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"Some Like It Hot" (Movie) Yacht

View large appearing in the 1959 comedy "some like it hot" with marilyn monroe, jack lemmon and tony curtis , the classic 1928 fantail motor yacht "portola" is a gem that has been maintained with tlc. she is a popular filming locale to this day. i've been aboard and inside her, but i've not yet been able to convince her owner that we should take her out for sea trials   update (around 2020 or early 2021): portola left alamitos bay with a new owner. i'd heard she would be moved to the east coast. she was like an old friend and is missed.   update 4/29/2021 while in the caribbean at gustavia, st barthélemy portola caught fire. it 'apparently' was repairable www.sbhonline.com/forums/showthread.php/101078-yacht-catc...   click here for more views of this beauty www.flickr.com/photos/konabish/albums/72157630186319750  .

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• Some Like It Hot

“Some Like It Hot” quotes

“- Jerry: We can't get married at all. - Osgood Fielding III: Why not? - Jerry: Well, in the first place, I'm not a natural blonde. - Osgood Fielding III: Doesn't matter. - Jerry: I smoke ! I smoke all the time! - Osgood Fielding III: I don't care. - Jerry: Well, I have a terrible past. For three years now, I've been living with a saxophone...” (continue) (continue reading) Jack Lemmon - Jerry Joe E. Brown - Osgood Fielding III

“It's not how long you wait, it's who you're waiting for.” Tony Curtis - Junior

“- Sugar Kane Kowalczyk: Isn't water polo terribly dangerous? - Junior: I'll say. I had two ponies drowned under me.” Marilyn Monroe - Sugar Kane Kowalczyk Tony Curtis - Junior

“Story of my life. I always get the fuzzy end of the lollipop.” Marilyn Monroe - Sugar Kane Kowalczyk

“I don't care how rich he is, as long as he has a yacht, his own private railroad car, and his own toothpaste .” Marilyn Monroe - Sugar Kane Kowalczyk

“- Sugar Kane Kowalczyk: I met one of them. - Joe: One of whom? - Sugar Kane Kowalczyk: Shell Oil Junior. He's got millions, he's got glasses, he's got a yacht! - Joe: You don't say. - Jerry: He's not only got a yacht, he's got a bicycle!” Marilyn Monroe - Sugar Kane Kowalczyk Tony Curtis - Joe Jack Lemmon - Jerry

“Real diamonds ! They must be worth their weight in gold!” Marilyn Monroe - Sugar Kane Kowalczyk

“Look how she moves! That's just like Jell-O on springs.” Jack Lemmon - Jerry

“Men who wear glasses are so much more gentle, sweet and helpless.” Marilyn Monroe - Sugar Kane Kowalczyk

“- Joe: What are you worried about? This job is going to last a long time. - Jerry: Well, suppose it doesn't? - Joe: Jerry, boy, why do you have to paint everything so black? Suppose you got hit by a truck. Suppose the stock market crashes. Suppose Mary Pickford divorces Douglas Fairbanks. Suppose the Dodgers leave Brooklyn!” Tony Curtis - Joe Jack Lemmon - Jerry

“- Joe: You're not a girl! You're a guy! And why would a guy wanna marry a guy? - Jerry: For security !” Tony Curtis - Joe Jack Lemmon - Jerry

“- Sugar Kane Kowalczyk: I come from this musical family. My mother is a piano teacher and my father was a conductor. - Joe: Where did he conduct? - Sugar Kane Kowalczyk: On the Baltimore & Ohio.” Marilyn Monroe - Sugar Kane Kowalczyk Tony Curtis - Joe

“Well, nobody's perfect.” Joseph Evans Brown - Osgood Fielding III

“- Junior: Syncopators. Does that mean you play that very fast music... jazz? - Sugar Kane Kowalczyk: Yeah, real hot. - Junior: I guess some like it hot. I personally prefer classical music.” Tony Curtis - Junior Marilyn Monroe - Sugar Kane Kowalczyk

“You don't know what they're like. You fall for them and you really love them you think this is gonna be the biggest thing since the Graf Zeppelin and the next thing, you know, they're borrowing money from you and spending it on other dames and betting on horses.” Marilyn Monroe - Sugar Kane Kowalczyk

“I wanna be loved by you, just you, nobody else but you.” Marilyn Monroe - Sugar Kane Kowalczyk

“- Osgood Fielding III: I am Osgood Fielding the Third. - Daphne: I'm Cinderella the second.” Joseph Evans Brown - Osgood Fielding III Jack Lemmon - Daphne

“- Sweet Sue: Didn't you girls say you went to a conservatory? - Daphne: Yes. For a whole year . - Sweet Sue: I thought you said three years. - Josephine: We got time off, for good behavior.” Joan Shawlee - Sweet Sue Jack Lemmon - Daphne Tony Curtis - Josephine

“You know I’m gonna be 25 in June? That’s a quarter of century… it makes a girl think.” Marilyn Monroe - Sugar Kane Kowalczyk

“One morning you wake up, the guy is gone, the saxophone's gone, all that's left behind is a pair of old socks and a tube of toothpaste , all squeezed out. So you pull yourself together. You go on to the next job, the next saxophone player. It's the same thing all over again. You see what I mean?” Marilyn Monroe - Sugar Kane Kowalczyk

“- Junior: Look, if all you're interested in is whether I am married or not... - Sugar Kane Kowalczyk: Oh, I'm not interested at all. - Junior: Well, I'm not. - Sugar Kane Kowalczyk: That's very interesting!” Tony Curtis - Junior Marilyn Monroe - Sugar Kane Kowalczyk

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Masterpiece: "Some Like It Hot"

Billy wilder's manic, magical 1959 farce is more than drag shtick and marilyn in that amazing gown -- it's a topsy-turvy exploration of sexual desire and identity., by charles taylor.

If "Some Like It Hot" isn't the funniest movie ever made, you can't blame it for not trying. The first time you see Billy Wilder's 1959 farce, you might not believe that anything can make you laugh so hard for so long. Where most comedies wear out their audience after an hour and a half, "Some Like It Hot" goes on for 122 minutes and leaves you ebullient.

Years later, the stray memory of a scene or a bit of dialogue can get you chuckling to yourself: Consider the wheezing, open-mouthed laugh of Joe E. Brown, or his delivery of the movie's capper, the most perfect last line in the history of movies. Or what about the party in the upper berth of that railroad car -- even more cramped than the stateroom sequence in "A Night at the Opera" -- where an in-drag Jack Lemmon gets happily soused with an all-girl jazz orchestra?

Then there's Tony Curtis' affectionate takeoff on Cary Grant; hulking movie heavy Mike Mazurki asking Curtis and Lemmon, "Ain't I had the pleasure of meeting you two broads before?"; Marilyn Monroe somehow staying in her diaphanous gown while she sings "I Wanna Be Loved By You"; and Curtis and Monroe's love scene, on a moonlit yacht in the middle of the night, which got the film banned in Kansas City. (One of my best friends has broken me up for years by, without warning, quoting Lemmon's line, "We wore grass skirts," and then breaking into Lemmon's impromptu hula.)

