Als zwei männliche Musiker Zeugen eines Mafiamassakers werden, fliehen sie in einen anderen Staat, indem sie als Frauen verkleidet in einer Frauenband untertauchen. Doch dann treten Komplika... Alles lesenAls zwei männliche Musiker Zeugen eines Mafiamassakers werden, fliehen sie in einen anderen Staat, indem sie als Frauen verkleidet in einer Frauenband untertauchen. Doch dann treten Komplikationen auf.Als zwei männliche Musiker Zeugen eines Mafiamassakers werden, fliehen sie in einen anderen Staat, indem sie als Frauen verkleidet in einer Frauenband untertauchen. Doch dann treten Komplikationen auf.
- 1 Oscar gewonnen
- 11 Gewinne & 13 Nominierungen insgesamt
Sam Bagley
- Minor Role
- (Nicht genannt)
Brandon Beach
- Party Guest
- (Nicht genannt)
Zusammenfassung
Reviewers say 'Some Like It Hot' is acclaimed for its humor, script, and performances by Curtis, Lemmon, and Monroe. Its cross-dressing theme and exploration of gender and sexuality add depth. The blend of comedy and drama, memorable lines, and Wilder's direction are praised. The lead actors' chemistry is a highlight. Despite some criticisms, its innovative approach and cultural impact are noted.
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Sit back and enjoy this comedy, I don't believe in greatest this and that when it comes to films, but boy, this is superb.
The acting here is fantastic, all actors, even Monroe are on top form.
The direction by Wilder is superb, the guy's style in this picture is perfect. He directed this film in a very clever way, by using one camera for the majority of the scenes, he could easily edit the film together without studio interference.
The script is well written. The dialogue between Lemmon and Curtis is beautifully balanced.
Monroe is just too hot for the screen in this picture. Although, Monroe had major off-screen problems (83 takes to get things right) she is fantastic on-screen. She may not have the best lines, but what the heck! She plays the role very well.
Overall, this is awesome, it really is.
The acting here is fantastic, all actors, even Monroe are on top form.
The direction by Wilder is superb, the guy's style in this picture is perfect. He directed this film in a very clever way, by using one camera for the majority of the scenes, he could easily edit the film together without studio interference.
The script is well written. The dialogue between Lemmon and Curtis is beautifully balanced.
Monroe is just too hot for the screen in this picture. Although, Monroe had major off-screen problems (83 takes to get things right) she is fantastic on-screen. She may not have the best lines, but what the heck! She plays the role very well.
Overall, this is awesome, it really is.
There is always a thing about Classics, even before you absorb the first frame; you are burdened with huge expectations. But, Some Like It Hot is one of those jet planes where you got to tight your seat belt and forget everything else to enjoy the joyride or you would fall off your seat.
I feel casting in a movie is one of the most under discussed elements of movie making amongst general public but it plays a very significant role in the success of a movie and SLIH is the prime example of it. Apart from Jack Lemmon, none of the protagonists were known for their superior acting skills and they would not have made the cut for a Billy Wilder piece. But, in retrospect, who other than Tony Curtis who had a boyish look and at the same time possessed sharp features could have played a saxophone playing woman charmer who could cross dress to be a part of a woman band. You can only get a flawless performance from a bad actor only if he/she is playing himself/herself and that is the exact reason why Marilyn Monroe wows you in every scene of Some Like It Hot. She is playing a dumb, vivacious and vulnerable damsel who can sing, doesn't mind sleeping with a charming guy whenever she gets a chance and then dips herself in a whiskey bottle when left all alone with herself. Jack Lemmon with a broad muscular jawline was surely the one who had a better chance of getting caught as someone not in the right clothes, but that is very small price to pay, as an actor of his caliber was indispensable to the cause of SLIH. He has an amazing sense of timing when it comes to humor; he is almost chaplinesque when it comes to expressions and the confidence with which he delivers his lines puts him right at the top of stack.
I am not sure when was the concept of black humor introduced in the world of cinema, but, SLIH has to be one of the better examples from the old times where black humor is integrated in the comedy. The black humor is there only to make its presence felt and nothing more. Other than that SLIH is a fun filled journey of Gerald (Lemmon) and Joseph (Curtis), two musicians on the run from dangerous Chicago gangsters who are after their lives. They find their safe house in an all-woman band that is off to Florida for a string of performances. This is where they meet the gorgeous Sugar (Marilyn) and try their luck on flattering her. It is all about how Joseph manages to get ahead in the race and Gerald like a true friend tags along without any explaining or pleading by Joseph. This is what makes SLIH sweet. The necessary salt is added to the movie by little moments like women having a party on train, Sugar hiding whiskey in her stocking, Fielding (Joe Brown) hitting on Dalphe (Gerald disguised as a woman) and further complications that set in because of these. What makes this classical comedy special is the fact that it makes you laugh at so many occasions without being slapstick or cheap or using the chaos technique. And when it doesn't make you laugh, it makes you smile. Most importantly, the movie stays with you.
