Dressed only in clingy tops that clearly show their assets and cotton panties, Hayden Hawkens and Karina White enjoy a long kiss that soon turns into much more.
Some Like It Hot is a 1959 American romantic comedy film set in 1929, directed and produced by Billy Wilder, starring Marilyn Monroe, Tony Curtis, and Jack Lemmon. Looking for a steamy movie to watch? These films are definitely going to turn up the heat.
Some Like It Hot - Wikipedia. Some Like It Hot is a 1. American romantic comedy film set in 1. Billy Wilder, starring Marilyn Monroe, Tony Curtis, and Jack Lemmon.
The supporting cast includes George Raft, Pat O'Brien, Joe E. Brown, Joan Shawlee, and Nehemiah Persoff. The plot is based on a screenplay by Billy Wilder and Michael Logan from the French film Fanfare of Love. The film is about two musicians who dress in drag in order to escape from mafiagangsters whom they witnessed commit a crime inspired by the Saint Valentine's Day Massacre. The film was produced in black and white, even though color films were increasing in popularity.
Some Like It Hot opened to largely positive reviews and is today considered to be one of the greatest film comedies of all time. It was voted as the top comedy film by the American Film Institute on their list on AFI's 1. Years.. 1. 00 Laughs poll in 2. The film is also notable for featuring cross dressing, and for playing with the idea of homosexuality, which led to its being produced without approval from the Motion Picture Production Code. The code had been gradually weakening in its scope during the early 1.
The overwhelming success of Some Like It Hot was a final nail in the coffin for the Hays Code. Joe (Tony Curtis) is an irresponsible jazz saxophone player, gambler and ladies' man; his friend Jerry (Jack Lemmon) is a sensible jazz double- bass player; both are working in a speakeasy (disguised as a funeral home) owned by mob gangster . When the joint is raided by the police after being tipped off by informant . Stone), Joe and Jerry flee—only to accidentally witness Spats and his henchmen exacting his revenge on .
Penniless and in a mad rush to get out of town, the two musicians take a job with Sweet Sue (Joan Shawlee) and her Society Syncopators, an all- female band headed to Miami. Disguised as women and renaming themselves Josephine and Daphne, they board a train with the band and their male manager, Bienstock. Before they board the train, Joe and Jerry notice Sugar Kane (Marilyn Monroe), the band's vocalist and ukulele player. Joe and Jerry become enamored of Sugar and compete for her affection while maintaining their disguises. Sugar confides that she has sworn off male saxophone players, who have stolen her heart in the past and left her with . She has set her sights on finding a sweet, bespectacled millionaire in Florida.
During the forbidden drinking and partying on the train, Josephine and Daphne become intimate friends with Sugar, and have to struggle to remember that they are supposed to be girls and cannot make a pass at her. Once in Miami, Joe woos Sugar by assuming a second disguise as a millionaire named Junior, the heir to Shell Oil, while feigning disinterest in Sugar. An actual millionaire, the much- married aging mama's boy Osgood Fielding III, (Joe E. Brown) tries repeatedly to pick up Daphne, who rebuffs him. Osgood invites Daphne for a champagne supper on his yacht. Joe convinces Daphne to keep Osgood occupied onshore so that Junior can take Sugar to Osgood's yacht, passing it off as his. Once on the yacht, Junior explains to Sugar that, due to psychological trauma, he is impotent and frigid, but that he would marry anyone who could change that.
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Sugar tries to arouse some sexual response in Junior, and begins to succeed. Meanwhile, Daphne and Osgood dance the tango (. When Joe and Jerry get back to the hotel, Jerry explains that Osgood has proposed marriage to Daphne and that he, as Daphne, has accepted, anticipating an instant divorce and huge cash settlement when his ruse is revealed. Joe convinces Jerry that he cannot actually marry Osgood. The hotel hosts a conference for . Spats and his gang from Chicago recognize Joe and Jerry as the witnesses to the Valentine's Day murders. Joe and Jerry, fearing for their lives, realize they must quit the band and leave the hotel.
Joe breaks Sugar's heart by telling her that he, Junior, has to marry a woman of his father's choosing and move to Venezuela. After several chases, Joe and Jerry witness additional mob killings, this time of Spats and his boys. Joe, dressed as Josephine, sees Sugar onstage singing that she will never love again. He kisses her before he leaves, and Sugar realizes that Joe is both Josephine and Junior. Sugar runs from the stage at the end of her performance and manages to jump into the launch from Osgood's yacht New Caledonia just as it is leaving the dock with Joe, Jerry, and Osgood. Joe tells Sugar that he is not good enough for her, that she would be getting the .