There's still an amazing appetite for "Some Like It Hot." It's been reissued on DVD, in a transfer that preserves Charles Lang's gorgeous black-and-white cinematography, with a few extra documentaries: reminiscences from Tony Curtis and the actresses who were part of the girl band. And it's the subject of a lavish $150 coffee-table book from Taschen that includes the entire script (accompanied by numerous stills), interviews with Lemmon, Curtis and Wilder, reproductions of the original advertising art and reviews, and even a facsimile of Monroe's prompt book (with handwritten notes: "Acting -- being private in public to be Brave"). It's a big, lush treat of a book, and its existence says something about the affection people feel for this movie.

Perhaps the most amazing thing about "Some Like It Hot" is how easily it could have all gone wrong. Billy Wilder was never an especially subtle filmmaker. His comedies both before and after this one tended toward the heavy-handed, even the vulgar. "Some Like It Hot," from a script he wrote with his frequent collaborator I.A.L. Diamond, is played in broad farce style. The jokes don't quite jab you in the ribs but neither are they witty little glissades. Pauline Kael, who loved it, wrote that the movie hovers "on the brink of really disastrous double-entendre." You hear what she means in the dialogue: the oral-sex jokes implicit in Monroe and Curtis' backchat about the sweet or the fuzzy end of the lollipop, or the mannish pair telling Sweet Sue the orchestra leader that she doesn't have to worry about them getting involved with men. ("Rough hairy beasts," an offended Lemmon chimes in, "and they all want just one thing from a girl.")

You see it in the movie's advertising slogan, which introduced the stars as "Marilyn Monroe -- and her bosom companions." There is also one visual double-entendre, a taunt to the censors that to this day I can't believe Wilder got away with. The gown Monroe wears to perform with the band is a barely-there number of sheer nylon netting that clearly shows her breasts, the nipples just covered by small cascades of sequins. As she boop-boop-be-doops her way through "I Wanna Be Loved By You," Wilder puts a tight spotlight on her face and shoulders. When she gets to the line "I couldn't aspire/To any-thing higher" she wiggles slowly up so that the tips of her breasts stay teasingly just below the spot.

And then there are the winks at the audience. Lemmon is telling Curtis, aping the latter's Cary Grant routine, "No- body talks like that!" when Pat O'Brien and George Raft turn up as, respectively, a Chicago cop and a bootlegger, parodying the roles they'd played in so many other movies. Observing a slick young mobster doing the coin-flipping routine Raft perfected, Raft asks, "Where'd you learn that cheap trick?"

But somehow these bits tickle you instead of making you groan. "Some Like It Hot" is naughty, all right, but it's never coarse. Part of the fun is watching the movie parody a then not-so-distant past that had already become iconic lore. Set in Chicago and Florida during Prohibition, the movie is full of gun-toting bootleggers, cops giving chase in Black Marias that seem to turn corners on two wheels, girls in flapper get-ups, millionaires whose life is one extended toot. (Joe E. Brown's yacht is called the New Caledonia. "The Old Caledonia," he explains, "went down during a wild party off Cape Hatteras.")

Curtis and Lemmon play Joe and Jerry, two perpetually down-on-their-luck musicians who accidentally witness the St. Valentine's Day Massacre, the spectacular Chicago Mob hit of 1929. Fleeing for their lives, they don drag and get a job with Sweet Sue and Her Society Syncopators, an all-girl jazz orchestra heading for two weeks in Miami. Lemmon's Jerry is pop-eyed at the "talent" that surrounds him. It all reminds him of a recurring childhood dream of being locked overnight in a pastry shop with "jelly rolls and mocha éclairs and sponge cake and Boston cream pie and cherry tarts" (another of those double-entendres). Curtis warns him, "We're on a diet!"

But when they get to Florida, the roles are reversed. It's Lemmon who blooms in his new identity and Joe who risks it all by impersonating an oil millionaire to woo Sugar Kane (Monroe), the band's singer. It's also not too long before the gangsters chasing them turn up at the hotel, attending a convention for -- you should pardon the expression -- "Friends of Italian Opera" (or, as the hoods themselves like to say, "Eye-talian Opera").

Years ago, I ran across a comment by a feminist film critic who said that "Some Like It Hot" depicted a male world so predatory that the heroes were literally forced to abandon their sexual identities in order to survive. There's something to it. This comedy of sexual role confusion is, deep down, a joke on the male desire for security, the fantasy of abandoning yourself to the protected and pampered place of women.

That's all visible in Jack Lemmon's performance, perhaps the finest work he ever did. Lemmon doesn't so much play the role as it plays him. He transcends the obvious joke (one that would have soon worn thin) of how ungainly he and Curtis look in drag and completely surrenders to the woman within. You see something of that in Dustin Hoffman's performance in "Tootsie" (the movie's most obvious offspring) and in Michel Serrault's performance in "La Cage aux Folles." But I think Lemmon goes even further. He enters that state of comic logic where madness and delusion seem like the most reasonable thing in the world. Wilder brought in a German drag artist to work with Curtis and Lemmon. The guy left after one day in disgust. Curtis was OK, he said, but Lemmon was hopeless. In an interview in the "Some Like It Hot" book, Lemmon says he didn't want to turn the role into gay shtick. And he doesn't. He goes for something much farther out and riskier -- utter immersion in the feminine.

When he first enters in drag, all he can do is complain about how drafty his dress is and how tough it is to walk in heels. By the end of the movie he's so comfortable in heels that he wears them without thinking, giving himself away. But his transition starts long before then. Jerry introduces himself as "Daphne," instead of the agreed-upon "Geraldine." And there's a crestfallen look on his face when Sugar tells him that she envies him being "so flat-chested."

But Jerry's transformation really comes out in his scenes with the incomparable Joe E. Brown (who, like Harpo Marx, can seem like one of God's crazed angels) as Osgood Fielding III. Osgood is a lecherous old millionaire who's been married to so many showgirls he can't keep track (luckily, his ma- maw does). To help Joe in his seduction of Sugar, Jerry agrees, under much protest, to a date with Osgood. The two of them tango till dawn and Jerry returns, still shaking his maracas, and announces without a trace of irony, "I'm engaged." When an incredulous Joe asks him, "Why would a guy want to marry a guy?" Jerry answers, as if it's the most obvious thing in the world, "Security."

It makes sense. Jerry's the practical one of the duo. When the movie opens, he's planning to use his paycheck to pay a little something to everyone he owes, to get to the dentist to get a bad tooth taken care of. But he lets Joe talk him into hocking their overcoats (in a Chicago February!) to put the money on a "sure thing" at the dog track. He's sick of not eating, of not knowing where the next job will come from, of running for his life. He looks at the way women are taken care of, protected, fawned over -- even the girls in the band, watched like hawks by Sweet Sue and her manager, Beinstock -- and feels envious.