The manner in which the movie begins, it suddenly makes you wonder - that's too much of real car chasing and shooting for a black and white movie of 40's and then you realize it's done in 1959 and the movie was intentionally produced in black and white. The first scene itself is a cracker and will create a cocktail of emotions, with words like liquor, crime, party, death, music all floating around at the same time. There are plenty of scenes where the camera pans out from one object to another capturing multiple things with different moods and complexion in the same scene and that is a technique which I guess wasn't used quite frequently back then. Make-up job of Curtis and Lemmon is too good for those times and it would have been so important for that to have been correctly done as that is absolutely central to the whole plot. Marilyn's costumes are way modern and she carries them effortlessly.
Some Like It Hot is without any doubt a classic but, probably in no other movie would have the last line played such an important role as in this. The finishing frames where Joe Brown utters the unexpected leave you pleasantly surprised and I am sure it would have had far better impact on the audience 50 years back.
I feel casting in a movie is one of the most under discussed elements of movie making amongst general public but it plays a very significant role in the success of a movie and SLIH is the prime example of it. Apart from Jack Lemmon, none of the protagonists were known for their superior acting skills and they would not have made the cut for a Billy Wilder piece. But, in retrospect, who other than Tony Curtis who had a boyish look and at the same time possessed sharp features could have played a saxophone playing woman charmer who could cross dress to be a part of a woman band. You can only get a flawless performance from a bad actor only if he/she is playing himself/herself and that is the exact reason why Marilyn Monroe wows you in every scene of Some Like It Hot. She is playing a dumb, vivacious and vulnerable damsel who can sing, doesn't mind sleeping with a charming guy whenever she gets a chance and then dips herself in a whiskey bottle when left all alone with herself. Jack Lemmon with a broad muscular jawline was surely the one who had a better chance of getting caught as someone not in the right clothes, but that is very small price to pay, as an actor of his caliber was indispensable to the cause of SLIH. He has an amazing sense of timing when it comes to humor; he is almost chaplinesque when it comes to expressions and the confidence with which he delivers his lines puts him right at the top of stack.
I am not sure when was the concept of black humor introduced in the world of cinema, but, SLIH has to be one of the better examples from the old times where black humor is integrated in the comedy. The black humor is there only to make its presence felt and nothing more. Other than that SLIH is a fun filled journey of Gerald (Lemmon) and Joseph (Curtis), two musicians on the run from dangerous Chicago gangsters who are after their lives. They find their safe house in an all-woman band that is off to Florida for a string of performances. This is where they meet the gorgeous Sugar (Marilyn) and try their luck on flattering her. It is all about how Joseph manages to get ahead in the race and Gerald like a true friend tags along without any explaining or pleading by Joseph. This is what makes SLIH sweet. The necessary salt is added to the movie by little moments like women having a party on train, Sugar hiding whiskey in her stocking, Fielding (Joe Brown) hitting on Dalphe (Gerald disguised as a woman) and further complications that set in because of these. What makes this classical comedy special is the fact that it makes you laugh at so many occasions without being slapstick or cheap or using the chaos technique. And when it doesn't make you laugh, it makes you smile. Most importantly, the movie stays with you.
The manner in which the movie begins, it suddenly makes you wonder - that's too much of real car chasing and shooting for a black and white movie of 40's and then you realize it's done in 1959 and the movie was intentionally produced in black and white. The first scene itself is a cracker and will create a cocktail of emotions, with words like liquor, crime, party, death, music all floating around at the same time. There are plenty of scenes where the camera pans out from one object to another capturing multiple things with different moods and complexion in the same scene and that is a technique which I guess wasn't used quite frequently back then. Make-up job of Curtis and Lemmon is too good for those times and it would have been so important for that to have been correctly done as that is absolutely central to the whole plot. Marilyn's costumes are way modern and she carries them effortlessly.
Some Like It Hot is without any doubt a classic but, probably in no other movie would have the last line played such an important role as in this. The finishing frames where Joe Brown utters the unexpected leave you pleasantly surprised and I am sure it would have had far better impact on the audience 50 years back.
With Billy Wilder's steady direction, the great casting, and Wilder/Diamond's sparkling script Some Like It Hot has become one of the most enjoyed comedies of cinema history. The story itself is pure comedy gold; the unhappy jazz-musicians Joe (Tony Curtis) and Jerry (Jack Lemmon) are witness to the St. Valentine massacre in 1929 and flees from Chicago with an all-girl-band who's headed for Miami, dressed up as "Josephine" and "Daphne". Soon both are hooked on Sugar Kane (Marylin Monroe), the band's lead singer - but things gets more complicated when arrived in Miami, Daphne attracts a elderly playboy and the gangster of Chicago arrives at the Floria-hotel to have a mafia-meeting.