Jerry, for his part, comes up with a list of reasons why he and Osgood cannot get married, ranging from a smoking habit to infertility. Osgood dismisses them all; he loves Daphne and is determined to go through with the marriage. Exasperated, Jerry removes his wig and shouts, . Brown as Osgood Fielding IIINehemiah Persoff as .
Robinson Jr. Mozzarella, funeral director (uncredited). He bought the rights to the script and Wilder worked with this to produce a new story. Finally, Wilder saw Jack Lemmon in the comedy Operation Mad Ball. Billy Wilder and Jack Lemmon made numerous films together until 1. The Apartment and several films with Walter Matthau. According to York Film Notes, Billy Wilder and I. A. L. Diamond didn't expect such a big star as Marilyn Monroe to take the part of Sugar.
The word came that Marilyn wanted the part and then we had to have Marilyn. The Hotel in San Diego fitted into the era of the 1. Hollywood, so Wilder chose it although it was not in Florida. There were many problems with Marilyn Monroe, who lacked concentration and suffered from addiction to pills. She could not memorize many of her lines and required 4. Tony Curtis and Jack Lemmon made bets during the filming how many takes Marilyn would need to get it right.
Although Marilyn had plenty of complicated lines, the whole scene between Shell Jr. Diamond and Wilder put it in the script as a . It has an authentic 1.
Spats' gangsters appear. In terms of cinematography and aesthetics, Billy Wilder chose to shoot the film in black and white as Jack Lemmon and Tony Curtis in full drag costume and make- up looked 'unacceptably grotesque' in early color tests. Laughs poll in 2. Diamond. Nominated. Best Cinematography – Black- and- white.
Charles Lang, Jr. Nominated. Best Art Direction – Black- and- white. Ted Haworth(Art Direction), Edward G. Boyle(Set Decoration)Nominated. Best Costume Design—Black and white. Orry- Kelly. Won. May 6, 1. 96. 0. Diamond.
Won. September 2. As a favor to the production company, Jack Lemmon and Tony Curtis agreed to film cameo appearances, returning as their original characters, Daphne and Josephine, at the beginning of the pilot. Their appearance sees them in a hospital where Jerry (Lemmon) is being treated for his impacted back tooth and Joe (Curtis) is the same O blood type. A 1. 99. 1 stage production of this show in London featured Tommy Steele and retained the film's title. In 2. 00. 2, the aging Tony Curtis performed in a stage production of the film, cast as the character originally played by Joe E. Brown (Osgood Fielding III). See also. 8 August 2.
Retrieved 1. 4 March 2. Longman; 1 edition, 2. Curtis, T. Some Like It Hot. London: Virgin Books, p. Turner Classic Movies, Inc.
Retrieved March 1. July 1. 95. 3). Retrieved 1. March 2. 01. 6. Taschen, 2.
Alison Castle (Hrsg.): Billy Wilder’s Some like it hot. Taschen, 2. 00. 1, S. Crowe, Cameron . Knopf (Reprint edition, 1. Alison Castle (Hrsg.): Billy Wilder’s Some like it hot. Taschen, 2. 00. 1, p.
Jack Lemmon in: Billy Wilder’s Some like it hot. Taschen, 2. 00. 1, ISBN3- 8. Volker Schl. Some like it hot. DVD, Oktober 2. 00. Walter Mirisch in: Billy Wilder’s Some like it hot.
Taschen, 2. 00. 1, ISBN3- 8. Tony Curtis in: Billy Wilder’s Some Like It Hot, Taschen 2. S. Retrieved 1. 4 March 2. Retrieved 1. 4 March 2. Taschen, 2. 00. 1, S.
Hollywood's 1. 00 Favorite Movie Lines. The Hollywood Reporter, March 1. No. 6. 9.^http: //awardsdatabase. Retrieved 1. 4 March 2. Retrieved 1. 4 March 2.
The New Yorker. The Guardian. March 1. 95. 9. Retrieved 1. March 2. 01. 6. Some Like it Wilder.
University of Kentucky Press. BBC Culture, 2. 01. Retrieved November 2. Retrieved November 2. Retrieved November 2.
Retrieved November 2. Retrieved November 2. Retrieved November 2. Los Angeles Times. Archived from the original on May 1. Retrieved November 2.
Retrieved November 2. Retrieved November 2. Retrieved November 2. Retrieved November 2. Retrieved November 2. Retrieved November 2. American Film Institute.
Retrieved August 2. American Film Institute. Retrieved August 2. American Film Institute.
Retrieved August 2. American Film Institute. Retrieved August 2. Retrieved 1. 4 March 2. Further reading. The Making of Some Like It Hot, Wiley & Sons, Hoboken NJ, 2. ISBN9. 78- 0- 4. 70- 5. Maslon, Laurence.
