View All Critic Reviews (50) Audience Reviews for Some Like It Hot This raucous comedic farce from Billy Wilder is often considered to be one of the best and funniest comedies ever made...and you know what? The reputation isn't wrong. Joe and Jerry are two Chicago jazz musicians who, after witnessing a gangland murder, are forced to go on the run. Obtaining some costumes, they board a train for Florida with an all girl jazz band as its newest and more homely members "Josephine" and 'Daphne". Besides the obvious problems with having to keep up their ruse in general, things really get complicated (and hilarious) when Josephine falls for fellow band member Sugar Kane, and an aging playboy falls for Daphne. Also, the mob happens to find their way to Florida as well... Everyone talks about how funny this film is, and yeah, I expected to laugh, but I also figured this film would be kinda overrated as well. Much to my surprise and delight, this film had me in stitches through almost all of the runtime, and I didn't think it was overrated at all. This really is a sharp, witty, and breezy comedy masterpiece.

It set the standard for all future cross dressing related comedies, and has yet to be topped. Tony Curtis is great as Joe/Josephine and Jack Lemmon is tremendously awesome as Jerry/Daphne. George Raft is fun as the mob boss who wants them dead, and Marilyn Monroe is a delightful knockout as Sugar Kane. As the man who falls for Daphne, Joe E. Brown is an absolute scream. The film does go for some obvious targets with some of the jokes, but they are deftly handled, and feel quite relevant and fresh. Yeah, there is the obvious need for suspension of disbelief, but that only adds to the fun. With a strong start that just keeps building and building, this truly is one of the all-time greats that you really must see if you haven't already done so. Chris Weber Super Reviewer Some Like It Hot is highlighted by a wit that is surprisingly prescient of modern times. The script mines gender humor with a sophisticated modernity that still seems remarkably fresh even today. The satire is composed of well worn targets, but they're handled in such a lighthearted way, it entertains through the commentary.

Granted this farce is more apt to cause mild giggles than outright guffaws. I wouldn't call it the funniest comedy ever made, but the plot developments are so captivating, it's easy to see why this film ranks amongst the finest of the period. fastfilmreviews.wordpress.com Mark Hobin Super Reviewer Love Marilyn Monroe - the sexy, the innocent, the Silver Screen star, the controversial pop icon. Her performances of "Runnin' Wild," "I Wanna Be Loved By You," and "I'm Through With Love" are cheeky, seductive, and wistful, respectively. She overacts badly a bit during the yacht seduction sequence, and the gangster chase drags (heh) on a bit only to end with a much too easy resolution, but still, they just don't make 'em like this anymore. Alice Shen Super Reviewer Blazing into the senses like a hurricane of film-making joy, Billy Wilder's Some Like It Hot is the magic that appears when the right cast meets the right script meets the right director at the right time. As if the universe suddenly decided to take Murphy's Law out of the equation, replacing him with his cousin Chaos Theory as a substitute for the job.

Only, instead of raining on the parade, said relative happened to be in a phenomenally good mood, aligning all what could be aligned in favor of Wilder's brainchild. Oh yes, this film is quite the little miracle. Brisk and bananas from the get-go, this is a highly energized comedy rush that hits the ground running. Comparable to releasing a couple of gerbils from their cage, who have been drinking excessive amounts of Red Bull all morning and are now dying to make the most of their freedom. Except, they're not gerbils, but two dame-crazy musicians named Joe and Jerry. Kinetically played by Tony Curtis and Jack Lemmon (the latter of which drew my memory towards Jim Carrey in his prime), their outlandish adventure begins with quite the nasty bit of business, as they become the witnesses of a gangland massacre by notorious mob boss Spats Columbo. A carnage which is actually founded in a real-life incident involving Al Capone and two rivaling criminal gangs in 1929 Chicago.

