Some Like it Hot - 1959

"Some Like It Hot" (1959), directed by Billy Wilder, is a classic comedy film. It follows two male musicians, Joe (Tony Curtis) and Jerry (Jack Lemmon), who witness a mob hit and flee in disguise as women, joining an all-female band. They encounter the captivating Sugar Kane, played by Marilyn Monroe. The film blends screwball comedy with a progressive take on gender roles, creating a narrative filled with humor and romantic entanglements.

The impact of "Some Like It Hot" is profound. It broke social norms of its time, especially regarding gender identity and sexuality. Its witty script, memorable performances, and Wilder's masterful direction have cemented it as a timeless classic, influencing generations of comedies. It's celebrated for its forward-thinking approach and remains a touchstone in the history of American cinema.

"Some Like It Hot" (1959) is a film that not only stands out in the history of cinema for its comedic prowess but also for its progressive themes and stylistic choices. 

Genre and Style

• Comedy with Depth: At its core, "Some Like It Hot" is a screwball comedy, known for its fast-paced repartee, improbable situations, and slapstick elements. However, beneath the surface, it explores themes of gender identity and societal norms, making it a film ahead of its time.
• Black and White Filming: Director Billy Wilder chose to shoot in black and white, which was partly to accommodate the makeup effects of the lead actors in drag, as color film exacerbated the artificiality.

Plot and Themes

• Storyline: The plot revolves around two male musicians (played by Tony Curtis and Jack Lemmon) who witness a mob hit and flee disguised as women in an all-female band. This leads to a series of comedic and romantic entanglements, particularly involving Marilyn Monroe's character, Sugar.
• Themes of Gender and Identity: One of the most significant aspects is its playful yet insightful commentary on gender roles. The film challenges conventional gender norms by placing its male protagonists in traditionally female roles, leading to a humorous yet thoughtful examination of masculinity and femininity.
• Escapism and Reality: The film also balances escapism with a touch of reality, particularly in its portrayal of the harshness of the Great Depression and the threat of organized crime.

Characters and Performance

• Marilyn Monroe's Performance: Monroe's portrayal of Sugar is both charming and poignant, adding depth to a character that could have easily been a one-dimensional stereotype.
• Curtis and Lemmon's Dynamic: The chemistry and comic timing between Curtis and Lemmon are pivotal, providing much of the film's humor and heart.

Direction and Production

• Billy Wilder's Direction: Wilder's direction is masterful, blending humor with social commentary and ensuring that the film's faster-paced, comedic moments are balanced with its more sensitive, character-driven scenes.
• Production Challenges: The production was reportedly troubled, particularly due to Monroe's personal difficulties at the time, which Wilder managed with a mix of frustration and empathy.

Legacy and Impact

• Ahead of Its Time: The film was progressive for its era, touching on themes of sexuality and identity that were largely taboo in Hollywood at the time.
• Cultural Impact: It's widely regarded as one of the greatest comedies ever made, influencing countless films and filmmakers.
• Timelessness: The humor and themes of "Some Like It Hot" have remained relevant, allowing it to endure as a classic.

Conclusion

"Some Like It Hot" is a landmark film in American cinema. Its blend of humor, heart, and progressive themes, combined with stellar performances and direction, make it a timeless classic that continues to resonate with audiences. The film transcends its era, offering a comedic yet insightful exploration of themes that remain relevant today.

• Marilyn Monroe as Sugar Kane Kowalczyk
• Tony Curtis as Joe/Josephine/Shell Oil Junior
• Jack Lemmon as Jerry/Daphne
• George Raft as Spats Colombo
• Pat O'Brien as Detective Mulligan
• Joe E. Brown as Osgood Fielding III
• Nehemiah Persoff as Little Bonaparte
• Joan Shawlee as Sweet Sue
• Billy Gray as Sig Poliakoff
• George E. Stone as Toothpick Charlie
• Dave Barry as Bienstock
• Mike Mazurki as Spats' Henchman
• Harry Wilson as Spats' Henchman
• Beverly Wills as Dolores
• Barbara Drew as Nellie
• Edward G. Robinson Jr. as Johnny Paradise

