Some Like It Hot (1959) - IMDb IMDb 17 January 2017 4:34 PM, UTC NEWS There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error Some Like It Hot ( 1959 ) Not Rated | From $2.99 (SD) on Amazon Video ON DISC When two male musicians witness a mob hit, they flee the state in an all-female band disguised as women, but further complications set in. Director: a list of 22 titles created 21 Sep 2013 a list of 40 titles created 03 Feb 2014 a list of 27 titles created 29 Dec 2015 a list of 43 titles created 11 months ago a list of 25 titles created 3 weeks ago Title: Some Like It Hot (1959) 8.3/10 Want to share IMDb's rating on your own site? Use the HTML below.

You must be a registered user to use the IMDb rating plugin. Won 1 Oscar. Another 9 wins & 13 nominations. See more awards » Videos A man tries to rise in his company by letting its executives use his apartment for trysts, but complications and a romance of his own ensue. Director: Billy Wilder A hack screenwriter writes a screenplay for a former silent-film star who has faded into Hollywood obscurity. Director: Billy Wilder An insurance representative lets himself be talked into a murder/insurance fraud scheme that arouses an insurance investigator's suspicions. Director: Billy Wilder Following the death of a publishing tycoon, news reporters scramble to discover the meaning of his final utterance. Director: Orson Welles A hapless New York advertising executive is mistaken for a government agent by a group of foreign spies, and is pursued across the country while he looks for a way to survive. Director: Alfred Hitchcock A San Francisco detective suffering from acrophobia investigates the strange activities of an old friend's wife, all the while becoming dangerously obsessed with her. Director: Alfred Hitchcock A silent film production company and cast make a difficult transition to sound.

Directors: Stanley Donen, Gene Kelly Stars: Gene Kelly, Donald O'Connor, Debbie Reynolds A veteran British barrister must defend his client in a murder trial that has surprise after surprise. Director: Billy Wilder A wheelchair-bound photographer spies on his neighbours from his apartment window and becomes convinced one of them has committed murder. Director: Alfred Hitchcock In Casablanca, Morocco in December 1941, a cynical American expatriate meets a former lover, with unforeseen complications. Director: Michael Curtiz An ingenue insinuates herself into the company of an established but aging stage actress and her circle of theater friends. Director: Joseph L. Mankiewicz Showgirls Lorelei Lee and Dorothy Shaw travel to Paris, pursued by a private detective hired by the suspicious father of Lorelei's fiancé, as well as a rich, enamored old man and many other doting admirers. Director: Howard Hawks Edit Storyline When two Chicago musicians, Joe and Jerry, witness the the St. Valentine's Day massacre, they want to get out of town and get away from the gangster responsible, Spats Colombo.

They're desperate to get a gig out of town but the only job they know of is in an all-girl band heading to Florida. They show up at the train station as Josephine and Daphne, the replacement saxophone and bass players. They certainly enjoy being around the girls, especially Sugar Kane Kowalczyk who sings and plays the ukulele. Joe in particular sets out to woo her while Jerry/Daphne is wooed by a millionaire, Osgood Fielding III. Mayhem ensues as the two men try to keep their true identities hidden and Spats Colombo and his crew show up for a meeting with several other crime lords. Written by garykmcd The movie too HOT for words! See more » Genres: 14 April 1959 (Japan) See more » Also Known As: Not Tonight, Josephine! See more » Filming Locations: Did You Know? Trivia It is interesting that due to line issues and the train scene and the Manhattan drink. During prohibition 'Bourbon,' made only in Kentucky, would not have been available. However Manhattan's were originally made from rye whiskey since that was the primary grain used in Canadian whiskey which would have been available at that time.

See more » Goofs Spats has a henchmen button his spats before they go to the banquet hall. But, as Joe and Jerry are hiding under Spats's table in the banquet hall, Spats's right shoe is clearly not buttoned. See more » Quotes Toothpick Charlie : I already told you. Mulligan : Refresh my memory. Mulligan : That's very refreshing; what's the password? Toothpick Charlie : "I've come to Grandma's funeral." Here's your admission card. [he gives Mulligan a mourning armband] [...] I Wanna Be Loved by You (1928) (uncredited) Sit back and enjoy this comedy, I don't believe in greatest this and that when it comes to films, but boy, this is superb. The acting here is fantastic, all actors, even Monroe are on top form. The direction by Wilder is superb, the guy's style in this picture is perfect. He directed this film in a very clever way, by using one camera for the majority of the scenes, he could easily edit the film together without studio interference. The script is well written. The dialogue between Lemmon and Curtis is beautifully balanced.

Monroe is just too hot for the screen in this picture. Although, Monroe had major off-screen problems (83 takes to get things right) she is fantastic on-screen. She may not have the best lines, but what the heck! She plays the role very well. Overall, this is awesome, it really is. 66 of 107 people found this review helpful. Was this review helpful to you? Yes Some Like It Hot Reviews & Ratings - IMDb IMDb 9 out of 9 people found the following review useful: Two musicians dressed as women join an all-girl band to escape the mobsters' vendetta Author: ma-cortes 30 October 2012 Legendary comedy masterpiece from filmmaker Billy Wilder and IAL Diamond that Won Oscar and another 13 wins & 8 nominations . Immensely charming comedy set among Chicago and Miami , being starred by an all-star-cast . When two unemployed musicians witness a mob hit , the St Valentine massacre in Chicago carried out by mobster chief (George Raft) they flee the state in an all female band disguised as women and headed for Florida , but further complications set in.