Feeling the heat and not keen on moving to a permanent address six feet under, they grab the only wise option available (read: escape plan) and join up with an all-female band on their way to a gig in Florida. There's just one little catch: the band is expecting two gals and thus they have no choice but to cross-dress as the fictitious broads Josephine and Daphne. An incognito undertaking which sees further complications when they both are smitten by the spellbinding charms of the voluptuously sexy (and self-admittedly not-too-bright) Sugar Kane Kowalczyk, an ukulele player and hot little number played by Marilyn Monroe. And really, who can blame them for braving the risks of becoming diabetic. A classic bombshell if there ever were one. Well arrived in the Sunshine State, troubles heap up to even greater extents, as the hotel where the band is staying is later used as a rendezvous point by Spats and other crime lords.

To make matters worse (if not to say more hilarious), Jerry has become subject to the flirty advances of Osgood Fielding III, a love-struck old millionaire, who despite Jerry's best efforts is completely oblivious to his rejections. Even at the very end when Jerry exposes himself as a man, the delightfully hopeless Osgood simply responds by saying "nobody's perfect". You also gotta give credit to a screenplay that produces laughs aplenty, without ever resorting to profanity or the type of vulgar humor that has become the norm on the modern comedy scene (albeit that has its charms too within the right context). Younger generations may find it hard to believe that there even was such a time, but surely we would never have had gems like Tootsie and Mrs. Doubtfire if this film hadn't set the pace. A side-splitting, kooky and wildly entertaining classic, whose long-enduring status as a masterwork of comedy, I can now cheerfully get behind. So spin that bass and let the good times roll, for this movie is a diamond and as we all very well know, diamonds are worth their weight in gold.

Mike S 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 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: Some Like it Hot: Well, This Film Is Perfect! | The Wonderful World of Cinema The Wonderful World of Cinema This blog is all about cinema, movies and stars of every decades. It's wonderful! Menu Some Like it Hot: Well, This Film Is Perfect! Posted on by Virginie Pronovost I said to myself, the other day, that it would be intelligent to write a review of my favourite movie of all times. So, there it is, my Some Like it Hot‘s review, a movie that I can watch over and over always with a great pleasure. Before I saw this film, I had a feeling, just by seeing the trailer, that it will maybe become one of my very favourite movies. And it does as you can see! For a long time I hesitate between this one, Forrest Gump and Bringing Up Baby as my favourite movie, but now I’ve made my choice.

🙂 Some Like it Hot was directed by Billy Wilder in 1959 Where can I start? There’s so much to say about this film! Well, let’s start with a little summary, just to situate you a little. Chicago 1929, during prohibition. A hearse is rolling over the streets of Chicago, but soon, as the police cars are coming, we discover that this car is full of gangsters. The gunshots start and the coffin is perforated. This one is full of bottles of alcohol. The hears arrives at Mozzarella’s funeral parlour and the group of gangsters is welcomed by their chief Spats Columbo (George Raft). Later, the police raids in this place. Joe (Tony Curtis) and Jerry (Jack Lemmon) are two friends and two musicians in the “funeral” band. Joe plays the saxophone and Jerry plays the double bass. They succeed to escape from the police raid. Now, they have to find another job. Nellie (Joe’s girlfriend) decides to make a joke to them and tells them that a band is looking for a saxophone and a double base.

The two fellows are very happy and relieved, but they discover that this is a band… for girls! Then, on Valentine’s Day, they are witnesses of a killing between rival gangs of the Mafia. Joe and Jack have to run away, otherwise they’ll be killed by Spats Colombo (George Raft) and his gang. So, they decide to apply for the famous girls’ band. Of course, this is a band only for ladies, so they’ll have to dress up as girls: Josephine and Daphné. The group is going to Florida. On the train, Joe and Gerry meet Sugar (Marilyn Monroe) who becomes a good friend. In Florida, Gerry meets Osgood Fielding III a rich millionaire who has a yatch and who is desperately looking for a new wife (again!). Joe, who has fallen in love with Sugar, start a little “mise-en-scène” to conquer her. Everything seems to go well for the two fellows, but Spats Colombo and his gang will eventually show up again… The screenplay of this film is so great. I mean, there is so much creative and funny quotes that’ll make you laugh and laugh.