The rest of the cast includes numerous actors in minor or uncredited roles, such as Sam Bagley, Brandon Beach, Phil Bloom, Willie Bloom, Al Breneman, Steve Carruthers, James J. Casino, Noble 'Kid' Chissell, Beulah Christian, Ted Christy, Robert Cole, Marian Collier, Pat Comiskey, Bing Conley, Paul Cristo, Harry Denny, Jimmy Dime, Franklyn Farnum, Joan Fields, Duke Fishman, Mary Foley, George Ford, Paul Frees, Joanne Genthon, Bobby Gilbert and Joseph Glick.

Billy Wilder's direction in "Some Like It Hot" is a masterclass in balancing comedy with meaningful themes. Here's an analysis of his directorial approach:

Handling of Comedy and Drama

Blend of Genres: Wilder expertly mixed screwball comedy with moments of genuine emotion and drama. He navigated the complexities of the script with a deft touch, ensuring the humor was always front and center but never overshadowing the film's deeper themes.

Direction of Actors

Managing Star Performances: Wilder's handling of the star-studded cast, particularly Marilyn Monroe, was notable. Despite reported challenges, he elicited a nuanced performance from Monroe and capitalized on the comedic chemistry between Tony Curtis and Jack Lemmon.

Visual Style

Black and White Cinematography: Choosing black and white over color, Wilder gave the film a timeless quality. This decision also helped blend the makeup and costumes of the male leads in their female disguises more seamlessly into the visual narrative.

Storytelling

Narrative Structure: Wilder's storytelling was dynamic, keeping the pace brisk and the plot engaging. His direction ensured that the film's cross-dressing premise was handled with humor and taste, avoiding cheap jokes in favor of character-driven comedy.

Innovation and Risk-Taking

Pushing Boundaries: Wilder was unafraid to push societal boundaries of the time, tackling subjects like gender roles and sexuality with a forward-thinking approach. His boldness in this respect was a significant factor in the film's enduring appeal.

Conclusion

Billy Wilder's direction in "Some Like It Hot" showcases his skill in blending humor with depth, handling complex themes with a light touch, and guiding a talented cast to deliver iconic performances. His work on this film solidifies his reputation as one of the great directors in Hollywood history.

Marilyn Monroe's portrayal of Sugar Kane in "Some Like It Hot" is a standout performance that showcases her comedic talent and depth as an actress. Here's an analysis:

Characterization

Vulnerability and Strength: Sugar Kane is not just a stereotypical 'dumb blonde.' Monroe infuses the character with a mix of vulnerability and inner strength. Her portrayal transcends the superficial, revealing Sugar's hopes, dreams, and disappointments.

Comic Timing

Natural Comedian: Monroe's comedic timing is impeccable. She delivers lines with a natural wit, enhancing the film's humor without overshadowing its other elements.

Chemistry with Co-stars

On-Screen Chemistry: Monroe's interactions with Tony Curtis and Jack Lemmon are pivotal to the film's success. Her chemistry with Curtis, in particular, adds a layer of romantic tension and charm.

Impact on the Film

Irreplaceable Presence: Monroe's performance as Sugar Kane is integral to the film's identity. Her blend of comedy, charm, and vulnerability makes the character memorable and endearing.

Cultural Impact

Iconic Role: This role cemented Monroe's status as a cultural icon. Her performance in "Some Like It Hot" remains one of her most celebrated roles, showcasing her talent beyond the often typecast 'blonde bombshell' persona.

Tony Curtis's role in "Some Like It Hot" is a testament to his versatility and skill as an actor. Here's an analysis:

Dual Role Complexity

Playing Multiple Characters: Curtis portrays both Joe and Josephine, showcasing his ability to switch seamlessly between characters. His portrayal of Josephine is particularly notable for its comedic flair and believability.