There appears a gorgeous singer , Sugar Kane (Marilyn Monroe) , who is object of pursuit by the musicians (Jack Lemmon , Tony Curtis) who cannot reveal their identity because are dressed as women in order to getaway from killer gangsters' retaliation . Rightly enjoyable and fun-filled , milestone comedy which neatly combines humor , mirth , entertaining situations and amusement . This noisy comedy is intelligently and pleasingly written to gives us lots of fun , laughters and smiles . Mordantly funny , though by time of premiere was rated as bad taste and some discomfort ; however , is todays considered a real classic movie . Billy Wilder kept the studio Paramount happy , the picture consistently made money and was hit at box office . Flawless comedy with a trio of sensational protagonists , including an unforgettable Marilyn who parades sexily at her best and more relaxed and enticing than ever . The hit of the show is undoubtedly for the fetching Marilyn Monroe who gives one of the best screen acting and sings marvelous songs as ¨Running wild¨, ¨I'm through with love¨ and the immortal ¨I wanna be loved you¨.

Magnificent performances from Jack Lemmon as angst-ridden musician dressed in drag and sensational Tony Curtis as a philander young , playing his Gary Gray Grant impression . Furthermore , a splendid secondary cast , a variety of notorious actors who make sympathetic interpretations such as Pat O'Brien , George Raft , Mike Mazurski , Nehemia Persoff and , of course, smitten Joe E Brown , including his now-classic closing line . The motion picture was very well directed by Billy Wilder who includes several punchlines . Billy was one of the best directors of history . In 1939 started the partnership with Charles Bracket on such movies as ¨Ninotchka¨ , ¨Ball of fire¨ , making their film debut as such with ¨Major and the minor¨ . ¨Sunset Boulevard¨ was their last picture together before they split up . Later on , Billy collaborated with another excellent screenwriter IAL Diamond . Both of them won an Academy Award for ¨Stalag 17¨ dealing with a POW camp starred by William Holden .

After that , they wrote/produced/directed such classics as ¨Ace in the hole¨ , the touching romantic comedy ¨Sabrina¨ , the Hickcoktian courtroom puzzle game ¨Witness for the prosecution¨ and two movies with the great star Marilyn Monroe , the warmth ¨Seven year itch¨ and this ¨Some like hot¨. All of them include screenplays that sizzle with wit . But their biggest success and highpoint resulted to be the sour and fun ¨¨The apartment¨. Subsequently in the 60s and 70s , the duo fell headlong into the pit , they realized nice though unsuccessful movies as ¨Buddy buddy¨ ,¨Fedora¨ , ¨Front page¨ and ¨Secret life of Sherlock Holmes¨, though the agreeable ¨Avanti¨ slowed the decline . The team had almost disappeared beneath a wave of bad reviews and failures . ¨Some like hot¨ rating : Above average , essential and indispensable watching ; extremely funny and riveting film and completely entertaining . It justly deserves its place among the best comedy ever made . One of the very funniest films of all time and to see and see again .

It's the kind of movie where you know what's coming but , because the treatment , enjoy it all the same . Was the above review useful to you? 8 out of 9 people found the following review useful: Gender-bending fun!.. 20 May 2006 *** This review may contain spoilers *** ...But there's more to 'Some Like It Hot' than just it's cross-dressing element. This is a terrific comedy farce that may just well be the funniest film ever made (AFI certainly agrees with me, naming 'Some Like It Hot' as the No.1 comedy of all time in their list). So many great gags and an unbelievably witty script filled with double entendres are just some of the reasons to watch this. Lemmon gives maybe his greatest comedy performance, in the deliciously over-the-top role of Jerry/Daphne. Lemmon's completely uninhibited performance in drag works well with Tony Curtis' more self-conscious Joe/Josephine. Today the modern viewer sees this film with many homosexual overtones, but the film-makers made a point to stress the pair's heterosexuality in this film.

They are given a very good reason to be in drag- they are on the run from mob bosses after witnessing the St Valentine's Day massacre. Disguised as female musicians, they join an all-girls band and meet boozy singer Sugar (Monroe). Without Monroe's performance (difficultly elicited from her), this film would not be half the classic it is today. Her presence illuminated every film she was in, and her dumb-blonde demeanor belied a great acting talent. Marilyn certainly is great here as the floozy Sugar Kane who is lonely and on the look for love. Joe E. Brown has a lot of fun with his role as a rich millionaire who falls in love Lemmon's Daphne. He also gets the best line of the film. George Raft appears to be sending himself and his suspected gangster connections up in his role as Spats Colombo, the mob boss who wants Lemmon and Curtis fixed up. Very sexy dialogue, costumes from Monroe (pretty much see-through!) and the gender-bending turns from the boys combine for great fun, but some forget how Wilder achieved the great atmosphere of this film.

He made a conscious decision to shoot in black-and-white not only to lessen the impact of two males playing women, but for authenticity. This is set in 1929, and Wilder wanted the gritty feel of the Prohibition-era. One is reminded of Hawks' 'Scarface' in a number of scenes (this could also be due to the presence of Raft), and there are many gags referring to the historical period. Watch the mentions of Valentino, Pickford, Fairbanks and Wall Street and you'll see what I mean. Loads and loads of FUN! 10/10. Was the above review useful to you? 9 out of 12 people found the following review useful: One of the Best Comedies of the Cinema History from Rio de Janeiro, Brazil 1 October 2010 In 1929, in Chicago, the musicians and friends Joe (Tony Curtis) and Jerry (Jack Lemmon) flees from the night-club where they are playing during a police raid. Without any money, they seek a job position for saxophone and bass players in another band and they are invited to play in a concert for one night only in a distant town.