The moments when you don’t laugh or simply smile while watching this film are rare! I can say, without a doubt, that this is one of the films I can quote the best. In general, Billy Wilder’s films are always well written and this one doesn’t make exception. The story is also very good, well, settled and captivating The movie starts with action: a group of gangsters in a hearse is pursued. Then, we’ll discover that the coffin is full of alcohol (champagne I believe). This is Chicago during prohibition. We wonder what will happen next. The script was written by L.I.A Diamond and Billy Wilder. Some Like it Hot’s screenplay received an Oscar nomination for Best Adapted Screenplay. It was based on a story by Robert Thoeren and Michael Logan. I would like now to share some of my favourite quotes from the film: 1- Junior: I guess some like it hot. I personally prefer classical music. 2- Jerry: Have I got things to tell you! Joe: What happened? Joe: Congratulations. Who’s the lucky girl? Jerry: I am! 3- Osgood: I am Osgood Fielding the third.

Daphne: I’m Cinderella the second. 4- Osgood: Well, nobody’s perfect! 5- Sweet Sue: Beinstock, I ought to fire you! Beinstock: Me? I’m the manager of the band, not the night watchman. 6- Sugar: 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! 7- Sugar : [admiring a large fish trophy] What is it? Junior: It’s a member of the herring family. Sugar: A herring? Isn’t it amazing how they get those big fish into those little glass jars? Junior: They shrink when they’re marinated. 8- Spat’s Henchman: Excuse me, ain’t I had the pleasure of meetin’ you two broads before? Jerry: Oh, no. You must be thinking of two other broads. Ok I have to stop! But there’s too much great lines in this film! Another thing I love about this film is the casting. Tony Curtis fits perfectly the role of Joe/Josephine/Junior.

How amazing it is to play kind of three persons (well, one person who pretend to be two other persons). When he is Junior, he kind of imitates Cary Grant’s voice, but this one said about it: “I don’t speak like that!” Well, that remains funny. Marilyn Monroe also did a great job as Sugar. I have to say, this is my second favourite performance of this actress after The Misfits. She’s sweet, funny and so lovable and has a gorgeous smile. That’s hard and sad to believe that this was one of her last films. 😦 We can also see and hear her sing some songs. Her voice is so enjoyable. Dave Barry who plays Beinstock, the band manager, is also very funny. He always seems a little lost after Joe steals his suitcase and his glasses. Well, how can you be not funny with a name like Beinstock… One of my favourite moments in the films is when Sweet Sue, the bandleader of “Sweet Sue and Her Society Syncopators” shot at him: “BEEEEINNNSTOCK!!” when she is angry. Sweet Sue was played by Joan Shawlee.

George Raft plays a delicious villain : “Spats” Colombo, a Chicago gangster obsessed by his shoes spats. In this film, you’ll also have the chance to see Edward G. Robinson Jr (yes, Edward G. Robinson’s son!) in a small role. The guy in the cake… But really, the actors who perfectly steals the show, my favourite ones in this film are certainly Jack Lemmon and Joe E. Brown! And they make such a funny team together. The movie ends with an unforgettable dialogue between the two and think of this moment when they are dancing tango! This is really one of my favourite moments of the film. About Jack Lemmon, just when I see him in this film, even when he doesn’t say anything, I laugh or smile. How adorable and cute he is with theses round and surprised eyes. He also had the voice of comedy. A voice you’ll always remember and who is always well chosen with the emotions he wants to share. The way he moves as a girl is also worth seeing. I love when he makes this little hand move after saying something. This is a real caricature, because girls don’t really do that!

😛 Well, I must also say that the funniest moments of the film are the ones with Jack Lemmon. Jack received an Oscar nomination for his performance in this film. About Joe E. Brown, how can you forget that big smile, that look when he sees the “girls” arriving at the hotel, this “Zowie!”. Really, he was one of the funniest character actors. What I also like about this film is the music. A lovely and very entertaining score, including some lovely tunes like “Running Wild” “I Want to Be Loved by You”, “By the Sea” and more. The music in this film is also one of the elements that takes you into the mood of the film. You know, I can’t skip the opening titles because of the music. So jazzy and so hot! 😉 One of my favourite “music moments” of the film is the tango between Jerry/Daphné and Osgood. I also love the moment when Sugar sings “Running Wild” and the way Jerry/Daphné plays his double bass with too much enthusiasm! Anyway, let’s not forget that music is one of the most important themes of this film. What will Some Like it Hot be without this music?!