Some Like It Hot: The Official 5. Anniversary Companion, New York, Harper. Collins, 2. 00. 9. ISBN9. 78- 0- 0. 6- 1.
Best Movies of ALL TIME . You also hate us. Anyway, you click on us, which is the surest way a website has of measuring interest in its content.
The All- TIME 1. 00 Movies feature—compiled by Richard Schickel and me, and handsomely packaged by Josh Macht, Mark Coatney and all the smart folks at TIME. May 2. 3rd, its opening daym, in time for Father’s Day. Thousands of readers have written in to cheer or challenge our selections, and thousands more have voted for their own favorites. The response simply underscores Richard’s and my long- held belief that everybody has two jobs: his own and movie critic.
The idea was to assemble 1. TIME began, with the March 3, 1. Later, each of us was asked to contribute five items in sidebars called Great Performances (acting), Guilty Pleasures (trash treasures) and Top Scores (soundtracks). Essentially, though, a century of movies from 8.
That shouldn’t be hard: pick a picture for each year, with 1. Not so simple, in fact, for we faced a couple of complications. The first was that two of us were to agree on the selections; and, though my admiration for Schickel is hardly bounded, and he probably doesn’t mind me, no two critics will agree on all, or even most, great films. The other is the onus of the list- making process. It’s a truism that a list like this takes either an hour (go with your initial inspirations) or a month (weigh every film with Solomonic probity). Our effort clocked in at about four months, off and on. And the clock is still running.
Why do the list? I guess Josh and Mark and Jim Kelly, our peerless leader, hoped to sharpen the profile of the website, and indirectly the magazine. Not I, of course. As a TIME staff member, I write for the website pro bono, or rather pro ego. Or, honestly, for the fun of it. That’s how this TIME 1. LISTOMANIAI feel one of my grand gender generalizations coming on, and I can’t resist it, so here goes.
Guys love to make lists. The assembling and codifying of useless information speaks to our inner math nerd, our rampant nostalgiast. Girls can play Little League baseball now, but the kid in the stands keeping the box score, and tallying individual achievements into season slugging percentages, is very likely to be a boy.
Turning our pastimes into numbers is a way not only of quantifying but also of justifying them. They acquire an atomic weight; to rank them is to give them solidity, meaning. As a kid I would study the major league batting averages in the Sunday paper more assiduously than any school subject, and I kept box scores of the games our neighborhood team played. Sometimes I devised imaginary box scores too.
I know what you’re thinking: he must have been a lonely child. Actually, I wasn’t; I had a loving, indulgent family. But around the nation, countless other kids, more talented or preoccupied than I, were doing the same thing, bending the MLB numbers, reconfiguring the figures. Eventually they would form a group, the Society for American Baseball Research, SABR for short. One of their group, Bill James, coined the term SABRmetrics to describe the grown- up, boy- like study of those numbers. The statistics they produced, and the inferences they made from those stats, would enrich the game and change the way it was played.
So there. As with baseball, so with favorite movies, TV shows, comics. One of my youthful heroes was Fred Von Bernewitz, a Maryland boy not much older than I was. He created, mimeographed and published the E.
C. Checklist, a compilation of every story in each of the dozen or so “New Trend” comic books (Vault of Horror, Weird Science, Mad, etc.) that EC published from 1. Bless his innocent obsession.
His list was a signal to hundreds of other E. C. I mean, how could it be, if so many other shared it? A half- century later, with the hardcover, much- expanded edition of the Checklist still in print (under the title Tales of Terror! The EC Companion), Von Bernewitz’s labor of adolescent love is easy to celebrate as trash- art pedantry. Back then, though, applying the rudimentary scholarship of list- making to comics was as radical as Brando’s first movie mumble, or the scream of Little Richard on “Long Tall Sally.”I too was a teenage listmaker. I saw a lot of movies and, at year’s end, picked my favorites. I recently dug up my Top Five of 1.
The Seventh Seal, Some Like It Hot, North By Northwest, Rio Bravo and Imitation of Life. Looking at this quintet, I marvel at the maturity of my youthful tastes—or do I curse my lifelong adolescence?—since, 4. I nominated all five for the TIME 1. The point is that listmaking is a first step to an informed enthusiasm. Juggling, sifting, thinking about the best films leads to measured judgments, the plundering of film histories, a nascent critical acuity.
That’s how a hobby becomes a craft, sometimes a career. Just add verbs and thoughts. Can the choices Schickel and I made have the shelf life of the Von Bernewitz checklist? Probably not; this is just one of what must be a hundred 1. Does film criticism have an equivalent to SABRmetrics—cinemetrics? You can’t calibrate genius. There are no Win Scores, no Favorite Toy, for movies and their makers.