Joe borrows the car of a former girlfriend to travel and when they arrive in the parking garage, they witness the "Saint Valentine's Day Massacre" led by the infamous mobster Spats Columbo (George Raft). The criminals discover Joe and Jerry hidden in a corner and when the killers are ready to execute them, they succeed to escape. Joe and Jerry disguise, dressing like women and they head to Florida by train with an all-girl band using the names of Josephine and Daphne. They get close to singer Sugar Kane Kowalczyk (Marilyn Monroe) and Joe falls in love with her but she believes he is a woman. Meanwhile the millionaire Osgood Fielding III (Joe E. Brown) harasses Daphne inviting her to visit his yacht. When Spats and his henchmen arrive in the same hotel where Joe and Jerry are lodged for a mafia convention, the two musicians feel that they are in a dangerous situation. Yesterday Tony Curtis died and I decided to watch "Some Like it Hot" again. This film is another masterpiece of Billy Wilder and certainly one of the best comedies of the cinema history.

Jack Lemmon is hilarious and responsible for some of the funniest moments especially when Osgood flirts with Daphne. Marilyn Monroe performs the perfect dumb blonde stereotype. Last time I had seen this movie was on 18 August 2000. My vote is ten. Title (Brazil): "Quanto Mais Quente Melhor" ("The Hotter, the Better") Was the above review useful to you? 9 out of 12 people found the following review useful: Some Like It Hot review from Los Angeles, CA 27 November 2003 What a great cinematic experience it is to view Some Like It Hot. The movie provides you with a bit of everything from madcap action, screwball comedy, mob drama, and campy romance, along with a little sugar on top in sweet sensation, Marilyn Monroe. Despite the apparent weight-gain she looks visually stunning, and her close-to-home performance is worth noting as well. There are many subtexts that lie in Billy Wilder's masterpiece, including one that could very well do with Marilyn's character Sugar Kane Kowalczyk.

Much like Marilyn, the lounge singing Sugar is searching for love with a decent somebody other than the player-type she often frequents (in the film's case, saxophonists). Perhaps men found this sultry misses too intimidating, making Marilyn's love-life in the real world just the same. Another suggestive undertone could do with the abundant `crisis of masculinity' shot off in the late 1950's. Two middling male musicians (Tony Curtis and Jack Lemmon), all dragged out, seem to be granted opportunities they would never have had if remained as `men' (i.e. marrying a millionaire, accepting free trips and consolations, etc.). Is it femininity that gains all? Like Dustin Hoffman's Tootsie, it is apparent these `beauties' really weren't beauties at all; bosses-the mob and Sugar's-pick it up right away. Why the feminine gain? Do men make wiser women than younger girls? All rhetoric aside, Some Like It Hot's concept is a lot simpler: the men join an all girls band heading to Florida, evading the possibilities of being found as the witnesses to a gangland rubout (a.k.a. the St. Valentine's Day Massacre).

Of course there are many complications for these `women' along the way, including their intense magnetism towards Sugar. Never is there a dull moment in Some Like It Hot, with quickly paced classical cutting, a wholesome variety of locations, and a brilliant screenplay much to the allure of Wilder's other treasure Sunset Boulevard. Not many movies over 40 years can hold up the laughter presented in Hot. In one of the funnier scenes, a relentless drunkard in the midst of a `funeral parlor' seize-up demands more scotch-filled decaf: `How bout another cup of coffee!' Classic, indeed. 5/5 stars 8 February 2000 What can you say about this movie that has not been said before? A genuine classic, the basics run as follows... Marilyn Monroe, Tony Curtis and the ever-fabulous Jack Lemmon...... the boys do drag, Marilyn sings occaisionally, looks edible in practically see-through dresses AND acts well to boot... Lemmon and Curtis play musicians accidentally caught up in the St Valentine's Day Massacre...

they go on the run in the only band which will hire them - an all female band which means their only option is to drag up and bluff their way along - and meet up with marginally alcoholic and slightly unhinged Marilyn.. some chaos ensues as Curtis tries to woo her and Lemmon unwillingly finds a suitor for himself... The film is surprisingly touching in places but is basically a lovely silly comedy. It regularly appears in lists proclaiming it to be one of the 100 best movies of all time and quite rightly so. Marilyn - despite suffereing a miscarriage during filming - is on superb form, Jack Lemmon looks almost attractive in drag and Tony Curtis actually avoids being too slimy and annoying. The drag scenes are wonderfully underplayed and the classy use of black and white photography throughout helps make both the drag and the period setting look plausible. Highlights include Tony Curtis's Cary Grant impression (for those of you uneducated in the fabulousness of Cary Grant check out Bringing Up Baby, also on this term), Jack Lemmon being romanced in great style - which leads to just about the best last line of a movie of all time - and Marilyn looking glorious of course.

If you've never seen this movie you really really should; if you already have then I am sure you need no persuasion to see it again! Was the above review useful to you? 23 out of 40 people found the following review useful: My brief review of the film from Perth, Australia 3 January 2005 A delightful cross-dressing comedy, this was one of the first of its type and it still is one of the funniest. It is very cleverly written, impeccably acted, particularly by Joe E. Brown, and features excellent chemistry between the two leads. There are parallels in the film to actual events and attitudes that existed in the 1920s, giving the film a historical insight as an extra virtue. The film works so well not just because of its historical parallels but also because it spoofs gangster films and not just the cross-dressing joke. Overall it is a wonderful film that sparkles along to its glitzy Academy Awarding winning costume design. Was the above review useful to you?