At last! An end to all his troubles. Plenty of money, plenty of clothes, and three squares! And if all it takes is the occasional night of tangoing or a pinched ass in the elevator, well, he can live with that. To be a man in "Some Like It Hot" means to be either a killer or on the run from one. So a touch of cuckoo nirvana hovers around Lemmon's fantasies of married bliss. He's so far gone into his dream of fussed-over ease that all he can see in Joe's objections is his best friend ruining what may be his last chance to marry a millionaire.

Envisioning the honeymoon, he says, "He wants to go to the Riviera -- but I sort of lean toward Niagara Falls." And when Joe asks him if his engagement present, a diamond bracelet, is the real thing, he answers huffily, "Naturally. You think my fiancé is a bum?" Not that he expects it all to work out. "I'll tell him the truth when the time comes," Joe promises. "Then we'll get a quick annulment -- he'll make a nice settlement on me -- and I'll have those alimony checks coming in ehhvv -ery month!"

Not everyone in the movie is lucky enough to be so deluded. Neither Joe, who's after Sugar the first chance he gets, nor Sugar, who keeps falling for tenor sax players, the type who leave her with no more than "a pair of old socks and a tube of toothpaste, all squeezed out," can be anything other than what they are. (In fact, Joe is the exact sort of heel Sugar is running away from. And the means he uses to get her -- fulfilling her fantasy of the sensitive, bespectacled millionaire -- are trickery.) Like romantic comedy, which it is not, "Some Like It Hot" envisions sexual attraction as chaos, an adventure, perhaps a compulsion, but not as a promise of happiness. Joe and Sugar, who each know which end of the lollipop they like, are stuck in their sexual roles, and ready to take their respective lumps all over again.

There's a shot that rather elegantly sums up the movie's sexual topsy-turviness. Sugar, on the bandstand, believing her millionaire has shipped out to South America to marry the daughter of a Venezuelan oil tycoon, is pouring her heart out in "I'm Through With Love." Joe, dressed up as Josephine and about to make his final getaway, watches from the sidelines. He walks on stage right up to her, brushes away her tears, and -- using his real voice, the first time she has heard it -- tells her, "None of that, Sugar. No guy is worth it." It's Joe's admission that he's been a heel, and his wish that he could do better. But the great moment follows, as he takes her in his arms and kisses her. Sugar responds not with her head but with her heart, melting into the kiss and then realizing who this man is that almost got away.

It's the vision of Monroe and Curtis in drag, locked in that kiss, maybe the only sexual exchange in the picture where both partners are being honest with each other, that stands for the movie's world of crazy possibility. "Some Like It Hot" does exactly what a farce is supposed to do -- it gives you the sense of the world careening pleasurably but unstoppably out of control. Neither Wilder nor Monroe nor Curtis nor Lemmon ever equaled the work they did here. But nobody's perfect.

Charles Taylor is a columnist for the Newark Star-Ledger.

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Review by Dal Jenkins Patron

Some like it hot 1959.

Watched Feb 18 , 2024

Dal Jenkins’s review published on Letterboxd:

i know this is a *super original* opinion, but Billy Wilder has some of the wittiest dialogue. every conversation is such a treat, i feel like i’m getting spoiled.

i really liked Sugar, i’ve never seen Marilyn Monroe act before and i thought she did a great job portraying a fun and likable character. that yacht scene was STEAMY i can’t imagine the reactions it would’ve gotten in freakin ‘59 haha.

while Monroe was delightful, Curtis and Lemmon were NUTS. i already knew Lemmon had the comedy chops from The Apartment , but i’ve only ever seen Curtis in The Defiant Ones , so making that jump was wilddd haha.

still doesn’t beat The Apartment for me yet, but this was a fun watch for sure:)

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Marilyn Monroe: Never-before-seen outtakes from 'Some Like It Hot'

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CORONADO, Calif. — Just when you thought you'd seen every image of Marilyn Monroe, the KFMB archives produces never-before-seen outtakes of the movie star. In this Zevely Zone, I visited Hotel del Coronado where Marilyn starred in one of the greatest comedies of all time, 'Some Like it Hot'. The movie was shot in September of 1958. That's when the magnificent red top towers of Hotel del Coronado were upstaged by the beauty of Marilyn Monroe. San Diegans were mesmerized by the star who stood before them. News 8 has rediscovered several minutes of never-before-seen silent outtakes of Marilyn Monroe. This footage was shot at Hotel del Coronado.

"Marilyn was really at the height of her fame," said Gina Petrone who is the Heritage Manager at Hotel del Coronado. Gina couldn't believe News 8 never aired the footage in its entirety. "This is incredible, incredible footage," said Gina.

The outtakes were shot on the beach in front of the resort on the set of 'Some Like it Hot', which starred Marilyn, Tony Curtis, and Jack Lemmon. "I have never read a comedy script, not only better maybe not it's equal," said Jack Lemmon during an archived News 8 story.  The outtakes of Marilyn were first discovered decades ago by News 8 photographer Ben Cutshall. They were hidden away in an archive canister and simply labeled "outs".  

"There is maybe two and half minutes of Marilyn, Jack Lemmon, Tony Curtis on the beach at the Hotel del and I thought wow," said Ben who passed away in 2009.

About thirty seconds of that footage aired in a Larry Himmel story, but the bulk of the images have never been shown on television. It was in those outtakes where we spotted another star.  Jamie Lee Curtis was also on the beach that day sort of. Film shows Tony Curtis sitting next to his wife Janet Leigh, who you may remember from the movie Psycho.  "Janet Leigh was pregnant. She was pregnant with Jamie Lee Curtis at the time of filming," said Gina.

Janet Leigh wasn't alone; Marilyn was also pregnant during the shooting of 'Some Like It Hot' which could have contributed to her showing up on set three and four hours late according to director Billy Wilder.  "So, you just say my god, my god, it is a question as to who is going to have a nervous breakdown me, the two guys who were suffering or the money man," said Billy Wilder during a News 8 archive story.  Wilder said it cost 20,000 dollars a day to shoot the movie, but Marilyn was worth the wait.

In 2009, while celebrating the film's 50-th Anniversary, I interviewed Tony Curtis. "It was fun it was fun," said Curtis. He laughed about the movie's plot.  The characters played by Lemmon and Curtis witnessed a mob shooting and were forced to dress up as women to escape. Walking in high heels was a first for Curtis, but kissing Marilyn Monroe is what he remembered most.  "Let's throw another log on the fire," said Curtis in the film's steamy scene with Monroe and him. Curtis told me Marilyn devoured him. "She was a very beautiful woman very beautiful," said Curtis in 2009.  

RELATED: Former columnist 'Miss Clean' writes a memoir about past Hollywood stars

The lost footage also shows Marilyn with her husband at the time playwright Arthur Miller. Both were unaware in September of 1958 that Marilyn would suffer a miscarriage two months later. "Just when you think you've seen it all and learned everything there is. It is wonderful to discover something like this that really brings it to life," said Gina Petrone.