Well, it just wouldn’t be the same movie. I want to finish this review by talking to you about some of my favourite scenes and some of the funniest. First, I think of the party scene in the train compartment. Daphne (Jerry) is sleeping and Sugar comes visits him and thanks him for having told Sweet Sue that the bottle of alcohol belonged to him (it was Sugar bottle, but she would have been kicked off the train if they would have surprised her drinking again). In this scene, Daphne proposed to Sugar to take a drink. But they are making some noise so the other girls wake up. The result: a party with 12 girls… and a man (poor Jerry!) in a little train compartment. Another of my favourite scenes is the tango scene. What make this scene funny is just the face expression of Jack Lemmon and Joe E. Brown when they are dancing. I also love the fact that Jerry discover kind of a passion for tango after that. On the same hand, another of my favourite moments is when Jerry says to Joe that he is engaged to Osgood. The dialogues in this scene are so funny and also very zany.

Another scene I love is the moment when Nellie (Joe’s girlfriend) says to Joe and Jerry that a music band is looking for saxophone and a double bass player. Joe and Jerry are very happy, but they’ll discover that this is a band for girls! Jerry’s reaction here is the best. Of course, as many people I’m sure, I love the ending of this film, when Jerry decided to tell the truth to Osgood. And there is many, many scenes I love in this film, but I can’t name them all! In other words, I love all the film! Well, now you know some of the main reasons why Some Like it Hot is my favourite film. I could go on and on, but all good things have to end. If you haven’t seen this wonderful film yet, please take a moment to. Really, you won’t regret it. All the people I know who have seen this film have enjoyed it. If you’re sad and you’re in for a big laugh, this is the perfect movie. After all, Some Like it Hot was voted the best comedy of all times!

45.501689 -73.567256 Rogue Cop (1954) | Film Noir of the Week Rogue Cop (1954) The genesis of George Raft ’s brief ‘50s “comeback” in Rogue Cop (1954) is interesting. Raft’s career had been going steadily downhill since severing studio ties with Warner Brothers in 1942. Deciding to chart his own film destiny Raft unwisely chose to associate with lesser-echelon studios such as United Artists and RKO and began appearing in a succession of mediocre crime dramas that featured him (at his insistence) primarily on the right side of the law, thus gradually erasing George Raft’s gangster screen persona , but also his most marketable image. Not that some of these movies weren’t without merit – and a few, in fact, were quite good. But where most of these pictures suffered was in not providing Raft with strong supporting players (from which he always benefited) and directors who knew best how to work with Raft’s acting limitations.

So – for every Johnny Angel (1945), Nocturne (1946) and Red Light (1949) there turkeys like Mr. Ace (1945), Whistle Stop (1946) Christmas Eve (1947) and Outpost in Morocco (1949). By the early 1950s Raft descended even farther down the career ladder by participating in the European-made Lippert pictures I’ll Get You and The Man from Cairo (both 1953). The story goes that he rejected two films that would have returned him to underworld roles: Hoodlum Empire (1952) and The Miami Story (1954), because he was afraid of insulting his mob associates, such as Frank Costello. Throughout his career, Raft received a lot of publicity for his underworld friendships. Not just the public but many motion picture executives believed that George Raft was as much a gangster off-camera as on.

This actually made him more appealing to theater patrons when he appeared in such movies as Scarface (1932), Each Dawn I Die and Invisible Stripes (both 1939), simply because audiences thought they were watching the real article. Raft always fared best with the ticket-buying public when there was at least a shade of the underworld attached to his characters. With few exceptions (Souls at Sea, 1937; They Drive by Night , 1940; and Manpower , 1941), his “straight” roles were generally less successful. By 1954, Raft’s mob affiliations, bad personal press, career mismanagement and changes in the structure of the entertainment industry had severely crippled his career. He received a much-needed boost on the evening of March 24 when he was the Guest of Honor at a “Roast” held by the Friar’s Club. Many of the town’s “heavy hitters” - including studio executives Jack L. Warner , Dore Schary and Darryl F. Zanuck - were in attendance to pay the legendary actor homage.