6 out of 7 people found the following review useful: The ultimate desert island movie from Sydney, Australia 4 April 2006 I was never one of those kids who watched Star Wars over 100 times (actually just once or twice) and find that even the moves I rate in my top twenty can only bear watching a couple of times a year. This is the exception. Every time I watch this film, I notice something else that makes me laugh - I cannot think of a weak performance or a dodgy line. I love the fact that George Raft gives the impression that he was not told that it was a comedy and plays the chief mobster completely straight. Contrasting this with the silliness of some of his underlings is priceless stuff, though rarely slapstick (homage to Cagney aside). Ultimately it's the tight and witty script matched by an excellent cast that makes this film a pleasure for me. Was the above review useful to you? 5 out of 6 people found the following review useful: One Big Wink! 21 November 2005 *** This review may contain spoilers *** Yep -- the poster, with Marilyn winking over the shoulders of Lemmon and Curtis, says it all.

Sometimes, the whole is LESS than the sum of its parts. For there may be no more delightful PARTS in the history of film, than these scenes. Yet the whole, curiously, doesn't quite add up. Probably because the entire premise -- two male jazz musicians passing as women to escape the Mafia -- devolves into the notorious final, utterly improbable, line: "Nobody's perfect!" But by then any pretext at reality has been dropped. We are immersed in some Neverland of movie-making which, really, has never been attempted before or since. Namely, a thoroughly ridiculous vanity film for the director, writers, cinematographer and actors that remains utterly delightful nearly half a century later -- and always will. About halfway through, audiences realize they're not watching anything resembling real life. Instead, they're watching some of the best talents in the business having fun! And fun it is! The script is tight as a drum: the direction is flawless (particularly in light of the on-set problems with Miss Monroe): the cinematography is luscious (never has Monroe been lit and photographed so successfully; not even in "The Prince and the Showgirl.").

Yet what we're given is scene after scene with two masterful actors -- Jack Lemmon and Tony Curtis -- masquerading as women. And Marilyn Monroe -- masterful in her narrow range -- also masquerading as a woman. Let's face it: without her voluptuous body (and Orry-Kelly's jaw-dropping costumes), Miss Monroe would have been NOTHING had she been Kate Moss. Or any other actor. Imagine ANYBODY else "breathing" those lines and slinking around in those gowns and getting by with it. You can't. Every scene "works." Lemmon and Curtis are priceless -- particularly Curtis -- in female drag. Not for one second do they condescend to "playing" women. Sure, the plot demands it. But there's not a moment where they're "putting down" the "weaker" sex. That would have been an easy "comedic" choice back in the day. That nobody chose it says a lot about the talents and sensibilities at work here. Only Joe E. Brown could have been cast as Osgood, perhaps. So obliviously innocent is he that he makes his love for "Daphne" work without a hint of homosexual subtext.

It may be a small miracle, in fact, that a film of this era, dealing with two men in drag, and an older wealthy man in love with one of them, has absolutely NO hint of homosexuality, much less anti-gay sentiment. The film is, truly, beloved in homosexual circles for precisely that reason. But forget all that. "Some Like It Hot" becomes a tour-de-force for everybody involved: a film about the joys of acting and pretending, rather than a film to be believed or taken seriously -- since it's so preposterous. One finally yields to the audacious conceit that Tony Curtis and Jack Lemmon are "believed" as "Josephine" and "Daphne" and simply lets the deliciousness of their playing wash over audiences. The tidal wave that is Marilyn Monroe (though nearly impossible to work with, by this point: her lines being pasted inside bureau drawers and anywhere else on the set that couldn't be seen, because she couldn't recall even the simplest of them), is perhaps the ultimate in feminine pulchritude on screen. (Monroe was reportedly pregnant during filming, though she miscarried.) Forget that she's written (and plays) a woman as dumb as a post.

She looks like nothing anybody ever saw before or since. So "Some Like It Hot" works, scene by scene. Yet, curiously, if fails in the end because it's so patently phony. No matter the era, when a man proposes to another man (thinking he's a woman), and that fiancée pulls off his wig and confesses, "I'm a man," the last line is NEVER, "Well, nobody's perfect." No matter how funny. No matter ANYTHING. By then we're in Neverland and all that's left is to relish the performers relishing performing. That, we do. 17 November 2007 *** This review may contain spoilers *** "Some Like It Hot" has to be one of the cleverest comedies.Billy Wilder's comic ideas were always a cut above. Two musicians, Joe and Jerry by chance go to pick up a car which just happens to be the garage where the St Valentine's Day massacre is taking place.How do you make a comedy on that idea? Talk about broad and brave.Tony Curtis as Joe and Jack Lemmon as Jerry are likable and brash.When they become women to escape the gangsters they become sensitive, vulnerable and extremely funny.

They join an all girl swing band to get out of Chicago and travel by train down to Florida.Marylyn Monroe appears as Sugar Kane and the film becomes even more special.Not only is she sweet,vulnerable,sexy and funny -- she is the core to what makes the film great.There is no one to touch her.Talk about rehearsed spontaneity!They always talk about how she kept everyone waiting and how unreliable she was -- Well you can see from every frame in this film that Billy Wilder could not in any way have been easy to work for-- He expected perfection-- the comedy in this film is so precise bordering on genius.Joe E Brown is hysterically funny as Osgood -- and Jack Lemmon has a brilliantly funny transformation from harassed male in drag to goldigging future fiancé of Osgood after there passion filled tango.Tony Curtis has a difficult job as Joe , it is a generously straight performance.I especially liked his suppressed fierce reaction as he clambers out of the bath when riled by Jerry.This film is "perfect" Was the above review useful to you?

