, the unexpected scenes of violence never seem out of place. At the very least, these sinister events provide the perfect incentive for Curtis and Lemmon to throw on a dress, a wig and some make-up, their facade wholly believable in the face of such an unpleasant alternative. Wilder filmed 'Some Like It Hot' in black-and-white, not only to evoke the appopriate time-period, but, more importantly, to obscure the unavoidable imperfections in the men's make-up. Though the end result isn't very convincing at all – as a male, I certainly wouldn't make the mistake of approaching either Josephine or Daphne – it requires a suspension of disbelief that we're more-than-willing to make.

The comedic duo of Tony Curtis and Jack Lemmon works extremely well. Curtis tends to appear rather self-conscious posing as a woman, finding more comfort as the multi-millionaire heir to Shell Oil, as whom to poses to win over Sugar Kane. On the other hand, Lemmon is entirely uninhibited as Daphne, exploding into feverish episodes of feminine behaviour that lead us to believe that perhaps his performance as a woman has convinced even himself. While Curtis' Joe (a.k.a. Josephine) spends his time attempting to woo Marilyn Monroe (whose character, self-described as being not particularly bright, absolutely oozes sexuality), Lemmon's Jerry (a.k.a. Daphne) finds that he has larger problems, as an obsessed old millionaire, Osgood Fielding III (Joe E. Brown), falls in love with him. Keeping the entertainment level as high as possible at all times, Wilder thankfully denies us the seemingly-inevitable, clichéd moral lesson that usually arises once the supporting characters discover the true identity of their girlfriends. Most legendary of all is the reaction of Osgood Fielding, in the film's final line, as Jerry admits that he is merely a man posing as a woman: "Well, nobody's perfect."

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4 out of 6 people found the following review useful:

Best Kept Secrets: Some Like it Hot

Author: philadelphiastorygirl from United States
1 March 2007

In America today, it seems at least every other movie that opens is a remake. But if you're willing to put forth a little effort, an original, worthwhile film can always be found.

Some Like It Hot begins in Chicago in the year 1929 and later moves to Florida. Jerry, played by the impeccable Jack Lemmon, and Joe, portrayed by Tony Curtis, are the dynamic duo that makes this film truly spectacular. When the two friends witness the St. Valentine's Day massacre, they are forced to flee the state. They decide to go undercover and take a job with an all girl band. Only Billy Wilder could have imagined the hilarity that ensues.

Tony Curtis' role, posing as the millionaire was based on Cary Grant and is superb. Jack Lemmon's comedic timing and delivery stand out. There are numerous priceless role reversals between Joe and Jerry. Marilyn Monroe's performance is tolerable. It is interesting to realize she wasn't the thinnest actress in Hollywood but has become a legend because of her beauty.

The film was written, produced, and directed by the masterful Billy Wilder. It is a parody of the 1920's with several witty references including the stock market crashing and prohibition. Billy Wilder is fantastic at creating tense situations as the characters switch back and forth between their roles. Pay careful attention and you won't be disappointed.

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8 out of 14 people found the following review useful:

The Wilder Monroe

Author: tedg (tedg@filmsfolded.com) from Virginia Beach
25 January 2008

Not all of Wilder's projects are as well designed as this. But among the best designed of films before 1960 are his.

This is classic because its about sex as so, so many movies are. But it uses Monroe in ways that greatly exceed her ability to use herself. I believe that the Monroe legend is because of Wilder's placing of her in a context that amplified her appeal.

Wilder had worked with her before. He selected and co-wrote the screenplay around her, adapting as he went.

The situation is set up to provide a context of shifting sexual identity so that she can anchor the thing with us concluding that yes, this is sex. This is what it means to be a desirable woman.

And its not just the obvious things, the drag identities. Its in the girl jazz band. The machine gunner jumping out of a cake instead of a stripper, the business of a funeral really being a party, the henpecked manager: pronounced "beanstalk." Even in boozing out of a hot water bottle.

