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Some Like It Hot

It’s impressive a 57-year-old film can elicit uproarious laughter from someone 35 years its junior, with absolutely no context for the time period, actors or social commentary. Perhaps that’s why “Some Like It Hot” was ranked as the 14th best film of all time by the American Film Institute, and the number one comedy of all time. The film still oozes personality all these years later, the jokes still make people laugh and the performances still stand the test of time. Most involved in the film are lauded for their best work ever. And for good reason. The experience is one of pure joy for all who watch, regardless of personal taste, upbringing, appreciate for the classics or intelligence; it’s impossible not to love it.

Set during the speakeasy, party-laden Prohibition Era, two unemployed best friend musicians are on the run from the mob after witnessing a murder. In order to evade their pursuers, they find refuge with a traveling female band on its way to perform in Florida, “Sweet Sue and Her Society Syncopators.” Unfortunately for our two protagonists, the only way to sneak their way through the group is to pose as women themselves. They make friends with the group’s lead singer, Miss Sugar Kane, and get into the worst, most hilarious predicaments imaginable. A wealthy older man courts one, while the other falls in love with Sugar Kane, who thinks of them as close pals of the same sex. “Sunset Blvd.” director Billy Wilder, whose acclaim speaks for itself, helms an all-star cast at its absolute peak. Marilyn Monroe at the height of her fame struts across the camera line with a captivating fierceness that has yet to be mimicked. Her beauty, charisma and charm seem made for the role of Sugar Kane, an apt name. She instills a healthy dose of saccharine, singing, dancing, laughing and melting hearts along the way. Her counterparts, Jack Lemmon and Tony Curtis, legends of cinema, both exercise their comedic talents, a veritable deadly duo. The chemistry between them and Monroe is timed so perfectly, every viewing is a shock-and-awe, laugh-out-loud experience. And the supporting cast, which includes George Raft, Pat O’Brien and Joe. E Brown as Lemmon’s elderly pursuer is equally flawless in their delivery. We’re invested in the two men’s safety along with Miss Monroe. But then again, only those without hearts could ignore such a pretty little bunny.

The film, despite the color capabilities of the era, was shot entirely in black and white to mask Lemmon and Curtis’ makeup. Despite a contractual requirement that all her film be shot in color, Monroe’s agents eventually relinquished that stipulation, realizing the quality and sheer brilliance of the film. And, in fact, the black and white only serve to enhance the innocence and comedic experience of the viewer. It truly brings one back to the time of real movie legends. The film contains numerous quirky, clever lines, a testament to Wilder and I.A.L. Diamond’s script. The ending line, delivered expertly by Brown to an undisguised Lemmon, “Nobody’s perfect.” is an undoubtedly perfect ending to one of the truest movie experiences in history. It truly has withstood time’s critical hand, and has sealed its fate in the hearts of movie fans and those neophyte film spelunkers desiring a genuine, jolly good time.

Written by: Jason Villemez

Reviewers Rating: 9.5
Reader's Rating: 6.00
Reader's Votes: 2

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