RELATED: Zevely Zone: Dodie Stevens celebrates 60th anniversary of Pink Shoelaces

Eleven presidents have stayed at the Del, but no one made San Diego's crown jewel shine like the magic of Marilyn. "That is fantastic, absolutely wonderful footage," said Gina. "Priceless."

Marilyn Monroe told her friends; she did not want to star in 'Some Like it Hot'. She said was tired of playing dumb blonde in movies, but she couldn't turn down a lucrative deal of $100,000 dollars and ten percent of the movie's gross profits.

WATCH: Behind the Scenes of 'Some Like it Hot at Hotel del Coronado 1958.  

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Some Like It Hot

• After two male musicians witness a mob hit, they flee the state in an all-female band disguised as women, but further complications set in.
• After 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. — garykmcd
• It's the winter of 1929 in Chicago. Friends and roommates Jerry and Joe are band musicians, a string bassist and tenor saxophonist respectively. They are also deep in debt. Womanizing and smooth talking Joe is a glass half full type of guy, who figures they can earn quick money gambling with what little money they earn to pay off their debts, while more conservative Jerry is a half glass empty type of guy. They are in the wrong place at the wrong time when they witness a gangland slaying by bootlegger Spats Colombo and his men, Jerry and Joe managing to make it away from the scene within an inch of their lives. Needing to lay low and get out of town away from Spats, they sense an opportunity when they learn of a local jazz band needing a bassist and a saxophonist for a three week gig at a luxurious tropical seaside resort in Miami, all expenses paid. The problem?: it's an all girl band, but nothing that "Geraldine" and "Josephine" can't overcome, the former who instead chooses Daphne as "her" stage name. Sweet Sue, the band leader, has two basic rules for the band members while on tour: no liquor and no men. Beyond needing to evade Spats and his henchmen, and maintain the front of being women, especially in the most private of situations with the other female band members, Jerry and Joe have two primary problems. First, the more brazen Joe falls for one of the other band members, ukulele player and vocalist Sugar Kane Kowalczyk, although Jerry too is attracted to her. Joe does whatever he can to find time to get out of drag to woo Sugar while in Miami, using all the knowledge Josephine gleans directly from Sugar about what turns her crank in potential husband material. And second, Jerry, as Daphne, catches the eye of wealthy lovestruck Osgood Fielding III, who won't take no for an answer. — Huggo
• After witnessing a Mafia murder, slick saxophone player Joe and his long-suffering buddy, Jerry, improvise a quick plan to escape from Chicago with their lives. Disguising themselves as women, they join an all-female jazz band and hop a train bound for sunny Florida. While Joe pretends to be a millionaire to win the band's sexy singer, Sugar, Jerry finds himself pursued by a real millionaire as things heat up and the mobsters close in. — Jwelch5742
• Two struggling musicians witness the St. Valentine's Day Massacre and try to find a way out of the city before they are found and killed by the mob. The only job that will pay their way is an all girl band so the two dress up as women. In addition to hiding, each has his own problems; One falls for another band member but can't tell her his gender, and the other has a rich suitor who will not take "No," for an answer. — John Vogel <[email protected]>
• It is February 1929 in the city of Chicago. Joe is a jazz saxophone player, irresponsible gambler and ladies' man; his friend Jerry is a sensible jazz double-bass player. They accidentally witness the Saint Valentine's Day Massacre. When the gangsters, led by "Spats" Colombo, spot them, the two run for their lives. Penniless and in a rush to get out of town, the two musicians take a job with Sweet Sue and her Society Syncopators, an all-female band headed to Miami. Disguised as women and calling themselves Josephine and Daphne, they board a train with the band and their male manager, Bienstock. Before they board the train, Joe and Jerry notice Sugar Kane, the band's vocalist and ukulele player. Joe and Jerry become enamored of Sugar (Marilyn Monroe) and compete for her affection while maintaining their disguises. Sugar confides that she has sworn off male saxophone players, who have stolen her heart in the past and left her with "the fuzzy end of the lollipop". She has set her sights on finding a sweet, bespectacled millionaire in Florida. During the forbidden drinking and partying on the train, Josephine and Daphne become intimate friends with Sugar, and have to struggle to remember that they are girls and cannot make a pass at her. Once in Miami, Joe woos Sugar by assuming a second disguise as a millionaire named Junior, the heir to Shell Oil, while feigning disinterest in Sugar. An actual millionaire, an aging mama's boy, the much-married Osgood Fielding III, tries repeatedly to pick up Daphne, who rebuffs him. Osgood invites Daphne for a champagne supper on his yacht. Joe convinces Daphne to keep Osgood occupied onshore so that Junior can take Sugar to Osgood's yacht, passing it off as his. Once on the yacht, Junior explains to Sugar that, due to psychological trauma, he is impotent and frigid, but that he would marry anyone who could change that. Sugar tries to arouse some sexual response in Junior and begins to succeed. Meanwhile, Daphne and Osgood dance the tango till dawn. When Joe and Jerry get back to the hotel, Jerry explains that Osgood has proposed marriage to Daphne and that he, as Daphne, has accepted, anticipating an instant divorce and huge cash settlement when his ruse is revealed. Joe convinces Jerry that he cannot actually marry Osgood. The hotel hosts a conference for "Friends of Italian Opera", who are actually mobsters. Spats and his gang from Chicago recognize Joe and Jerry as the witnesses to the Valentine's Day murders. Joe and Jerry, fearing for their lives, realize they must quit the band and leave the hotel. Joe breaks Sugar's heart by telling her that he, Junior, has to marry a woman of his father's choosing and move to Venezuela. After several chases, Joe and Jerry witness additional mob killings, this time of Spats and his crew. Joe, dressed as Josephine, sees Sugar onstage singing that she will never love again. He kisses her before he leaves, and Sugar realizes that Joe is both Josephine and Junior. Sugar runs from the stage at the end of her performance and is able to jump into the launch from Osgood's yacht just as it is leaving the dock with Joe, Jerry, and Osgood. Joe tells Sugar that he is not good enough for her, that she would be getting the "fuzzy end of the lollipop" yet again, but Sugar wants him anyway. Jerry, for his part, comes up with a list of objections for why he and Osgood cannot get married, ranging from a smoking habit to infertility. Osgood dismisses them all; he loves Daphne and is determined to go through with the marriage. Exasperated, Jerry removes his wig and shouts, "I'm a man!" Osgood simply responds, "Well, nobody's perfect."

