Some Like It Hot

CLASSIC ALERT! CLASSIC ALERT! CLASSIC ALERT! CLASSIC ALERT! CLASSIC ALERT! CLASSIC ALERT!

Before beginning to go into a review of this film, I think it only fair to clarify my point of view on older movies. Classics are usually great films that are so powerful they could start an entire genre or catapult at least one person to glory. Many are critically acclaimed and "deserve" to be studied and discussed over. Others are simply great examples of quality film-making. Either way, I cannot discuss the effect most classics had on audiences because I was simply not around for a lot of them. Instead, I must evaluate the film based on its own merit and how it relates to modern society. One other thing to know about me is that when approaching the artistic debate of modern or contemporary vs classical or traditional...I tend to fall more in the modern category. Lastly, if you ever see the CLASSIC ALERT! warning, then you had better believe it is a classic. Now then, Let's begin.

Some Like It Hot is a comedy released in 1959 starring the famous Marilyn Monroe, Tony Curtis, and Jack Lemmon. All of whom are now deceased. It was directed by the great and critically lauded and studied director/writer, Billy Wilder. The same man who created the Spirit of St. Louis, Sunset Boulevard, and Double Indemnity among countless others. Critics have loved this film unrelentingly over the years, although I always seem to get it confused with Cat on a Hot Tin Roof. Now that I've seen it, I can give you a better idea as to why these critics always have it among their must-own lists. It's just damn good.

Okay, so plotwise, by today's standards, it's not a hard story to figure out. Two struggling musicians in Prohibition America see a murder by the local gang boss of Chicago and need to escape quick. To get away, they decide to dress up like females and join an all girl band on its way to the beach for three weeks. Thus hilarity ensues with all sorts of fun sexual gags and farcical elements. Back in the day, a film was merely a vehicle for a director or actor, so the script was taken much less seriously. You want a western? Go put a bunch of people on horses in the desert and create a conflict. It was that easy. Despite the modern day apparent simplicity of the script's plot, the script does an amazing job of making everything feel fresh and new. I am willing to bet that when this film was released, that this old plot idea was brand new and novel. It shows in the actor's portrayals and in the fun scenes and writing. Nowadays, most actors and writers of these sorts of films probably don't give it their all because they know they are simply copycatting something older, which really takes away from the enjoyment. But this film is so well staged and written that there are plenty of jokes and laughs to be had that in a more modern movie would come across as cliche and half-assed. That's an impressive feat for an almost fifty year old movie. The gags feel crisp, the jokes are laughable, and the characters and arcs are all in the story. Simple, but effective is a very good strategy for a film.

As for the directing, from the little that I know of Mr. Wilder, he was a very effective editor. He has been known to say that he never understood all of the directors who would spend so much time cutting and editing. Studios liked to work with him because he already knew in his head what he wanted before he shot a scene so that it cost few retakes and he could edit it quickly for distribution and thereby cut down on a lot of the costs that other directors incurred. That, and he always loved to include a seductress type character in his films. As for Some Like It Hot, the film almost never slows down and the editing is done effectively enough to get the story across. Sure it's not flashy tricky editing like in a horror film or something, but it works and even I have to allow some leeway for older films. With all of that being said, Wilder constructs some fun giant scenes like the orgy scene on the train and the gangster party in the hotel that only a true great director could have done and kept the film under budget. Definately worthy of the praise.

Since the film is older and the editing much more primitive, a lot of the charm of the movie falls on the brunt of the actors and their ability to hold the audiences interest. Sometimes, this can be bad since I can't remember the last time that I saw a black and white film on TV and didn't feel the need to instantly find something more interesting. However, the truth is that if you stick with the characters, it does slow things down somewhat, but it also gives a better payoff by creating a greater connection to the characters. The same happens in this film. To start with, Marilyn Monroe, the seductress of this film plays the now stereotypical blonde bombshell. She's not too bright, likes to party and drink, wants to find love, and is willing to date jerks. Yep, she's a shoe in. The problem is, as seductive as she is, something about her hair never looks real. She seems plastered over in makeup and hairspray, which makes sense, but it detracts from her beauty especially in an age used to seeing Britneys and Aguileras around any newstand. Perhaps the most shocking thing is her waist! There are several less than flattering side shots of Monroe, and she is not fat, instead she is a healthy naturally good looking weight. Something Hollywood actresses need to aspire to. Scarlett Johannson could have divided in two and fit inside her and lets not even discuss the Olsen twins or Kate Moss. It was very refreshing to see a sexy beautiful healthy lady playing that same role. Maybe there is something to this whole role model thing.

While Monroe can play the romantic ditz well, she has the problem of the old acting style. In today's world, we are so used to nuance and assuming things based on looks that is seems corny to watch an older film where the acting style was more showy because they didn't have an established history to build on like we curently do. This acting style problem comes back to bite each of the main actors in the cast, except one. In this case, it hurts Marilyn's ditz act by coming across a lot of times as simply, I'm dumb and pretty, want me? Other than that, she is excellent and quite good at being clumsy too. Truth be told, I watched the film because someone told me that you could see her nipple at one point. I missed it, so if someone finds out, there is a comment section. The other two actors play the buddy roles as two musicians. Out of the two musicians, I liked Jack Lemmon least. Yea, I know, that's pretty harsh. But honestly, his laugh he created for his character is ridiculously ANNOYING. Plus he does it ALL THE TIME!! Other than that though, he just doesn't seem as well fleshed out as a character. Several times he comes up with great ideas or suggestions to help them out, but they never do them unless Tony Curtis later suggests them. In fact, throughout the film, Lemmon keeps asking Curtis why he follows him and why he listens to him. Before you are even halfway through the movie, you will also be wondering why the hell he stays and helps Curtis' character. Curtis plays the saxophone gambling lout who has a relationship going on with whomever he needs to, He never listens to Lemmon and he always thinks the best thing to do is gamble the money away they have until they are literally freezing because the had to sell their own jackets. It makes no sense why Lemon follows Curtis, even if they are friends. The only time where something similar to answer arrives is when Curtis looms up from the tub and looks like he is about to belt Lemmon. The reasoning then is, Curtis is a mean guy who rules with an iron fist and Lemmon is the jokester willing to put with it in the name of friendship. The other problem with Lemmon's character is how quickly he seems to change on everything. In the beginning, Curtis is the lout. But once they get on the train, Lemmon is making sexual suggestions right and left that almost turn him into a scary predator in a modern setting. Despite the inconsistencies in his character, Lemmon does develop a great rapport with Curtis and his energy and enthusiasm give the film a life. Although no one can beat Tony Curtis in this film. His acting and skill is simply head and shoulders above the rest. His character is always believable despite any inconsistencies and he can always hit the right note for a good laugh. He never comes across as grating and his romance with Monroe is well done that he becomes a very likable character in the end. If nothing else, watch this film to see the Mrs. Doubtfire skills of the 50's.

Conclusion:
Minimal sets, I think I saw the same one twice at one point, well used and well edited in the film prove Billy Wilder's excellence. Also, the simple story does its job by providing some great lines and laughs while keeping the pace going. The actor's carry their brunt admicably, especially Tony Curtis. And it features two men in drag, which does not look too good on Lemmon! Despite the film's flaws, it holds up remarkably well in modern times and is still surprisingly fun to watch and enjoy. Also, a great film for women's rights activists of yore. A classic indeed.

4.1 out of 5

Wannabe