Its so deft in structure, so accommodating to her strengths and weaknesses, that it makes me cry, knowing that Wilder only was tuned properly for two films. And this one was essentially a waste, except for getting her past the tipping point of being a legend, a presidential plaything and Warhol icon.

The problem of this movie is that after its all engineered and polished, after all the targeting and focus, it just isn't that funny. What was funny sixty years ago — men in drag is screwball situations — just doesn't catch today. You have to do a context reset and you might like who you pretend to be.

Its a great structure, a masterpiece of understanding and designing cinema for a specific purpose. And a sad waste.

Ted's Evaluation -- 2 of 3: Has some interesting elements.

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1 out of 1 people found the following review useful:

Good movie!

9/10
Author: Giuseppe Sirugo from Italy
6 October 2015

*** This review may contain spoilers ***

It is a movie very old, but in looking nice! Surely, watching remembers a cinema genuine where the special effects not exist. It is Good. Furthermore recalls a Marilyn Monroe, born Norma Jeane Mortenson (Los Angeles, 1º June 1926 – Brentwood, 5 August 1962) in the laurels. Furthermore recalls a Marilyn in laurels over a period that Hollywood was lacking Actors professional, can be considered a movie other times: in this sense, sometimes it is transmitted in Italian television and images in black and White accentuating a bygone era. Something that has been done and exceeded and will not be repeated. Nevertheless, it is not the lack color that characterizes the film how old, because little by little principal actress remains a long biography for people who want to study she.

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1 out of 1 people found the following review useful:

It's pretty hot.

7/10
Author: OllieSuave-007 from California, USA
13 September 2015

It's a classic comedy starring Tony Curtis and Jack Lemmon as two musicians who witness a mob hit and, to protect their identities, disguise themselves as female musicians and flee the state with a female band disguised, only to find themselves being chased by men and the mob.

Curtis and Lemmon are like a mismatched couple, bickering and becoming frustrated with one another as they go through their misadventures on the road. It serves up some chuckles and humor and helps with the film's steady-moving plot. Marilyn Monroe as female lead Sugar Kane is surely the highlight of the movie and did what I think is one of her most iconic roles, bubbly, innocent-acting and vulnerable in her acting and singing two show-stopping songs. Her spellbinding beauty is sure to charm anyone and she had some good chemistry with Curtis.

However, the film does suffer a little from Curtis and Lemmon's at times overzealous acting and the lack of suspense from the pursing-mob subplot. Overall, though, it's not a bad film and is good for some laughs.

Grade B-

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1 out of 1 people found the following review useful:

Interesting

8/10
Author: Myra Nagy (chacalit) from Denver, Co
6 September 2015

*** This review may contain spoilers ***

This movie had three very different actors. All three thrown together to play on roles to captivate the viewers, that what it did for me. There were intimate scenes that made me feel warm and fuzzy. There were exciting scenes the kept me on edge. The comedy was classic, which kept me laughing the whole time. This movie showed a sense of respect and loyalty to the viewers to make them want to establish a close net friendship that will build long lasting relationships. Being in a dire situation with people you can trust helps you remember movies like this. Most movies do not display all this without vulgar language. This was a movie to help me watch over and over again.

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1 out of 1 people found the following review useful:

A lens to view our changes in gender identity

10/10
Author: Al Rodbell from Carlsbad CA
13 July 2015

Humor, beyond the pure pleasure of laughter, can provide insights into the rules, norms and taboos of the times that by showing the distortion that provides release. At the time this was made, it was focused on a bygone era of murderous mobsters and their living sex toys.

Not only were gender roles defined, there were to the degree that the issue hadn't even been raised, neither in the time of depiction 1929 or three decades later when the film was made. The fun was that all it took for men to gambol with the chicks was their putting on dresses and wigs, and raising their voice an octave.