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1994 part eight: who was top of the box office at summer’s end, once upon a time in the west (1968) – the making of a western classic, presumed innocent: season one review – apple tv+ does it again, severance: a review of the stunning apple tv+ show, reacher: the hits and misses of amazon prime’s popular series, pickfair: haunted hollywood history, hollywood feuds: angelina jolie and jon voight, who killed hot toddy the mysterious death of thelma todd, scholars’ spotlight: douglas fairbanks jr. – the last prince of hollywood’s golden age, scholars’ spotlight: ray harryhausen, scholars’ spotlight: the legacy of irving thalberg, beetlejuice beetlejuice review: the juice is definitely not loose, i’ll be right there: a review of the edie falco dramedy, blink twice review: an okay first try for a freshman, james bond in space the making of moonraker (1979), scholars’ spotlight: audrey hepburn, scholars’ spotlight: robert shaw, the critic: director anand tucker tells us about his new melodrama, subservience: director s.k. dale tells us about his new sci-fi thriller, slingshot: director mikael håfström tells us about his new sci-fi thriller, some like it hot (1959): a critical analysis, introduction, some like it hot (1959) is a comedy film by famed director billy wilder, who also directed titles such as double indemnity (1944) and the apartment (1960). the film is centered on two chicago musicians joe (tony curtis), and jerry (jack lemmon). they witness a murder in the speakeasy they perform in and decide to flee to florida in order to save their lives. on a train to florida, they disguise themselves as women in order to join an all women’s jazz band ., eventually, they end up befriending the band’s lead singer and ukulele player, sugar ( marilyn monroe). both joe and jerry fall head over heels for her and face the challenge of concealing their true identities. all the while trying to get closer to sugar. over sixty years later, the film remains a beloved classic. it still causes laughter to erupt through farcical humor and witty one-liners. some like it hot also has incredible and iconic performances from both curtis and lemmon. marilyn monroe also shines throughout the film., message and humor, most importantly, the film created a dialogue for important issues we still grapple with today. namely, gender roles, sexuality, and societal norms. it’s still a source of not only laughter but inspiration for many of the great writers and directors who have come and gone, as well as future creators. well-known and beloved for its humor, it’s a timeless film that was ahead of its time. some like it hot also featured prime examples of situational humor, witty one-liners, and farcical comedy. the premise is presented with two men dressed as women, which is impossible to not find funny as living as a woman is quite a challenge for a man..

The situational humor aspects are the meat and potatoes of Some Like It Hot . This type of comedy is used most often with witty one- liners that tie it all together. Those who have seen the film can remember at least one funny bit of dialogue, most notably, the final scene:

“Jerry: But you don’t understand, Osgood! I’m a man! Osgood Fielding III: Well, nobody’s perfect!” 

This kind of comedy can be laughed at by almost everyone. That’s why it’s still being used, often in modern comedy films. Comedies such as Airplane! (1980) and Coming to America (1988) have a new sort of familiarity after watching Some Like It Hot . They too amuse the audience through witty one- liners and situational comedy:

“Hanging Lady: Nervous? Ted Striker: Yes. Hanging Lady: First time? Ted Striker: No, I’ve been nervous lots of times.”

It’s truly evident how much this film has inspired comedy writers. We’ve seen so many legendary comedy films that rouse laughter from one-liners and ridiculous situations that harken back to Some Like It Hot . The film, and its humor, feel universal. It fits all people and their tastes, and that is why it has remained in its legendary status for all this time.

Direction and Cast

Billy wilder, the legendary writer/director, directed the film. well-known for film s such as the apartment and double indemnity (1944), his directing style is very precise, with every small detail being completely intentional. some like it hot utilizes a variety of camera angles to encapsulate the mood of the scene and the actors. wilder worked well with the cast, allowing them to be more creative in their performances and showing their personalities in the roles., wilder was a jack-of-all-trades. he had a mastery of all aspects of filmmaking and was able to bring together all these important elements together, seamlessly. it’s important to emphasize the performance of the actors as well. the stars, curtis, lemmon, and monroe, delivered extraordinary performances. this film cemented their status as hollywood legends., at the time of this film, all three of the stars were reaching a peak in their acting careers which truly ignited the performance and made it so memorable. curtis and lemmon disguising themselves as women and struggling to hide their identities in hilariously ridiculous situations truly took an immense amount of talent. they were able to effortlessly switch between their joe and jerry roles and their daphne and josephine roles., monroe’s charismatic performance completed the film, making it unforgettable as no one can think of some like it hot and not picture monroe. sugar kane is captivating and so lovable, causing the viewer to feel a connection to her. this performance was so perfect due to monroe’s authentic personality and talent. these performances continue to be relevant today as a result of the masterful directing by billy wilder and performances by tony curtis, jack lemmon, and marilyn monroe..

Challenging Roles and Censorship

Their chemistry together can be credited with the success of some like it hot and the continued love for it by younger filmgoers. the directing style and performances continue to live on through the films being released today and it will never be forgotten, and it won’t get old. audiences will always appreciate genuinely talented performances and directors., at the center of the film’s greatness and controversy was the bending of gender roles and dynamics. it depicts two men dressing up as women. during the time of censorship, via the hays code, this was generally unacceptable. normally, this would prevent the film from airing in theaters. the hays code placed tight restrictions on filmmakers. leaving very little room for creativity and fresh content. some like it hot , however, challenged censorship head-on and succeeded in doing so., the film also sheds light on the challenges of being a woman and maintaining femininity. under the disguises of josephine and daphne, curtis and lemmon had to learn how to be like women and live like them. they had to have certain behaviors and manners. they also had to conform to the ideals of femininity in order to be accepted. examples of this were seen in scenes where they were objectified by men on more than one occasion..

Some Like It Hot also challenges the dynamics of heterosexual relationships as well as sexuality. Joe feels attracted to Sugar, which makes this possible. This is troublesome as he is posing as a woman. David Eldridge, a professor and author of numerous pieces on film writes in his essay on Some Like It Hot :

“Wilder encouraged filmgoers to laugh it off and accept the radical idea that ‘nobody’s perfect.’ If nobody is perfect, and gender roles are fluid and flexible, then maybe every man can overcome his limitations by embracing his feminine side. Indeed, rather than making even conservative audiences anxious about sexual identity, ‘Some Like It Hot’ encourages viewers to have as great a time as Lemmon evidently does as Daphne, reveling in its liberating qualities. In this, it remains refreshingly relevant today”

These themes are all becoming increasingly relevant today as we continue to struggle with issues of gender roles and sexuality as a society. If this film were to be released in 2023, it’s highly likely that even now it would be met with criticisms from certain groups of people. We have still not completely grasped gender roles and their importance, or lack thereof. I t’s important that we look back on this film to examine the state of this issue.

Overall, the legacy of Some Like It Hot still lives on over sixty years after its release. It still evokes laughter and puts smiles on the faces of its viewers. The film couldn’t have been the same without Billy Wilder’s direction and the performances of Tony Curtis, Jack Lemmon, and Marilyn Monroe. The chemistry between these incredible actors is what made the film so iconic and memorable after all these years.

On top of this, wilder can be accredited with opening a dialogue on the issues of gender roles and their expression in cinema. defying the hays code’s harsh restrictions, it’s arguably the most important feature of this film. it teaches us that we’ re all human and that our roles as men and women in society are not easy to carry out because “nobody’s perfect.”, if you enjoyed this article we recommend:, the star-studded streets of beverly hills: part 1 ( click here ), the mysterious death of thelma todd ( click here ), celebrity-owned restaurants of old hollywood ( click here ), if you enjoyed this article and don’t want to miss any of our content in the future like us on facebook and follow us on twitter, share this:, related articles, matt helm: a movie retrospective, tod browning and the making of freaks, cinema scholars.

