one of Shadows' all-time best films Some Like it Hot

SHADOWS MUST SEE MUST-SEE


Nobody's perfect. Sugar Kane (Monroe) has no idea of the effect she's having on two of her supposedly female bandmates (Curtis and Lemmon).
dir Billy Wilder
scr Billy Wilder, I A L Diamond
with Tony Curtis, Jack Lemmon, Marilyn Monroe, George Raft, Pat O'Brien, Joe E Brown, Joan Shawlee, Nehemiah Persoff, George E Stone, Dave Barry, Beverley Wills, Edward G Robinson Jr
United Artists 59/US 5 out of 5 stars
Review by Rich Cline
Always leap at the chance to see a classic on the big screen, especially when it's a pristine new print. Some Like it Hot is quite simply one of the best comedies of all time, a wacky farce that keeps us giggling from start to finish and contains some of cinema's most memorable characters and dialog.

It's 1929 Chicago and musicians Joe and Jerry (Curtis and Lemmon) are out of work when the speakeasy where they play is raided. Then they accidentally witness their former boss Spats (Raft) rubbing out the informant (Stone) who tipped off a Fed (O'Brien). So Joe and Jerry hide out as women in an all-girl band that's heading to Florida. But there are wrinkles: Joe falls in love with the band's lead singer, the ditsy and very sexy Sugar (Monroe); and a millionaire (Brown) falls for Jerry, or rather "Daphne." Meanwhile Spats and the entire mafia are about to attend a conference in Florida, where he just might see a couple of familiar faces....

Wilder is a master at this kind of thing, and he directs the film flawlessly, bringing out the sharp humour, witty characters and even the suspense with a seeming effortlessness. I'm sure there's a reason why he filmed in black and white (colour was in general use, and surely with this cast it wasn't a low budget picture!), but it doesn't really matter, since everything and everyone is so colourful even in monochrome. This is one of Monroe's best roles--combining screwball comedy with layers of pathos. And Lemmon absolutely steals the film with his nonstop energy and physicality. There's a certain hamminess in some of the events and characters (Brown is especially silly, but his dialog is so good we don't mind), the innuendo is far more racy than anything the Farrelly brothers think up, and yet this still manages to be a complete winner on every level. See it on the big screen if at all possible.

[themes, innuendo] 2.Aug.00
UK reissue 20.Oct.00

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2000 by Rich Cline, Shadows on the Wall

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