However when Raft got up to address the dais he suddenly became emotional and spoke about how poorly his career was going. It wasn’t a plea for sympathy; Raft was just expressing what he felt. The next day Raft was called into the MGM office of Dore Schary, where the two men discussed Raft’s feelings at the Friar’s Roast. The conversation resulted in Schary offering Raft the major supporting role of crime czar Dan Beaumonte in the studio’s upcoming production of Rogue Cop. Raft had avoided playing out-and-out gangsters for 15 years, but he gratefully, if indeed humbly, accepted the third-billed part. The role, however, provided Raft with his most ruthless villain since Scarface, and certainly was a part that Raft would have rejected as a “dirty heavy” during his “starring” days at Paramount and Warners. Rogue Cop was based on the novel by William P. McGivern (1918-1982), who also penned the crime books “The Big Heat”, “Shield for Murder”, “Hell on Frisco Bay” and “Odds Against Tomorrow”, all of which were turned into successful films.

Although MGM had produced some hard-hitting gangster movies in the early 1930s (The Big House, 1930; The Secret Six and, most especially The Beast of the City, both 1931), crime pictures were not the studio’s specialty (unlike Warner Brothers), but the films in that genre that MGM did produce were raw, violent and uncompromising. The later-day Rogue Cop would not prove an exception. The film was directed by Roy Rowland , who began his career as a director of numerous MGM shorts during the 1930s and who would go on to helm such diverse projects as the sentimental Our Vines Have Tender Grapes (1945), the boxing drama Killer McCoy (1947), the Red Skelton comedy Excuse My Dust (1951), the 3D-lensed Western The Moonlighter and the dark musical fantasy The 5,000 Fingers of Dr. T (both 1953). Rowland had also taken a turn at noir with the suspenseful Scene of the Crime (1949) and Witness to Murder (1954).

Long-time MGM contract star Robert Taylor was set for the lead, the corrupt cop Christopher Kelvaney. Romantic lead Taylor may have seemed an unlikely choice for such an unsympathetic role, but he had proven his dramatic mettle by delivering solid performances in such films as Bataan (1943) - and had even flirted with the underworld as the title character in Johnny Eager (1942). Later Taylor would essay another morally (and physically)-crippled character: mob lawyer Tommy Farrell in MGM’s glossy Party Girl (1958). The two female leads were played by Janet Leigh (Karen Stephanson) and Anne Francis (Nancy Corlane). Francis was particularly effective as Raft’s girlfriend who, in her most memorable scene, takes drunken delight in belittling him – little realizing the extent of the gangster’s sadism. Director Rowland rounded out the rest of the cast with such reliable co-players as Robert Ellenstein, Robert F. Simon, Peter Brocco, Olive Carey and veteran serial star Roy Barcroft.

Steve Forrest (younger brother of noir stalwart Dana Andrews) was cast as Chris Kelvaney’s “honest” cop brother, Eddie, while virtual screen newcomer Vince Edwards played the small but effective role of hitman Joey Langley. A special treat for fans of classic television are the appearances of both Alan Hale, Jr. and Russell Johnson (the Skipper and Professor of Gilligan’s Island); along with Richard Deacon (The Dick Van Dyke Show) and Ray Teal (Bonanza). Of course, Anne Francis, Steve Forrest and Vince Edwards later went on to their own small-screen series: Honey West, S.W.A.T. and Ben Casey. The plot: Detective Sergeant Chris Kelvaney is on the payroll of Syndicate chief Dan Beaumonte and his associate Ackerman (Simon). When Kelvaney assists his patrolman brother Eddie in capturing murderer George "Wrinkles" Fallon (Brocco), Beaumonte tells Kelvaney that Eddie must not identify Fallon in court, and instructs the detective to offer his brother $15,000 for his cooperation.