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Marilyn: Behind the Icon – Some Like It Hot

Marilyn: behind the icon – a comedic and pregnant monroe triumphs in some like it hot and wins the golden globe.

In 2000, the American Film Institute honored Some Like It Hot as the “Best Comedy of All Time.” In the six decades after its release, the film achieved acclaim worldwide as one of the greatest movie comedies ever made, ranking number fourteen on the America Film Institute’s list of the 100 Best American Films of All Time. It has also been deemed “culturally significant” by the United States Library of Congress and selected for preservation in the National Film Registry . However, the road to such greatness was paved with pain and frustration. Leading lady Marilyn Monroe struggled with mental illness and a high-risk pregnancy throughout the production.

To avoid censorship, collaborators Billy Wilder and I.A.L. Diamond scripted the two unemployed jazz musicians in drag out of necessity rather than choice. Chased by mobsters after witnessing a gangster massacre in Prohibition-era Chicago, the characters join an all-female band, Sweet Sue and Her Society Syncopaters, and escape to Florida.

Wilder and Diamond’s fast-paced, satirical story romanticized the Mack Sennett and Marx Brothers screwball comedies of the 1920s and ‘30s. Rich in double-entendre and risqué dialogue, the script bravely and precariously wobbled from a cliff with the censors. Because the male leading characters masquerade as women, their sexualized dialogue passed Production Code censorship. The brilliant script’s complex, multiple layers included witty sexual innuendo and themes of homosexuality, bisexuality, transvestism, androgyny, and impotence. Amid all the outrageous humor, the underlying plot addressed serious issues of alcoholism, gangland murder, and sexual harassment of women.

Some Like It Hot satirizes the stereotyping of female and male roles by reversing them throughout the plot, a radical statement during the conservative 1950s, an era of rigid gender roles. Joe ( Tony Curtis ), a saxophone-playing womanizer, becomes attracted to the band’s lead singer, Sugar Kane (Monroe), and devises a way to court her while out of his female disguise and in the disguise of a male millionaire. He creates a male identity, Junior, based on Sugar’s ideal, by employing a vocal imitation of actor Cary Grant, a male sex symbol.

Junior, an intellectual millionaire who wears corrective lenses, complies with Sugar’s theory that “men who wear glasses are so much more gentle and sweet and helpless.” As Junior, Joe fakes impotence to lower Sugar’s defenses and further his romance with her. He takes a passive role — literally on his back — in the seduction scene, and Sugar becomes the dominant aggressor to “cure” his bogus sexual dysfunction.

Both Joe and his sidekick, Jerry ( Jack Lemmon ), transform during the gender-reversal. Moved by Sugar, after he becomes her friend and confidante as Josephine, Joe eventually commits to her, shedding his pattern of notorious womanizing. Jerry enjoys being feminine to the point of accepting the proposal of a rich, old millionaire. Having originally re-named himself Geraldine, bass-fiddle-player Jerry changes the name of his drag identity from Geraldine to Daphne as he begins to identify with his new feminine persona. For Jerry, his feminine side deserves humanity because as he experiences it, he sees it as more than a mere disguise. As Jerry befriends Sugar, he acquires many of her qualities and grows interested in her as more than a sexual object. This blending of male and female roles and perspectives would not occur in the culture until the last decades of the 20 th century.

Jack Lemmon was always Wilder’s first choice for the role of Jerry, but the Mirisch Company desired a bigger name such as Frank Sinatra or Danny Kaye. Frank Sinatra lost his opportunity to participate in the project when he failed to meet Wilder for a scheduled lunch date. Wilder turned to Tony Curtis who thirsted to work with one of the industry’s best and most talented directors.

Mitzi Gaynor was originally considered as the leading lady, a supporting role as “straight man” to Lemmon and Curtis’s wild comic antics, but Gaynor was completing the musical film South Pacific . The script describes the female lead, Sugar Kane, as “the dream girl of every red-blooded American male who ever read College Humor.” It was the weakest part, according to Wilder, so the trick was to give it the strongest casting. For Wilder, only Marilyn Monroe projected the mixture of innocence and provocation crucial for the film’s success. Monroe’s involvement would also assure the fiscally focused producers of star power.

Joe E. Brown came out of retirement to work with Monroe and to dance on the screen in the role of the aging millionaire, Osgood Fielding III. Known for his infectious grin and cavernous mouth, Brown delivers the film’s final, hilarious line, “Nobody’s perfect.”

Wilder paid tribute to the great gangster movies of the 1930s with subtle gags in the movie’s script and the casting of the Mobsters. The name of the crime lord, Little Bonaparte, is borrowed from Little Caesar (1931) . George Raft , cast as Spats Columbo, threatens to smash a grapefruit in the face of one of his henchmen, a reference to James Cagney’s famous scene in The Public Enemy (1931). He later grabs a coin from the air when another gangster repeatedly flips it, a gesture from the actor’s role in Scarface (1932) . The cast also included Edward G. Robinson Jr. (whose father portrayed gangsters in the 1930s and 40’s), Pat O’Brien as the Irish Police Sergeant, and George E. Stone as Toothpick Charlie.

Monroe accepted the role to offset her husband Arthur Miller’s mounting legal expenses incurred from his contempt charges for not naming names in his testimony to the House Un-American Activities Committee . Her initial reluctance stemmed from confusion about her character’s motivation. “I’ve got a real problem, Lee,” Monroe confided to her mentor Lee Strasberg . “I just can’t believe in the central situation. I’m supposed to be real cozy with these two newcomers, who are really men in drag. How can I possibly feel a thing like that without just being too stupid? After all, I know the two men.”

Strasberg offered Monroe an insight into her own life to apply to the role. He reminded her of her challenges in having relationships with other women because of their jealousy over the attention men gave her. “You’ve never really had a girlfriend,” Strasberg said. “Now here suddenly are two women and they want to be your friend. They like you. For the first time in your life, you have two girlfriends.” Monroe discovered the motivation for her character.

Monroe shimmers in cinematographer Charles Lang Jr.’s textured black & white photography. Lang may have used a double Obie lighting technique to halo Monroe who virtually glows on film in her glittering Jazz Age costumes by Jack Orry-Kelly . Orry-Kelly would win his third Oscar for Some Like It Hot .

Monroe’s most luminous costume was a cocktail dress of tulle adorned with sequins and silver fringing with a heart shape embroidered on the derrière. It clung to her breasts, appearing diaphanous if not for strategically placed sequins. A similar frock in black tulle was spotlighted at the end of the film. Monroe’s other Orry-Kelly creations included a long-sleeve, V-neck black silk dress with fringe at the hemline (now displayed in a museum in London, it shows evidence of having been altered to accommodate the bulge of Monroe’s pregnancy).

