Everyone knows the film, even if they haven’t seen it. The iconic film about two down on their luck musicians who accidentally witness a mob killing go on the run dressed as women and join an all women’s jazz band. They meet sweet, slightly naive and ever so romantic Sugar who becomes best friends with one and falls in love with the other who tricks her into thinking he’s a millionaire. Labelled a romantic comedy but the screwball ethics of plot twist this the film little more than romance and comedy combined. Especially with the side mafia storyline which has a life all of its own. At times, it could be seen as two films in one and as they cross over that’s where you find ‘Some Like it Hot’.
It’s easy to forget that ‘Some Like It Hot’ was made in 1959, entering the 60s where the films changed, the mood changed, the people changed but ‘Some Like It Hot’ stands out from the crowd in more ways than two actors dressed in drag to escape the mafia. It’s also sometimes easy to forget that the film is set in the 1920s, despite the raid on the speakeasy at the start. We become absorbed into Joe and Gerry’s world and their struggle as musicians and later their life on the run.
Shot in black and white, giving the films slight film noir tone, especially where the speak easy and mafia are concerned. Marilyn Monroe actually had a contract that her films had to be in colour but as the Jack Lemmon and Tony Curtis’ make up made them look terrible in colour, she agreed to the black and white film. Which is thankful, as if if you’ve seen any posters or photos from the film in colour you can see the guys’ make up really needed some toning down. The atmospheric tone and colour of the film gives it the edge, making the film feel like two stories colliding dramatically and sometimes violently. The first 15 minutes, we have a car chase, gunfire and look at life in Chicago during prohibition. Once we enter the funeral parlour (hint hint to Secret Cinema) and the world of jazz and dancing girls while the wink wink coffee is served, we finally meet the real protagonists of the film. The film noir is interrupted while the comedy takes for a sort while, until the garage massacre where the two stories crossover. Not meeting again until Florida where another violent crime is witnessed. During the scene where the Italian Opera enthusiasts are celebrating, there is sense of what was happening while Daphne and Josephine were getting to know their band mates and Sugar. This cleverly woven double bill works so perfectly as both stories continue to act like their in different stories. The magic of cinema isn’t broken once, not even at the end where nothing really is resolved. Ending on a joke and step towards the future.
As the film contains a few themes that would have raised the eyebrows of the Hays Code, the film was in fact what helped break down the ridiculous censorship rules. The film dares to be different and doesn’t care about ethics. If the film were made now, of course there would be outage BUT the film allows itself not only to commit to suggestive acts but actually calls themselves out on it. The only loose end, Sugar.
Sugar is the sweet and ‘not vert bright’ gal. She’s talented, beautiful and terribly modern. She knows all the mistakes she makes will hurt her in the end but she’s determined to live life to the fullest. But the one thing I can’t let go, why does she run after the guys at the end. She’s heartbroken but suddenly she forgives Joe for tricking her, using her, lying to her, all in a matter of minutes. I know its a film and I know it ties up the ending but it just doesn’t sit right. Sugar deserves better. But then again, so does Gerry/Daphne.
The duo at the center of the film are a perfect team. With their personalities shown within minutes of them being introduced and talking for a few lines of dialogue. Joe is the player, smooth talker at times and the one who makes bad decisions. Gerry is the practical thinker, the personality and the one who actually comes up the idea to dress in drag, he’s up for almost anything. Jack Lemmon at the time was not a big star, but he is the one who stands out from all three leads. Barely changing his voice, he morphs from Gerry to Daphne with ease and hilarity, he steals the show in every scene.
Thanks to Park Circus, this brilliant comedy is back in the cinema. Having only ever seen it on TV or DVD, the film is amazing on the big screen. It’s a rare treat to see one of your favourite films of all time in such splendour. From the witty and delicious dialogue to the wonderful cast, Billy Wilder’s masterpiece is one that will never age.
Find out about the film's re-release at BFI and where the 4K restoration will be screened HERE.
All pictures courtesy of Park Circus