Kelaney, however, is unsuccessful in his attempt to convince Eddie to have a lapse of memory about Fallon, and even Kelvaney’s visit with Eddie’s ex-party girl sweetheart Karen proves fruitless. Despite his promise to allow Eddie a little more time to change his mind, Beaumonte orders Eddie’s murder. Kelvaney is suspended from the force after learning that he is under investigation by the grand jury. But badge or not, Kelvaney is determined to bring his brother’s killer to justice. Learning that Beaumonte is hunting for ex-moll Nancy, Kelvaney secures her in Karen’s apartment, where she reveals why Fallon’s release was so important to Beaumonte. Fallon had taken an incriminating photograph of Beaumonte and Ackerman many years ago, and both men fear that the successful prosecution of Fallon on the murder charge may release this evidence. Kelvaney returns to the police station and makes a deal with the district attorney to turn state's evidence on Beaumonte. He then goes to Karen's apartment where he discovers that Karen has been taken to police headquarters and Nancy has been drowned in the bathtub.

Kelvaney’s informant Selma (Carey) tells him that Eddie's killer is Joey Langley, a hit man from brought in from the West Coast. The detective instructs her to get word to Beaumonte that he is on his way to apprehend Langley. Accompanied by fellow detective Sidney Y. Myers, Christopher goes to Langley's hideout and, following a fistfight, subdues and arrests him. On the street outside, Beaumonte and Ackerman attempt to ambush the cops and their captor. Both Kelvaney and Myers are wounded in the exchange of gunfire, but Beaumonte and Ackerman are killed. Kelvaney is prepared to make amends for his past mistakes. Rogue Cop is one of the best film noirs of the 1950s, standing alongside such classics as The Big Heat (1953) and The Big Combo (1955). The film is dark and the atmosphere tense and gritty. The tone of the movie is set from its opening moments, as the credits are stamped against the backdrop of police activity in the city, sans musical accompaniment.

The storyline effectively highlights the standard plot of a flawed “hero” changing sides and going up against a particularly ruthless antagonist – the character motivated less by the need for redemption than revenge. Sadistic villains were almost a staple in noir cinema: from Tommy Udo to Vince Stone to “Mr. Brown”. Until participating in the noirish shootout that ends the film, Raft’s Dan Beaumonte is never explicit in his evil actions; however, the scene in which he dispatches Nancy to his “friends” in punishment for her taunting him is chilling in what it suggests. Rogue Cop was nominated for an Oscar for Best Cinematography, Black-and-White ( John F. Seitz ) and received high marks from the critics. The New York Herald-Tribune rated the picture “a simple, streamlined movie about crookedness.” This was a unique compliment indeed during the message-laden reign of MGM studio boss Dore Schary. George Raft received his own critical accolades.

Steven Scheuer in his book Movies and TV on Videocassette wrote: “Raft is a standout as a syndicate czar who is more than a bit sadistic.” Even Bosley Crowther of the New York Times, who for years had been one of Raft’s most merciless critics, admitted that Raft had performed admirably in the film. Sadly, despite this praise in a successful film imbued with comeback potential, Raft’s career high all too quickly evaporated. After appearing as a detective investigating the murder of Peggy Ann Garner among a glittering array of suspects in the same year’s Black Widow (another job presented as a result of the Friar’s Club Roast – this time by Daryl Zanuck for Twentieth Century-Fox), and reprising his gangster against Edward G. Robinson’s Royal Canadian Police Inspector in A Bullet for Joey (1955), Raft was virtually unemployed in films until he played gangster Spats Columbo in the Billy Wilder comedy Some Like it Hot (1959). The movie, a huge hit, would provide Raft with last major film role in an important vehicle. One final note: Rogue Cop is a film deserving of a DVD release.

It is one of two top-drawer noirs (the other being Cry of the City , 1948) never to have been commercially released in a home video format. While not infrequently shown on television (particularly on TCM), it is a film that would be treasured in any noir devotee’s video collection. By Stone Wallace Posted 9th August 2008 by Steve Eifert

Question: Who played chief villain Spats Columbo in the classic comedy movie 'Some Like It Hot' ?
Answer: GEORGE RAFT