The film also highlights Monroe singing three 1920s songs: “Runnin’ Wild,” “I Wanna Be Loved By You,” and “I’m Through With Love.” She also recorded an original piece, “Some Like It Hot,” intended for the main titles, but the number was deleted and replaced with a snappy instrumental medley. “I Wanna Be Loved By You” was first performed by Helen Kane, dubbed the “Boop-Boop-a-Doop Girl” who inspired the Betty Boop animated character.

“[Monroe] had a tremendous sense of a joke, as good a delivery as Judy Holliday, and that’s saying a lot,” said Wilder. “She had a kind of inner sense of what will play, what will work. She called me after the first daily rushes because she did not like her introductory scene.”

In the revision, at Monroe’s suggestion, Sugar clips down the train platform, carrying a valise and a ukulele case and accompanied by the soundtrack’s raucous jazz tune played by a muted trumpet. As she wiggles on her high-heeled pumps past the two men in drag, the train emits a puff of steam toward Sugar’s swinging buttocks. She quickens her pace. Lemmon’s character turns to Curtis’ and observes that she moves like “Jell-O on springs.” With its allusion to the subway breeze lifting her skirt in The Seven Year Itch , this reworked scene is one of Monroe’s most memorable entrances.

Usually tardy and unpredictable, Monroe was letter-perfect while filming long, mentally demanding scenes but had trouble remembering three words in shorter scenes. Of course, this fits the profile of a woman battling Bipolar Disorder while struggling with a high-risk pregnancy throughout the production. Chemically, hormonally, and emotionally, Monroe must have been completely unregulated, but in 1958, she was perceived as neurotic, unprofessional, and temperamental.

Monroe and Lemmon completed the hilarious upper berth bed scene on the Pullman train on the first take. Having learned to pace himself with his co-star, Lemmon was prepared to shoot the entire day. At 9:05 in the morning, the day’s work was done. However, the previous day, Monroe required 37 takes for her two lines.

Monroe was determined to combat Wilder’s interpretation of Sugar Kane as a “Betty Boop” cartoon. If she were reduced to playing a dumb blonde role, there would be none of Wilder’s broad gags. Instead, she would create the portrayal of a three-dimensional character with a heart and soul; a textured performance that would provide the glue to make this farce a cohesive film. Her legendary flubbing and freezing were part of Monroe’s exhaustive process until Wilder conceded. By the 20 th take, Monroe’s interpretation looked good to the frustrated director.

Lemmon seemed to empathize most with Monroe’s inner torment while honoring her ability to create a characterization separate from the turmoil the actress was experiencing in her personal and professional life. “I saw she was suffering,” he said. “Suffering and still producing that magic on film. It was a courageous performance, really courageous. Most actors only occasionally use all their talent, but Marilyn was using hers constantly, giving everything she had till it hurt, struggling to be better. I was really fascinated to watch her work. She had a certain intelligence in and about her work, and she was smart enough to use herself to make Sugar come alive.” 

Tony Curtis also experienced considerable difficulty in his performance, but his challenges remained secret. Curtis could not reach a high registered voice as Josephine. Paul Frees , known as the “Man of a Thousand Voices,” dubbed all of Curtis’ feminine lines as Josephine, most of his performance.

Filming on location at the historic Hotel Del Coronado threatened to replace Monroe as the source of delays and disruption during the production of a scene with lengthy dialogue between Sugar and Joe posing as Junior. Every ten minutes, a jet from nearby Naval Air Station North Island flew over the beach. “I thought it would take about four days to shoot that scene,” Wilder said. “I tried to film between take-offs, but then on the second take everything was there; every sentence of two pages. Not one letter, not one comma was left out. We were finished in less than twenty minutes.”

“[Monroe] has become a better actress, even a deeper actress, since Strasberg,” Wilder said .“But I still believe she was developing herself naturally and would have become greater as she matured, even without him….Before, she was like a tightrope walker who doesn’t know there’s a big pit down there she could fall into. Now she knows about the pit and she’s more careful on the tightrope. She’s more self-conscious. The greatest thing about Monroe is not her chest, it is her ear. She is a master of delivery. She can read comedy better than anyone else in the world.”

Stories about the film’s production rose to a mythic level and have become folklore in Hollywood history and apocrypha in the Monroe legend. One anecdote surrounds the scene in which a jilted Sugar enters Daphne and Geraldine’s hotel room and searches the dresser drawers for the liquor she had sworn off in happier times. “Where’s the bourbon?” is her famous line. Its delivery, depending upon the source, took Monroe anywhere from 30, 47, 59 or even 83 takes. Wilder pasted the line in each of the dresser drawers to compensate for Monroe memory and concentration deficits.

The scene was filmed with Monroe’s back to the camera, enabling her to easily dub the line in postproduction. Wilder’s demand for repeated takes suggests an overt power struggle between director and star. Allegedly, Monroe staged the repeated takes to control the interpretation of her character and to defy Wilder’s direction.

Monroe was admitted to Cedars of Lebanon Hospital for “nervous exhaustion” before Wilder and Diamond had written the film’s ending. In the final scene, Wilder’s camera focuses on a close-up of Lemmon and Brown in the front seat of the motorboat. Monroe and Curtis are not visible behind them, although they were shown kissing in the boat’s rear seat in the previous sequence. This lack of continuity is due to Monroe’s absence during the filming of Lemmon and Brown’s exchange. Monroe was later rushed to Polyclinic Hospital where she lost the baby. Wilder acknowledged Monroe as a trouper: “She insisted on going on until we were ready to finish.” The actress saved the film at the expense of her losing her baby; but her anguish was inconsolable.

In her last interview for LIFE , Monroe expressed lingering hurt over Curtis’s insult. “You’ve read there was some actor that once said about me that kissing me was like kissing Hitler?” Monroe asked with a sad laugh. “If I have to do intimate love scenes with somebody who really has these kinds of feelings toward me, then my fantasy can come into play. In other words, out with him, in with my fantasy. He was never there.”

Perhaps critic Roger Ebert said it best when commenting about Curtis’s remark: “When you watch that scene, all you can think is that Hitler must have been a terrific kisser.”

“Never a week passes when I don’t wish she was still around,” Wilder said after Monroe’s death. “Because that whole category of films is lost. Her kind of genius is a lost art.” The celebrated director’s definitive analysis of Monroe is a loving tribute: “She was an absolute genius as a comic actress, with an extraordinary sense for comic dialogue. It was a God-given gift. Believe me, in the last fifteen years there were ten projects that came to me, and I’d start working on them and I’d think, ‘It’s not going to work, it needs Marilyn Monroe.’ Nobody else is in that orbit; everyone else is earthbound by comparison.”

The critics unanimously praised Monroe’s performance. “To get down to cases, Marilyn does herself proud,” announced the New York Post , “giving a performance of such intrinsic quality that you begin to believe she’s only being herself and it is herself who fits into that distant period and this picture so well.”