Many readers would say that Schickel and I have no greater claim than anyone else to impose our crotchets on you. Doesn’t everyone see a lot of movies and, gradually, amass some all- time preferences? Sure. But, pardon me, we’re better. Our claims to expertise: 1. Our employment is our diploma. Still and all, list of favorites like the All- TIME 1. Movies is just that: a banquet, a groaning board of our fondest prejudices.
You’re all invited to devour the food, or throw it at us. ONCE, TWICE, THREE TIMES 1. There are 1. 01 ways to choose 1. But I participated only in this century selection, so I’ll tell you what I did.
First it’s like a game: I’m throwing a party—who should be on the guest list? My idea was to invite different sorts for a richer mix. Highbrows and no- brows, the solemn and the frivolous, embracing many genres (musical, western) and forms (short films, experimental, documentaries). I want the Marx Brothers to co- exist with a Robert Bresson nano- drama. And Indian family melodramas to rub shoulders with 7. An eight- decade, international melange.
Then it’s research. I re- viewed many of the films under consideration. I looked at the IMDb’s list of the top 2.
I dipped once more into Roger Ebert’s two volumes called The Great Movies, which contain some very thoughtful journalism on the subject. I also took a long browse through the stacks of that moldy old library of film trivia, my brain.
The result was about 1. Richard the First (Schickel) had already compiled a list of 1. Neither of us knew the other’s preferences until we’d finished this initial round. After this double- blind taste test, the serious work began on the All- TIME 1. Movies. Finally, then, it’s like a marriage—the intimate exchange of opinions and passions, the business of collating, collaborating and compromising.
Once, twice, three times 1. Schickel’s list, my list, our list. For movie critics, deciding which films are best is an anecdotal way of debating first principles. It’s theoretical and, toward the end of the process, it’s personal. Schickel and I were the co- captains of a lifeboat, with some of our favorites clinging to the sides, and we had to determine whose stiff fingers to pry off, which noble films to send into the sea of anonymity.
One of the great, not guilty, pleasures of this exercise was to spend lots of quality schmoozing time—on the phone, through e- mail and frequently in person—with my colleague on the other coast. I live and work in Manhattan, Schickel is based in L. A. But whereas I do all my work for TIME, the magazine and website, he is a busy- busy freelance: writing books, contributing a book review column to the Los Angeles Times and cobbling up feature- length documentaries on top auteurs, most recently Woody Allen, Charles Chaplin and Martin Scorsese. He snorted at some of my selections (notably, The Fly); I yawned at some of his.
He thought I was too much the China hand and Bolly- woosiast; I rankled at the inclusion of nearly every film noir melodrama ever made. I argued that, with A Streetcar Named Desire representing Marlon Brando and director Elia Kazan, the presence of the Kazan- Brando On the Waterfront was redundant; he trumped my nagging by citing Waterfront in the Great Performances and Top Scores sections.
Schickel and I knew we were playing a game; we did our research; and we’re still married. CUTTING ROOM FLOOR: Here are the films from our original lists that were dropped: Schickel’s Cuts. Corliss’s Cuts. INSIDE THE LISTSA scanning of both lists shows that Schickel and Corliss agreed on 3.
Sherlock Jr., Sunrise, City Lights, King Kong, Bride of Frankenstein, His Girl Friday, Pinocchio, The Lady Eve, Citizen Kane, Casablanca, Double Indemnity, Children of Paradise, Detour, White Heat, Kind Hearts and Coronets, A Streetcar Named Desire, Singin’ in the Rain, Ikiru, Ugetsu, Smiles of a Summer Night, Sweet Smell of Success, Yojimbo, The Manchurian Candidate, 8- 1/2, Persona, The Godfather and The Godfather Part II, Aguirre the Wrath of God, Chinatown, Taxi Driver, E. T. Note that, as we approach the present day, agreement gets rarer. We had 1. 0 coincidental selections in the 1. That mirrors a consensus on classic films, especially classics from Hollywood, and a fragmenting of taste ever since. There were also five movies on both early lists that didn’t make the final selection: Potemkin, Scarface, The Miracle of Morgan’s Creek, Raise the Red Lantern and All About My Mother. All worthy films.
What happened? I guess we came to think of Potemkin an “official” great film that lodged in our memories more than in our guts. Raise the Red Lantern I reluctantly dumped in favor of another Gong Li- starring Chinese film, Farewell My Concubine, with its explicit approach to Chinese politics and a great performance by Leslie Cheung.