7 out of 10 people found the following review useful: Maybe not the greatest ever but still quite good from New Jersey 13 November 2007 Some Like It Hot is often hailed as the greatest comedy film of all time. That's probably a stretch. It may not be the greatest ever but it's still very good and thoroughly enjoyable. Driven by the outstanding performances of three top-notch stars in Jack Lemmon, Tony Curtis and the one and only Marilyn Monroe, Some Like It Hot will make you smile, make you laugh and maybe even make you cry but only because you're laughing so hard at times. If you go in expecting the greatest movie ever, you may end up being a touch disappointed. If you go in with more reasonable expectations you can't help but enjoy this delightful screwball comedy. The setup of this film's plot almost guarantees comic gold and sure enough it pays off. Curtis and Lemmon play Joe and Jerry, two musicians in Prohibition-era Chicago who witness a mob hit and have to get the heck out of town before they end up dead. They end up donning dresses, posing as women and joining an all-girl orchestra headed for Florida.

Reborn, so to speak, as Josephine and Daphne the pair plan to ditch the band and resume their normal, non-dress wearing, lives as soon as they hit Florida. But on their new orchestra's train ride to the Sunshine State there is a complication. That complication comes in the shape (and oh what a shape!) of singer/ukulele player Sugar Kane Kowalczyk, played by the incomparable Monroe. Needless to say our two men find themselves very much attracted to the bubbly, beautiful Sugar. Of course the fact that they are "women" very much complicates things. Hilarity ensues. Once the orchestra hits Florida this film really takes off. Joe, or Josephine if you prefer, decides he and Jerry/Daphne should stick around for a while. Taking a break from being disguised as a woman, and now posing as a Shell Oil millionaire, Joe tries to woo Sugar. Meanwhile an actual millionaire falls for "Daphne" which obviously causes all kinds of complications for Jerry. Much of what ensues is simply priceless. There are a few jokes and gags which fall flat but there is so much here that works you forgive the film for the moments which don't quite measure up.

And given the rather juvenile nature of so many modern comedies the more subtle nature of the comedy here is a blessed relief. This movie presents a truly ridiculous situation but it's never over the top. Director Billy Wilder found just the right tone to make the film work and the truly remarkable cast brings the story to life. There are some terrific supporting performances but it is the big three of Monroe, Curtis and Lemmon who really make this film work. What can you say about Marilyn Monroe that hasn't already been said? She simply owns the screen. Watch her perform the song "I Wanna Be Loved by You" and I dare you not to fall in love. If this film has a straight man, Curtis is it. He's suave, reserved, and altogether perfect no matter which disguise he happens to be in at any given moment. But in this film it may be Lemmon who shines most of all. He pours his heart and soul into being "Daphne" and it is an absolute treat to watch. Curtis and Monroe are both terrific and certainly have their share of moments and witty one-liners but the best moments and best lines seem to be reserved for Lemmon. It's obvious Lemmon had a lot of fun making this film.

You'll have a lot of fun watching it. So what if it's not the "best comedy ever"? It's a wonderfully written, brilliantly performed, incredibly enjoyable film. That's more than enough to make it well worth your while. Was the above review useful to you? Page 2 of 36: 1000+ images about Jack Lemmon on Pinterest | Jack o'connell, American actors and The great race Jack Lemmon with Tony Curtis’ mom on the set of "Some Like It Hot" ~ 1959 See More Tony Curtis and Jack Lemmon in Some Like It Hot | Forget Adam Sandler in Jack and Jill: The Top 10 Movie Cross-Dressing Performances | TIME.com Tony Curtis and Jack Lemmon in Some Like It Hot By TIME Staff Nov. 10, 2011 Everett Get This Movie Let’s work backwards here. Billy Wilder’s comedy about two musicians who witness a mob hit and go into hiding by dressing as women and joining an all-girl band has one of the best closing lines in cinema. Jack Lemmon tears off the fetching wig he’s been wearing for much of the movie and declares, “I’m a man!” Joe E.

Brown, the millionaire who has fallen in love with him/her, calmly responds, “Nobody’s perfect.” Perhaps, but that line is perfect. And so are Lemmon and Curtis. The former revels in the role, his character joyously takes to playing a woman. The latter is less proficient, but his stumbling, barely veiled masculinity works perfectly alongside Lemmon’s giddy girlishness. Tony Curtis!!! That says it all, baby!!! * Sex and the Single Girl (1964) * The Great Race (1965) Again just to name a few. Showbiz is definitely in the family. Besides Tony Curtis being a legend in the biz, his lovely wife Janet Leigh, from The Movie Psycho Fame, was also a Legend in Hollywood. And of course Tony's daughter Jamie Lee Curtis, has established herself as an Hollywood Icon, definitely following in her Father's footsteps. So Hollywood is just in the Curtis's genes plain and simple. Who knows what the future will hold for future generations of the Curtis Family Blood line, Hollywood, TV, politics, You never know. On Friday September 21, Saturday September 22, and Sunday September 2007, Mr.

Curtis was in Our very own neck of the woods. He was on a very special promotional tour and was able to stop for Three at Hollywood Blvd. Movie Theater in My hometown of Woodridge, Illinois. Hollywood Boulevard had a night with Tony Curtis. Which included a special showing of His Film from 1959, "Some like it Hot", also Mr. Curtis as well as Jack Lennon and Marylyn Monroe. The Movie features both Tony Curtis and Jack Lemmon as two musicians dressed up as women, so join an all girl-band playing in Florida, in order to hide out after witnessing a terrible shooting between Chicago mobsters. Mr. Curtis was able to take questions from the audience and was actually taking questions in one of the two Theater showing the film. He was in one Theater and there was closed circuit television in the other Theater. So there was Q & A first, an evening with Tony Curtis, then the film was shown. Also during the three days was a special art exhibit of Mr. Curtis artwork. Mr. Curtis is also a skilled and talented painter as well as actor.