The DVD shows the complete film with commentary by the son of billy Wilder's co-writer, Babaloo Mandell along with Jack Lemon and Tony Curtis, describing more than the technical aspects Most touching were how Marilyn Monroe resonated to the fictional character. Curtis, without any bravado, told of how his on stage scene when he convinced her that he was impotent, and with tenderness and passion she "cured" him, echoed their actual love affair previously.

We also see the genius of writer director Billy Wilder at work in a way that can't be described outside of such a film as this where his interpersonal and literary talents were at play. While this is appropriately in the genre of comedy, it is really so much more. It is a love story, and a tale of the tragedy of the real Norma Jeane that was never far away from the actress. Sure, at times the pain of her early life (see Wikipedia) broke through to the detriment of efficiency of the filming. But so what? The film on one level provided laughter, but on another insight into the human condition.

It is also a benchmark of sexual stereotypes where the setup for that final memorial line, the universal absurdity of the disclosure that the object of sexual desire would not make a suitable wife because, "I'm a guy." This was a world where women could roll in bed together without any thought of sexuality between them, and the joke was there were two who were pretending, only playing a role, performing a part.

How far the world has come, a truth that must be acknowledged whether pleased or disturbed by the revolution. And the coda, "Nobody's Perfect" takes on a more profound irony behind the laughter.

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1 out of 1 people found the following review useful:

This One's Still Red Hot!

9/10
Author: sandnair87 from India
29 March 2015

Some Like It Hot is a wacky, clever, ludicrous comedy that starts off like a firecracker and keeps on throwing off lively sparks till the very end.

The plot is a classic screwball. The setup: It's Chicago, 1929; the era of jazz, prohibition, bootlegging and gangland rub- outs. Joe (Tony Curtis) and Jerry (Jack Lemmon) are two hack jazz musicians who inadvertently witness a mob killing on St. Valentine's Day. In a desperate bid to flee the scene, the boys jump onto a train to Florida disguised as Josephine and Daphne ("I never liked the sound of 'Geraldine'"), the newest members of an all-girl jazz band where they fall for attractive, bubble-headed ukulele- player Sugar Kane (Marilyn Monroe). Once in Florida, Joe poses as the tycoon Junior, sleazily designed to fulfill Sugar's every fantasy of a man while Daphne, carried along on the tides of farcical necessity, is propositioned by an addle-brained millionaire Osgood (Joe E. Brown). Seductions and obvious complications ensue. Identities become fluid and changeable. Just when things start looking up, the goons arrive for a mobster's convention at the same hotel where the girls and the two erstwhile guys are playing. And soon a volley of bullets and witty lines fly by!

Fifty-five years on, Billy Wilder's charade has lost none of its luster, largely because of the absolutely riotous turns by the three principal cast members. Monroe's performance as the fuzzy blonde Sugar has a deliciously naive quality. She's a comedienne with that combination of sex appeal and timing that is unrivaled even today. Both Curtis and Lemmon are absolutely impeccable as they bicker, cross-dress, and chase their way into audience's hearts. Their interactions are never less than the stuff of comic gold (watch Lemmon mouth "If those gangsters come in here and kill us, and we're taken to the morgue dressed like this I'll die of embarrassment.") while they play off of one another in such a way that they simultaneously propel the plot's shenanigans and develop their characters.

The movie's lasting impact, however, is owed in great deal to the direction and the Wilder touch is indelible: a work of shocking confidence. He treats the outlandish plot so deftly that the ridiculous somehow appears possible and the shocking turns into laughter. He keeps the momentum of this madcap comedy such that it keeps rolling along, a mirthful romp that knows just when to draw back before crossing the line to the vulgar.

There's an illusion of effortlessness about Some Like It Hot that contributes to its endurance: though the characters are sweating through the madcap circus, Wilder and the top-notch cast keep the proceedings effervescent and breezily paced, giving us a movie with remarkable audacity that transcends all ages for the sake of a universal good time. A peerless classic!

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