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Some Like It Hot Movie Poster

Year: 1959
Director: Billy Wilder

Some Like It Hot Download

Cast:

Marilyn Monroe (Sugar Kane Kowalczyk), Tony Curtis (Joe), Jack Lemmon (Jerry), George Raft (Spats Colombo), Pat O'Brien (Det. Mulligan), Joe E. Brown (Osgood Fielding III), Nehemiah Persoff (Little Bonaparte), Joan Shawlee (Sweet Sue), Billy Gray (Sig Poliakoff), George E. Stone (Toothpick Charlie), Dave Barry (Beinstock), Mike Mazurki (Spats' Henchman), Harry Wilson (Spats' Henchman), Beverly Wills (Dolores), Barbara Drew (Nellie), Edward G. Robinson Jr. (Johnny Paradise), Sam Bagley (Extra (uncredited)), Al Breneman (Bellhop (uncredited)), Marian Collier (Olga (uncredited)), Pat Comiskey (Spats' Henchman (uncredited))

Storyline:

Joe, the saxophone player, is Josephine in the all girls band that he joined with Jerry, the bass violin player, to be one step ahead of the mob after witnessing the 1929 St. Valentine's Day Massacre in Chicago. After a train ride that sets a record for number of people in an upper berth, they are In Miami. Joe decides to be the man of Sugar Kane's dreams and invites her out to a yacht he doesn't have. But he can use Osgood Fielding's yacht if Jerry — as Daphne — will keep Osgood dancing. The pace gets even giddier when the Chicago mob arrives in Miami for a convention.

Reviews:

Admittedly biased, "Some Like It Hot" can certainly stand on its own merit with or without my thunderous round of applause. More than a decade ago, I had the privilege of performing both the Tony Curtis and Jack Lemmon roles in "Sugar," the musical adaptation of "Some Like It Hot" which originally starred Tony Roberts, Robert Morse and Elaine Joyce on Broadway in the 70s. Though it hardly compares to the film's original (how could it???), the musical nevertheless is still a big hit with live audiences. I can't remember ever having a better time on stage than I did with "Sugar," and it's all due to the irrepressible talents that instigated it all.

In the 1959 classic, Curtis and Lemmon play two ragtag musicians scraping to make ends meet in Prohibition-era Chicago during the dead of winter who accidentally eyewitness a major gangland rubout (aka the St. Valentine's Day Massacre). Barely escaping with their lives (their instruments aren't quite as lucky), our panicky twosome is forced to take it on the lam. Scared out of their shoes (sorry), the boys don heels and dresses after they connect with an all-girl orchestra tour headed for sunny Florida. Killing two birds with one stone, they figure why not go south for the winter while dodging the mob? Once they hit the coast, they'll ditch both the band and their humiliating outfits.

Enter a major detour in the form of luscious Marilyn Monroe as Sugar Kane, given one of the sexiest (yet innocent) entrances ever afforded a star. Snugly fit in flashy 'Jazz Age' threads, a blast from the locomotive's engine taunts her incredible hour-glass figure as she rushes to catch her train to Florida. The boys, stopped dead in their high-heeled tracks by this gorgeous vision, decide maybe the gig might not be so bad after all. As the totally unreliable but engagingly free-spirited vocalist/ukelele player for the band, Sugar gets instantly chummy with the "girls" when they cover for her after getting caught with a flask of booze. As things progress, complications naturally set in - playboy Curtis falls for Monroe but has his "Josephine" guise to contend with, while Lemmon's "Daphne" has to deal with the persistently amorous attentions of a handsy older millionaire.

What results is an uproarious Marx Brothers-like farce with mistaken identities, burlesque-styled antics, and a madcap chase finale, all under the exact supervision of director Billy Wilder, who also co-wrote the script. Lemmon and Curtis pull off the silly shenanigans with customary flair and are such a great team, you almost wish THEY ended up together! Curtis does a dead-on Cary Grant imitation while posing as a Shell Oil millionaire to impress Marilyn; Lemmon induces campy hilarity in his scenes with lecherous Joe E. Brown (who also gets to deliver the film's blue-ribbon closing line). As for the immortal Monroe, she is at her zenith here as the bubbly, vacuous, zowie-looking flapper looking for love in all the wrong places. Despite her gold-digging instincts, Monroe's Sugar is cozy, vulnerable and altogether loveable, getting a lot of mileage too out of her solo singing spots, which include the kinetic "Running Wild," the torchy "I'm Through With Love," and her classic "boop-boop-a-doop" signature song, "I Wanna Be Loved by You."

The film is dotted with fun, atmospheric characters. Pat O'Brien and George Raft both get to spoof their Warner Bros. stereotypes as cop vs. gangster, Joan Shawlee shows off a bit of her stinger as the by-the-rules bandleader Sweet Sue, Mike Mazurki overplays delightfully the archetypal dim-bulbed henchman, and, if I'm not mistaken, I think that's young Billy Gray of "Father Knows Best" fame (the role is not listed in the credits) playing a snappy, pint-sized bellhop who comes on strong with the "girls."

For those headscratchers who can't figure out why the so-called "mild" humor of "Some Like It Hot" is considered such a classic today, I can only presume that they have been brought up on, or excessively numbed by, the graphic, mindless toilet humor of present-day "comedies." There was a time when going for a laugh had subtlety and purity - it relied on wit, timing, inventiveness and suggestion - not shock or gross-out value. It's the difference between Sid Caesar and Andrew "Dice" Clay; between Tony Curtis and Jack Lemmon and Chris Farley and David Spade; between "I Love Lucy" and "Married With Children"; between Lemmon's novel use of maracas in the hilarious "engagement" sequence, and Cameron Diaz's use of hair gel in a scene that ANYBODY could have made funny. Jack Lemmon could do more with a pair of maracas than most actors today could do with a whole roomful of props. While "Some Like It Hot" bristles with clever sexual innuendo, today's "insult" comedies are inundated with in-your-face sexual assault which, after awhile, gets quite tiresome -- lacking any kind of finesse and leaving absolutely nothing to the imagination. I still have hope...

Having ultimate faith in my fellow film devotees, THAT is why "Some Like It Hot" will (and should be) considered one of THE screwball classics of all time, and why most of today's attempts will (and should be) yesterday's news.

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Some people still say this is the greatest comedy ever made in Hollywood. Who am I to argue? Even after 45 years, it's still very funny and not the least bit dated. It is one of the true classics in the history of film.

I know one thing: Marilyn Monroe never looked hotter!

The film is a wonderful combination of comedy, action, suspense and romance with great old-time gangster scenes played out first in Chicago and then in Miami Beach. George Raft and Nehimiah Persoff are just great as gangsters.

The stars, though, are Monroe, Jack Lemmon and Tony Curtis but you can also enjoy performances from famous known actors like Pat O'Brien and Joe E. Brown.

The action scenes are in the beginning and end. In the middle, the bulk of the film, is the main story featuring comedy and romance. Lemmon has the best lines in the film and his facial expressions alone evoke lots of laughter.

This film is so famous that there is no need going into detail, but for some younger person reading this, don't worry about this being an old-fashioned, boring black-and-white film your parents or grandparents liked but you would find boring. You'll have fun watching this, too, I guarantee it.

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