The Hollywood Blvd Cinema is the Worlds First & Best Premier Movie Going Experience, with full service to each and every seat in our fully integrated Restaurant, Bar and Movie Theater. We seat you in high-backed leather executive chairs in beautifully and individually decorated auditoriums featuring DTS and all the latest Dolby Technology. We bring you movies the way the should be seen, in class, style and comfort like no place else on earth. I had the extreme pleasure and honored to speak to Mr. Tony Curtis and ask Him about his visit and movie roles and such. For more information on Mr.

Curtis, please visit his website at For more information on Hollywood Blvd Movie Theater, please visit their very special website at 1000+ images about Some Like it Hot on Pinterest | Legends, Set of and Billy wilder 1959 Some Like it Hot Original US Film Poster £3,000.00 available at See More Why you should watch Fanfaren Der Liebe, the original Some Like It Hot | Film | The Guardian Film blog Why you should watch Fanfaren Der Liebe, the original Some Like It Hot Go see the 1951 Kurt Hoffman comedy that inspired Billy Wilder to make Some Like It Hot – it provides an unmissable insight into the art and history of film-making All in the band ... Tony Curtis, Jack Lemmon and Marilyn Monroe in Some Like it Hot.

Photograph: Reuters Thursday 2 April 2009 05.59 EDT First published on Thursday 2 April 2009 05.59 EDT Share on Messenger Close This year sees the 50th anniversary of what some think is the greatest Hollywood comedy in history, or maybe simply the greatest comedy, or just greatest film: Billy Wilder's Some Like It Hot , starring Jack Lemmon and Tony Curtis as two hapless 1920s musicians, on the run from murderous mobsters. They disguise themselves as women, join an all-girl band, Sweet Sue and Her Society Syncopators, and find themselves sharing intimate sleeping cars on an overnight train to Florida, where the band has a hotel engagement. Both men are to be entranced by the sexy, yet lonely and vulnerable blonde singer, Sugar Kane, played of course by Marilyn Monroe. Some Like It Hot is a remake. Billy Wilder took his inspiration from the 1951 German film Fanfaren Der Liebe, or Fanfares of Love, directed by Kurt Hoffman – itself a remake, in fact, of the 1935 French comedy, Fanfare d'Amour.

Wilder himself was always vague about how much he took from Fanfaren Der Liebe, maintaining he kept the basic, farcical element of cross-dressing musicians, and chucked out everything else. But did he? There is no video or DVD edition of Fanfaren Der Liebe, so it's never been easy to check Wilder's claims. But in a few weeks' time, the Goethe Institute in London is putting on a rare screening of this cult item. The truth is that Fanfaren Der Liebe, though not a patch on its famous Wilder remake, is much more similar than the great man ever conceded, and for anyone who loves Some Like It Hot, it is an absolute must-see. See the Goethe Institute website for more details. Go and see it, and you will find what I found when I saw it this week: it's a fascinating and even electrifying insight into Wilder's creative thought processes, into the hidden European roots of Hollywood Americana, and into what my colleague John Patterson unimprovably called the "give-and-take, steal-and-fake" tradition of the movies.

Interviewed for the foreword to the German publisher Taschen's massive, celebratory facsimile edition of the screenplay in 2001, Barbara Diamond, the widow of Wilder's co-writer IAL Diamond, said that her husband never saw the German film and even suggested Wilder didn't either. But Wilder himself said: "There was a German picture before the war" – actually 1951 – "about two musicians who are looking for jobs, and they find jobs in various disguises, Bavarian music, mountain music, by doing music in blackface – we could do that in Germany, blackface – but ultimately they have jobs in a girls' orchestra. From then on, it becomes absolutely new." Not quite, Mr Wilder! The hugely new thing in Some Like It Hot is obviously the 20s-Chicago-gangster angle, which is not in the German film. It undoubtedly creates dramatic tension and gives the two guys more of a reason for their desperate drag act: their mortal peril, and some previous ogling at women, also clears them of any suggestion of effeminacy. The rest of the film is, however, fascinatingly familiar.

The two musicians in Fanfaren Der Liebe are Hans (Dieter Borsche) and shorter, plumper Peter (Georg Thomalla), who are, respectively, the Curtis and Lemmon characters, but much more conventionally straight-man and funny-man. Work is scarce and they have to disguise themselves in two bizarre situations before the actual gender-bending opportunity comes along. First they dress up to join a gypsy band and then – yes, I'm afraid so – they black up to join a band called Big Fletchit, a name with unfortunate echoes of Stepin Fetchit. (Wilder misremembered the mountain and Bavarian bands.) They join the girls' group through the same financial need – though a tough guy in the street actually says that our wimpish heroes look like a couple of girls – and the band are called primly "Cyclamen": pretty tame compared with Sweet Sue and Her Society Syncopators, and the Germans have nothing to match Sweet Sue's acid wisecrack about all her girls being "virtuosos".

But the night-train journey is here: to Munich, not Florida, and is actually made slightly more complex by Hans changing back into his male garb to have breakfast in the restaurant car, and to flirt with the ensemble's dark-haired lead singer, Gaby, played by Inge Egger. She is a very sobersided and pretty dull figure compared with Marilyn – almost like a straight female romantic lead from an Abbott and Costello movie. She has no drinking problem and, in fact, coolly sees through their disguise relatively quickly, with almost sisterly bemusement. There's a sexy blonde in the German band, though, and the camera rather lingers on her – did that plant a seed in Wilder's mind? Once in Munich, the bandstand and nightclub sets look very familiar. The gag about an older, unattractive guy finding them sexy is in Fanfaren Der Liebe, too, only there is no Osgood Fielding III figure; rather, the smitten male is the band's manager, Herr Hallinger (Oskar Sim), for whom the SLIH equivalent is Beinstock, Sweet Sue's harassed and only faintly lecherous sidekick.