Comic Timing and Physical Comedy

Comedic Excellence: Curtis displays impeccable comic timing, especially in scenes where he must maintain the ruse of being a woman. His physical comedy adds to the humor without becoming slapstick.

Romantic Lead

Chemistry with Marilyn Monroe: As the romantic lead opposite Marilyn Monroe, Curtis manages to create a believable and engaging dynamic, adding depth to the film's romantic subplot.

Subtle Social Commentary

Challenging Gender Norms: Through his portrayal of a man disguised as a woman, Curtis subtly addresses gender norms and stereotypes, contributing to the film's broader commentary on societal expectations.

• Sugar: "I come from this musical family. My mother is a piano teacher and my father was a conductor." Joe: "Where did he conduct?" Sugar: "On the Baltimore and Ohio."​​"Real diamonds! They must be worth their weight in gold!"​​
   
• Osgood: "Right now, she thinks I'm out there on my yacht - deep sea fishing!
   
• Daphne: "Well, pull in your reel, Mr. Fielding, you're barking up the wrong fish!"​​
   
• "What are you afraid of? No-one's asking you to have a baby!"​​
   
• Osgood: "Daphne." Jerry: "Hmm?" Osgood: "You're leading again." Jerry: "Sorry."​​
   
• 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."​​
   
• Sugar: "What is it?" Junior: "It's a member of the herring family." Sugar: "A herring? Isn't it amazing how they get those big fish into those little glass jars?" Junior: "They shrink when they're marinated."​​
   
• "Story of my life. I always get the fuzzy end of the lollipop."​​
   
• Joe: "We won't breathe a word!" Spats: "You won't breathe nothin' - not even air."​​
   
• Junior: "I think you're on the right track." Sugar: "I must be. Your glasses are beginning to steam up."​​

Academy Awards:

• Best Director: Billy Wilder (Nominated)
• Best Actor: Jack Lemmon (Nominated)
• Best Screenplay – Based on Material from Another Medium: Billy Wilder and I. A. L. Diamond (Nominated)
• Best Art Direction – Black-and-White: Ted Haworth (Art Direction) and Edward G. Boyle (Set Decoration) (Nominated)
• Best Cinematography – Black-and-White: Charles Lang (Nominated)
• Best Costume Design – Black-and-White: Orry-Kelly (Won)

Bambi Awards:

• Best Actor – International: Tony Curtis (Nominated)

British Academy Film Awards:

• Best Film from any Source: Billy Wilder (Nominated)
• Best Foreign Actor: Jack Lemmon (Won)

Directors Guild of America Awards:

• Outstanding Directorial Achievement in Motion Pictures: Billy Wilder (Nominated)

Golden Globe Awards:

• Best Motion Picture – Musical or Comedy (Won)
• Best Actor in a Motion Picture – Musical or Comedy: Jack Lemmon (Won)
• Best Actress in a Motion Picture – Musical or Comedy: Marilyn Monroe (Won)

Grammy Awards:

• Best Sound Track Album, Original Cast – Motion Picture or Television: "Some Like It Hot" (Nominated)

Jules Verne Awards:

• Jules Verne Légendaire Award: Billy Wilder (Won)

Laurel Awards:

• Top Comedy (3rd Place)
• Top Male Comedy Performance: Jack Lemmon (2nd Place)
• Top Female Comedy Performance: Marilyn Monroe (2nd Place)

National Board of Review Awards:

• Top Ten Films (7th Place)

National Film Preservation Board:

• National Film Registry: Inducted

Online Film & Television Association Awards:

• Hall of Fame – Motion Picture: Inducted

Producers Guild of America Awards:

• PGA Hall of Fame – Motion Pictures: Robert Evans (Won)

Venice International Film Festival:

• Golden Lion: Billy Wilder (Nominated)

Writers Guild of America Awards:

• Best Written American Comedy: Billy Wilder and I. A. L. Diamond (Won)​​.

Additionally, in 1989, the Library of Congress selected "Some Like It Hot" for preservation in the United States National Film Registry for being "culturally, historically, or aesthetically significant"​​.