One
of the oldest adages in show business is ‘you’ve got to get a gimmick’. As
cliché as it has become, this adage has held true throughout the advent of
modern theater, film, and television as programs and stories of all kinds are
routinely judged by their ability to capture passing trends, hot buzzwords, and
find a place at the ‘cutting edge’. What the makers beyond many works seem to
have forgotten, however, is the fact that while the presence of such a gimmick may
help to draw viewers in, a work must possess something more than temporary
appeal to become a true classic. This week’s review will feature a film that
takes a common gimmick and turns what easily could have been a one note joke
into a fully developed satire of modern romance and gender norms; the 1959
comedy classic Some Like It Hot.
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| One of these things is not like the other... |
The
story begins in the heart of the roaring Prohibition era as jazz musicians Joe
(Tony Curtis) and Jerry (Jack Lemmon) attempt to find a new gig in the
competitive Chicago jazz scene. After a relentless search, the only gig that
the duo can find is to fill two empty spots in an all-girl band heading to
Miami. Before they can find more suitable positions, the pair find themselves
caught up in the crossfire of a local mafia war as they witness a mass shooting
reminiscent of the St. Valentine’s Day Massacre. Fearing for their lives and
too broke to pay their own way out of Chicago, Joe and Jerry concoct a scheme
that’s just wacky enough to work when they hit the road to Florida with the
girl band under the aliases ‘Josephine’ and ‘Daphne’. The hijinks are only
beginning as the truly dynamic duo hilariously try to maneuver through romantic
entanglements with a lovably ditsy band-mate (Marilyn Monroe) and a pushy
millionaire (Joe. E. Brown). Just when their lives can’t seem to get any more
complicated, Joe and Jerry realize that their hotel is hosting a ‘Friends of
the Italian Opera’ conference that is actually a cover for a mafia conference, which the very criminals that they’re running from are scheduled to
attend. The pair’s double lives come
crashing into conflict in a chase sequence that culminates into what is widely
considered one of the most perfect endings in cinematic history.
While
many films have utilized the worn cliché of cross-dressing comedy, Some Like It Hot remains innovative in
its ability to take what was essentially a burlesque skit and transform it into
a multifaceted, razor-sharp, comedy. The film could have easily relied upon the
easy laughs that come of watching the two male leads don female disguises, but
writers Billy Wilder and I.A.L. Diamond rightly chose to approach their
screenplay with an eye for social commentary. Loosely written as a remake of
the 1951 German comedy Fanfaren der Liebe,
Some Like It Hot uses its heroes’
fish out of water dilemma to examine the absurdities of contemporary
gender and relationship norms. For instance, Joe begins the film priding
himself on his ability to attract and promptly leave women without the
complication of becoming deeply involved. By the end of the film, however, Joe
has seen how the other half has lived through his friendship with quirky
band-mate, Sugar, and when he tricks Sugar into seducing him as an act of
mercy, he is dismayed to find that he finally feels remorse. Similarly, Jerry
is mortified when he learns of the harassment that women are often subjected through
in his efforts to dodge the affections of hands-on millionaire Osgood Fielding. Beyond
the simple juxtaposition of opposites, the film takes its examination of gender
roles a step further as Jerry gradually enjoys his female persona and and begins to consider following Sugar’s plan of becoming a
(unusual) gold-digger. Through its witty play on stereotypes and social
standards, the film reminds us that men and women are driven by the same
hopes, desires, and dreams, and it is those common bonds that make us truly
human.
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| You can always spot a millionaire by his ridiculous accent |
While
the film does possess an excellent script, Some
Like It Hot would not have attained its classic status without the
help of its stellar cast. The supporting cast all lend excellent support with
particular nods due to George Raft as an aging gangster who adds just the right
level of menace to the film’s otherwise light atmosphere and Brown’s hilarious
take on the lascivious Osgood. In another in her long line of blonde bombshell
roles Marilyn Monroe truly shines as the delightfully daffy Sugar. While the
part could have been just another display of her sex symbol status, Monroe
transforms Sugar from a two dimensional role into a full fleshed woman who embarks upon a journey of self discovery as she finds the confidence to be her own woman
and follow her desires, even if they do lead to another dreaded saxophone player. Despite
the talent surrounding them, there is no doubt that the film truly belongs to
Curtis and Lemmon as they bicker, cross-dress, and chase their way into
audience’s hearts. The pair inspires laughs from the first to final frames as
they play off of one another in such a way that they simultaneously propel the
plot’s hijinks and develop their characters. Whether it’s scraping by for a
job, enjoying a contraband slumber party, or running from the mob in a pair of
high heels, Curtis and Lemmon’s interactions are never less than the stuff of
comedy gold.
Romantic
comedy, social satire, and buddy flick; Some
Like It Hot is a comedy that truly has something for everyone. The film’s
script contains a superb balance of broad humor and sophisticated wit that
ensures that the laughs will keep coming viewing after viewing. The film’s
all-star cast is at its peak with the unique talents of each star given room to
fully shine through. Regardless whether you like classical, jazz, or anything
in between one thing is for sure, few comedies are able to sizzle quite like Some Like It Hot.
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| Nobody's perfect...but this movie comes awful close |
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