Weirdly, Hallinger falls for Hans, the straight man, whose lean, drawn face reminded me a little of George VI. The more obvious and, as Wilder clearly saw it, the more successful choice would be for the lovestruck dope to moon around the ugly comic turn. Fanfaren Der Liebe has the two men perpetually coming out in their men's clothes, posing as the girls' supposed brothers, though Wilder evidently didn't care for this Shakespearean confusion and farce. For Some Like It Hot fans, watching all this is like going into a parallel universe. It's a cultural séance: like going back in time and seeing it the way Wilder did, or like having Wilder's ghost sitting next to you. As you notice the differences and similarities, you can see how his mind must have worked, you can hear him thinking in real time: "Yes, not bad … but why not change that … let's switch that around and keep that ... That would work better if we …" Fanfaren Der Liebe has a few specific Hollywood references. When Gaby tells her friend that she is meeting a man, she jokes that it's "Bing Crosby".

A phoney Cary Grant evidently worked better for Wilder. At one stage, Hans is shown reading a copy of Life magazine with a picture of Rita Hayworth on the front. But it has to be said: without the Chicago gangster angle, the story flags once the band have reached the Munich hotel. Just as I was thinking this, while watching the film, one of the bandmembers asks wonderingly about the two weirdly butch new girls. "Who are they?" she says. "Are they gangsters' molls?" Eureka! There, right there, you can see how and where Billy Wilder got his crucial idea. Fanfaren Der Liebe is a musical comedy with gaiety and fun, perfectly decent but destined to forever be overshadowed by the greater achievement of Wilder. But what a tremendous experience it is, an unmissable lesson in creativity and film history. The classic comedy has been restored and is back on the big screen. What is the secret of its enduring appeal?

asks Michael Newton Published: 18 Jul 2014 Some Like It Hot Movie Review What parents need to know Positive messages Enlightenment was definitely not a priority for the filmmakers, but the movie does affirm that true love has the edge over marrying for money. Positive role models Despite all the lying, leering, and scheming, deep down the protagonists are lovable, loyal, and good-hearted. The gangland murderers are stereotypically Italian with names like "Colombo" and "Mozzarella." Violence Two multiple murders occur. The first is a replica of the infamous St. Valentine's Day Massacre, in which assassins line up seven men and spray them with machine guns; the bullets hit their mark off-camera. In the second machine-gun slaughter, one man shoots several others; the bloody aftermath and dead bodies are clearly visible. There are chase scenes played more for comedy than suspense. Sex Sexual themes are a source of humor throughout. Lecherous males constantly react to and track women. Seduction is a prime motivator. Lots of sexual innuendo and suggestive talk. There is a thinly veiled reference to an erection and a very obvious preoccupation with Marilyn Monroe's curves.

While there's no nudity, clothing is revealing and very purposefully sexy. Repeated passionate kissing is as far as the movie takes actual sexual behavior. Consumerism Shell Oil is mentioned as part of a recurring gag; Joe impersonates a rich man and lets Sugar believe he owns the oil company. Drinking, drugs, & smoking Set during Prohibition, there's lots of drinking -- flasks, illegal saloons, silly covers for alcohol consumption. Some minor characters exhibit drunken behavior and one leading female player admits to having a problem with alcohol -- she drinks "when she's sad." Occasional smoking of cigarettes and cigars. Parents Need to Know Parents need to know that in this classic black-and-white comedy, everything is played for laughs -- from the St. Valentine's Day Massacre, in which gangland hoodlums execute seven other thugs with machine guns, to the broad gender-bending humor that finds the two male heroes masquerading as female musicians for most of the film. Marilyn Monroe as Sugar is at her most voluptuous; clothes are revealing; leering at women is a primary male activity; and attempts at seduction move the plot along. But the only sexual activity is some passionate kissing.

There's lots of drinking and smoking; Sugar knows she has a problem with alcohol. User reviews Review this title! What's the story? Musicians Joe (Tony Curtis) and Jerry (Jack Lemmon) accidentally witness the St. Valentine's Day massacre of a group of bootleggers by Spats Columbo (George Raft) and his mob. Desperate to get out of town, they accept a job with a band on its way to Florida -- an all-girl band -- and they dress as women, calling themselves "Josephine" and "Daphne." When they get to Florida, Joe adopts yet another disguise, this time as a wealthy bachelor, and attempts to woo the band's lead singer, Sugar Kane (Marilyn Monroe). Meanwhile, Osgood (Joe E. Brown), an actual wealthy bachelor, is interested in "Daphne." Meanwhile, Spats and his gang arrive at the hotel for a conference with other gang leaders, which results in even more bloodshed. Can Joe get the girl and get away from Spats? Is it any good?

QUALITY SOME LIKE IT HOT is one of the wildest farces ever filmed, but it has a lot of heart as well, with brilliant performances by all three stars. Monroe is heartbreakingly vulnerable as Sugar, explaining that she always gets "the fuzzy end of the lollypop." Joe must become someone else in order to learn the truth about Sugar (who would never have confided in a man) and about himself (as he sees the consequences of his exploitive behavior and feels what it is like to have men try to force their attentions on him). Jerry, hilariously, turns out to be as suggestible as a woman as he was as a man. As himself, he ends up going along with whatever Joe tells him. In women's clothes, he starts to think of himself as a woman. The scene where he tells Joe he and Osgood are engaged is a classic. Families can talk about... Families can talk about how the characters change from their experiences. How does Joe change, and what makes him change? What does he learn from being dressed as a woman? How do Joe and Jerry react differently to dressing as women? How does Sugar behave differently with "Junior" and "Josephine"?

