| Abstract : | The all-time outrageous, satirical, comedy farce favorite, Some Like It Hot (1959) is one of the most hilarious, raucous films ever made. The ribald film is a clever combination of many elements: a spoof of 1920-30's gangster films with period costumes and speakeasies, and romance in a quasi-screwball comedy with one central joke - entangled and deceptive identities, reversed sex roles and cross-dressing. In fact, one of the film's major themes is disguise and masquerade - e.g., the drag costumes of the two male musicians, Joe's disguise as a Cary Grant-like impotent millionaire, and Jerry's happiness with a real wealthy, yacht-owning retiree.
It's also a black and white film (reminiscent of the early film era) filled with non-stop action (e.g., the initial car chase), slapstick, and one-liners reminiscent of Marx Brothers and Mack Sennett comedies. An earlier Bob Hope film had the same title: Some Like It Hot (1939). The film's working title was Not Tonight, Josephine! (its origin was reportedly taken from Napoleon Bonaparte's response when refusing sex with Empress Josephine).
The exceptional film was the all-time highest-grossing comedy up to its time, one of the most successful films of 1959, and Wilder's funniest comedy in his career. The film was inspired by director Kurt Hoffmann's German movie comedy/musical Fanfares of Love (1951) (aka Fanfaren der Liebe) with a similar plot element that writer/director Wilder borrowed: two down-on-their-luck, unemployed jazz musicians dress up as women in order to get two weeks of work in an all-women's dance band bound for Florida, after witnessing a gang-land massacre in Prohibition-Era Chicago and being pursued by the mob. Only a few other cross-dressing comedies have come close to approximating the film's daring hilarity: Tootsie (1982), La Cage Aux Folles (1978) and Victor/Victoria (1982). Some Like It Hot also inspired the Broadway musical Sugar that opened in 1972.
This was Marilyn Monroe's second film with director Billy Wilder, her first being The Seven Year Itch (1955). Countless stories have circulated regarding her erratic behavior and health/personal problems, her 'no-shows' and frequent tardiness to the set, her self-doubts and numerous re-takes required for some scenes, and her inability to remember her lines. Director Billy Wilder's original choice for the role of Sugar was Mitzi Gaynor, not Marilyn Monroe, and Danny Kaye and Bob Hope were to be the two male leads. The film's preview in December 1958 at a greater LA theatre, when it was paired with the Tennessee Williams Southern drama Suddenly, Last Summer (1959) about cannibalism and a threatened lobotomy, was also a disaster.
This extremely funny film, very much unlike director Wilder's darker films Double Indemnity (1944) and Sunset Boulevard (1950), was advertised with the tagline: "The movie too HOT for words" - vaguely referring to either sex, jazz, or the skimpy costumes. It was released at the end of the repressive 1950s at a time when the studio system was weakening, the advent of television was threatening, and during a time of the declining influence of the Production Code and its censorship restrictions. Director-producer Wilder challenged the system with this gender-bending and risqué comedy, filled with sly and witty sexual innuendo (the "sweet" and "fuzzy end of the lollipop" represented oral sex), unembarrassed vulgarity, free love, spoofs of sexual stereotypes (bisexuality, transvestism, androgyny, homosexuality, transsexuality, lesbianism, and impotence), sexy costuming for the well-endowed, bosomy Marilyn Monroe, an outrageous and steamy seduction scene aboard a yacht, and a mix of serious themes including abuse, alcoholism, unemployment, and murder, among others.
This great film received six Academy Award nominations including Best Actor (Jack Lemmon), Best Director, Best Adapted Screenplay (co-scripting by I.A.L. Diamond and Billy Wilder from a story suggested by Robert Thoeren and M. Logan), Best B/W Cinematography, and Best B/W Art Direction/Set Decoration - with its sole Oscar awarded for Best B/W Costume Design (Orry-Kelly, for costumes including Marilyn Monroe's shimmering gowns). Unfortunately, it was competing against one of the biggest winners in Oscar history - Ben Hur (1959).
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