“As the band’s somewhat simple singer-ukulele player, Miss Monroe, contributes more assets than the obvious ones to this mad-cap romp,” opined the New York Times . “As a pushover for gin and the tonic effect of saxophone players, she sings a couple of whispery old numbers…and also proves to be the epitome of a dumb blonde and a talented comedienne.” Persnickety critic Bosley Crowther referred to Monroe as “superb.”

Some Like It Hot grossed $20 million upon the initial release and came in third behind Auntie Mame and The Shaggy Dog as biggest films of 1959 — a time when the average admission cost fifty-one cents. In 2014, the average admission price was $8.35; in today’s prices, the film grossed over $327 million.

“Monroe steals [the film],” wrote contemporary film critic Roger Ebert, “as she walked away with every movie she was in. It is an act of will to watch anyone else.”

Some Like It Hot garnered six nominations by the Academy of Motion Picture Arts and Sciences in the categories of Best Director (Billy Wilder), Best Actor (Jack Lemmon), Best Adapted Screenplay (Wilder & I.A.L. Diamond), Best Black & White Cinematography (Charles Lang, Jr.), Best Black & White Art Direction/Set Decoration (Ted Haworth), and Best Black & White Costume Design (Orry-Kelly). It would win only one for its costumes. The Hollywood Foreign Press Association honored the film with three Golden Globe Awards in all the categories in which it was nominated: Best Comedy Film, Best Actor (Lemmon), & Best Actress (Monroe).

–Gary Vitacco-Robles for Classic Movie Hub

You can read all of Gary’s Marilyn: Behind the Icon articles for CMH here.

Gary Vitacco-Robles is the author of  ICON: The Life, Times and Films of Marilyn Monroe, Volumes 1  &  2 ,  and writer/producer of the podcast series,  Marilyn: Behind the Icon .

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2 Responses to Marilyn: Behind the Icon – Some Like It Hot

We adore this movie! With your added insights, behind the scenes stories, and more, we’ll be watching it with fresh eyes. Thank you for enhancing all of our Marilyn Monroe movie moments with your small & large details. It’s almost as if you were there, taking shorthand!

Thanks for this wonderful article. I was 14 when I first saw this movie in the theater with my mom. It is my favorite comedy. I laughed so hard that the little boy sitting in front of us turned around and watched me for the whole film and laughed at/with me. It is still today my favorite comedy of all times, and there will never ever be another Marilyn Monroe.

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Some Like it Hot

By billy wilder.

• Some Like it Hot Summary

Chicago in February, 1929. Saxophonist Joe and his upright-bass-playing friend Jerry witness the Saint Valentine's Day Massacre by accident after fleeing the police raid of a speakeasy where they were playing. When gangster boss Spats Colombo and his fellow mobsters spot them witnessing the scene, the two run for their lives. Penniless and desperate to leave town as quickly as possible, they take a job with Sweet Sue and her Society Syncopators, an all-female band headed to Miami. Disguising themselves as women and taking the names "Josephine" and "Daphne," they board the train with the band and their male manager, Mister Bienstock . Once aboard, they make the acquaintance of the beautiful Sugar Kane , the band's vocalist and ukulele player.

Joe and Jerry both develop crushes on Sugar and compete for her affection whilst still maintaining their feminine disguises. Sugar confides to "Josephine" that she has sworn off male saxophone players as they have stolen her heart in the past and left her "with the fuzzy end of the lollipop." Trying to learn from her mistakes, Sugar is aiming to meet a sweet, bespectacled millionaire in Florida.

Once they reach Miami, Joe adds another alias to his repertoire, assuming the disguise of a millionaire named "Junior," the heir to Shell Oil. He feigns disinterest in Sugar, hoping this will attract her attention. Meanwhile, a genuine millionaire, an eccentric mama's boy named Osgood Fielding, tries repeatedly to pick up "Daphne," who rebuffs him. Jerry is appalled by the male attention, but Osgood doesn't back down, inviting Joe/"Daphne" for a champagne supper aboard his yacht. Joe convinces Jerry to keep Osgood occupied on shore so that he—as "Junior"—can take Sugar to Osgood's yacht and pass it off at his own, in order to keep up his millionaire act. Once on the yacht "Junior" explains to Sugar that he is impotent due to a psychological trauma, but if anyone could change that he would definitely marry them. Sugar tries to arouse "Junior" and they begin a passionate affair. Jerry and Osgood also have a romantic night, with Osgood proposing marriage and Jerry accepting, not thinking of the obvious complications of his disguise.

The next day, Spats Columbo and his men arrive at the hotel in Miami for a convention of gangsters run by an even more powerful mob boss, Little Bonaparte . Little Bonaparte is not happy with Spats Columbo, since Spats killed one his good friends, Toothpick Charlie, and because he let Joe and Jerry, the two witnesses to the crime, get away. Joe and Jerry decide that they must leave right away, and Joe makes a call to Sugar's room posing as "Junior" and telling her that they cannot be together. She is heartbroken. After Spats and his men recognize Joe and Jerry, Joe and Jerry hide under a banquet table in a large convention room. At a meal around the banquet table, Spats and his cronies are gunned down by Little Bonaparte's men. Joe and Jerry flee the scene, hoping to escape by posing as "Josephine" and "Daphne" and sailing away on Osgood's yacht. Before they leave, Joe, dressed as "Josephine" approaches Sugar onstage at the hotel as she sings a song about heartbreak, and kisses her. He flees again, and he and Jerry make their way down to Osgood who is waiting in a boat. At the last minute, Sugar joins them and they start out for the yacht. Joe reveals his true identity to Sugar, and she forgives him for his deception. Jerry reveals to Osgood that he is a man, but this doesn't seem to faze the millionaire at all.

Some Like it Hot Questions and Answers

The Question and Answer section for Some Like it Hot is a great resource to ask questions, find answers, and discuss the novel.

17. What conflicts arise between Joe and Jerry when they both compete for Sugar in Florida

What part is this in? Part 1, 2,3, or 4?

Give some examples of Jerry and Joe's behavior and character before their "transformation."

Joe is Jerry’s best friend, a tenor saxophone player who uses his considerable charm to manipulate women (and Jerry) into doing whatever he wants. At the start, Jerry is staring at the women in the chorus line at the speakeasy, and in contrast to...

Joe and Jerry, when they assume female identities, both become better people. Give examples of this and comment why you think it happened.

Before donning drag, Jerry was a worrywart, a practical and put-upon sidekick to the more risk-taking and liberated Joe. He has fun, but he doesn't know how to loosen up; his idea of a good use of his meager musician's paycheck is going to the...

Study Guide for Some Like it Hot

Some Like it Hot study guide contains a biography of director Billy Wilder, literature essays, quiz questions, major themes, characters, and a full summary and analysis.

• About Some Like it Hot
• Character List
• Director's Influence

Wikipedia Entries for Some Like it Hot

• Introduction

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Some Like It Hot 1959 Train Scene

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