Movie details Some Like It Hot | Variety Print February 24, 1959 | 11:00PM PT "Some Like It Hot," directed in masterly style by Billy Wilder, is probably the funniest picture of recent memory. It's a whacky, clever, farcical comedy that starts off like a firecracker and keeps on throwing off lively sparks till the very end. “Some Like It Hot,” directed in masterly style by Billy Wilder, is probably the funniest picture of recent memory. It’s a whacky, clever, farcical comedy that starts off like a firecracker and keeps on throwing off lively sparks till the very end. Pictures like this, with a sense of humor that is as broad as it can be sophisticated, come along only infrequently. Add to this the attraction of Marilyn Monroe, returning to the screen after a two year absense in a part that’s tailor-made for her particular talents, topnotch performances by Tony Curtis and Jack Lemmon, and the directorial brilliance of Wilder, and the concoction becomes irresistible. Even so, the film has its faults.

It’s too long, for one, being a small joke milked like a dairy; one or two scenes skirt the limits of good taste. But who’ll care? Story revolves around the age-old theme of men masquerading as women. Tony Curtis and Jack Lemmon escape from a Chicago nightclub that’s being raided, witness the St. Valentine’s Day massacre and ‘escape’ into the anonymity of a girl band by dressing up as femme musicians. This leads to the obvious complications, particularly since Curtis meets Miss Monroe (ukulele player, vocalist and gin addict) and falls for her. Lemmon, in turn, is propositioned by an addle-brained millionaire (Joe E. Brown). While romance blossoms in Miami, gangsters led by George Raft come on the scene for a convention and Curtis and Lemmon are recognized. Eventually, Raft and Co. are “rubbed” out. Curtis and Lemmon can then reveal their identity. On this plot skeleton, Wilder has put the flesh of farce. He has done this so deftly that the ridiculous somehow appears possible, and the shocking turns into laughter. Picture opens with a hearse being chased by police.

It is the late 1920s. In the coffin repose dozens of bottles of bootleg gin. Bullets rip through hearse and the coffin starts spouting liquid. It’s that sort of thing all the way through. Shot of Curtis and Lemmon walking down the station platform dressed as girls, swinging their hips with the anxious look of one who has yet to learn to walk on high heels, brings the house down. Again, the scene on the train, where the ‘private’ pullman berth party of Lemmon and Miss Monroe in her nightie is invaded by guzzling dames, represents humor of Lubitsch proportions. And the alternating shots of Miss Monroe trying to stimulate Curtis on a couch, while Lemmon and Brown live it up on the dance floor, rate as a classic sequence. To coin a phrase, Marilyn has never looked better. Her performance as “Sugar,” the fuzzy blonde who likes saxophone players “and men with glasses” has a deliciously naive quality. She’s a comedienne with that combination of sex appeal and timing that just can’t be beat. If, at the time of the filming she was pregnant, and the tight dresses she’s asked to wear just don’t fit very well, never mind.

This gal can take it, and so can the audience. It’s a tossup whether Curtis beats out Lemmon or whether it goes the other way ’round. Both are excellent. Curtis has the upper hand because he can change back and forth from his femme role to that of a fake ‘millionaire’ who woos Miss Monroe. He employs a takeoff on Cary Grant, which scores with a bang at first, but tends to lose its appeal as the picture progresses. It’s obvious that Curtis enjoys the part of a comedian, and he makes the most of it. Lemmon here draws a choice assignment. Some of the funniest bits fall to him, such as his announcement that he’s ‘engaged’ to Brown. There is about him the air of desperation of any man who might find himself in this kind of unreal predicament. The audience virtually explodes when, after being grabbed by Curtis in his bosomy disguise, Lemmon announces angrily: “I lost one of my chests!” In the smaller parts, Raft hams it up as a caricature of himself in a “tough guy” gangster bit. Brown is very funny as Osgood, the smitten millionaire, who tries to lure Lemmon on his yacht.

Pat O’Brien has a small role as a federal agent, and Nehemiah Persoff acts the role of “Little Bonaparte,” who looks very much like Al Capone , and whose boys machinegun Raft and his toughs out of existence. But, in the final accounting, this is still a director’s picture and the Wilder touch is indelible, particularly since he’s collaborated with I. A. L. Diamond on the script. If the action is funny, the lines are there to match it. In fact, laughs often step on one another. Of course, in a two-hour picture, the pace is bound to slacken eventually, and it does. But the momentum of this madcap comedy is such that it keeps rolling along, a gay romp that knows just when to draw back before crossing the line to the vulgar. Miss Monroe performs a couple of songs capably and in the style of the twenties. Charles Lang’s photography, in black-and-white, is just fine and so is Adolph Deutsch’s background score. Arthur Schmidt’s editing makes for smooth continuality and, in several scenes, contributes importantly.

“Some Like It Hot” goes on the premise that a laugh is a laugh, regardless where you find it, and it knows that men dressed as women tickle the risibilities of male and female alike. Since much of it is also clever, the film should provide United Artists with one of its top grossers for the year. 1959: Best B&W Costume Design (Corry Kelly). Nominations: Best Director, Actor (Jack Lemmon), Adapted Screenplay, B&W Cinematography, B&W Art Direction Some Like It Hot Production Ashton/Mirisch. Director Billy Wilder; Producer Billy Wilder; Screenplay Billy Wilder, I.A.L. Diamond; Camera Charles Lang Jr; Editor Arthur P. Schmidt; Music Adolph Deutsch; Art Director Ted Haworth. Previewed at Loew's Lexington Theatre, N.Y., Feb. 5, '59. Crew

Question: Which movie sees Jack Lemmon and Tont Curtis dressed as women in an all girl band?
Answer: Some Like It Hot