The work of the three participants in center is truly great; Marylin Monroe is at her most sexy and charming, Tony Curtis' brilliant control and Jack Lemmon is truly priceless at his peak. The movie paces fantastically throughout opening scenes of Chicago, onto the train-ride (features fantastically funny moments of brilliant comedy timing) and arriving at the hotel in Florida, and the situations that occurs with the band, with playboy Osgood Fielding III, Marylin Monroe and the mafia. And Billy Wilder shows his talent with keeping such a sparkling screenplay brilliantly paced and edited, never rushing itself - and Wilder sneaks in some fine moments of noir with the Chicago-gangsters brutality and cruelness. And the movie is a altogether different experience as a comedy than anything before it, the absurdity and quirkiness of Curtis and Lemmon in a transvestite-comedy is fantastically funny, and the final dialog between Osgood Fielding and Daphne/Jerry seemingly came out of the blue, and surprised me just as much today as it did back in 1959. Some Like It Hot is nothing less than a must-see in comedy, and cinema history.
The work of the three participants in center is truly great; Marylin Monroe is at her most sexy and charming, Tony Curtis' brilliant control and Jack Lemmon is truly priceless at his peak. The movie paces fantastically throughout opening scenes of Chicago, onto the train-ride (features fantastically funny moments of brilliant comedy timing) and arriving at the hotel in Florida, and the situations that occurs with the band, with playboy Osgood Fielding III, Marylin Monroe and the mafia. And Billy Wilder shows his talent with keeping such a sparkling screenplay brilliantly paced and edited, never rushing itself - and Wilder sneaks in some fine moments of noir with the Chicago-gangsters brutality and cruelness. And the movie is a altogether different experience as a comedy than anything before it, the absurdity and quirkiness of Curtis and Lemmon in a transvestite-comedy is fantastically funny, and the final dialog between Osgood Fielding and Daphne/Jerry seemingly came out of the blue, and surprised me just as much today as it did back in 1959. Some Like It Hot is nothing less than a must-see in comedy, and cinema history.
In 1929, in Chicago, the musicians and friends Joe (Tony Curtis) and Jerry (Jack Lemmon) flees from the night-club where they are playing during a police raid. Without any money, they seek a job position for saxophone and bass players in another band and they are invited to play in a concert for one night only in a distant town. Joe borrows the car of a former girlfriend to travel and when they arrive in the parking garage, they witness the "Saint Valentine's Day Massacre" led by the infamous mobster Spats Columbo (George Raft). The criminals discover Joe and Jerry hidden in a corner and when the killers are ready to execute them, they succeed to escape. Joe and Jerry disguise, dressing like women and they head to Florida by train with an all-girl band using the names of Josephine and Daphne. They get close to singer Sugar Kane Kowalczyk (Marilyn Monroe) and Joe falls in love with her but she believes he is a woman. Meanwhile the millionaire Osgood Fielding III (Joe E. Brown) harasses Daphne inviting her to visit his yacht. When Spats and his henchmen arrive in the same hotel where Joe and Jerry are lodged for a mafia convention, the two musicians feel that they are in a dangerous situation.
Yesterday Tony Curtis died and I decided to watch "Some Like it Hot" again. This film is another masterpiece of Billy Wilder and certainly one of the best comedies of the cinema history. Jack Lemmon is hilarious and responsible for some of the funniest moments especially when Osgood flirts with Daphne. Marilyn Monroe performs the perfect dumb blonde stereotype. Last time I had seen this movie was on 18 August 2000. My vote is ten.
Title (Brazil): "Quanto Mais Quente Melhor" ("The Hotter, the Better")
Yesterday Tony Curtis died and I decided to watch "Some Like it Hot" again. This film is another masterpiece of Billy Wilder and certainly one of the best comedies of the cinema history. Jack Lemmon is hilarious and responsible for some of the funniest moments especially when Osgood flirts with Daphne. Marilyn Monroe performs the perfect dumb blonde stereotype. Last time I had seen this movie was on 18 August 2000. My vote is ten.
Title (Brazil): "Quanto Mais Quente Melhor" ("The Hotter, the Better")
Any camera loved Marilyn the best
In all her films, Marilyn dominated any photographer not just because of her ability with a script but ceaseless attention to the camera... More than anyone else on the set, she knew the importance of her sex appeal
The 'fifties belonged to Marilyn, and in that decade it almost seemed as if the world belonged to her also
Sugar is one of Monroe's most loved and memorable character... She presents herself as a sensitive woman quick to feel compassion or affection, sensual and readily impressionable which is Sugar Kane... It was her greatest role and certainly her greatest film...
The film opens in 1929 Chicago during Prohibition, where Spats Colombo (George Raft) and his gang gun down seven men in a car garage A couple of small-time Jazz musicians witness it and flee
To avoid the mob, Joe (Tony Curtis) and Jerry (Jack Lemmon) disguise themselves as women and attach themselves to an all-girl band Joe calls himself Josephine and Jerry calls himself Daphne
The orchestra takes a train to play an engagement in Florida... On board, the two men have a hard time keeping cool with all the beautiful girls around, especially during a late-night pajama party in a Pullman sleeper Needless to say, Joe falls in love with the sensual Sugar (Marilyn Monroe), a luscious ukulele player and singer with the troupe
Once in Florida, Jerry meets a really wealthy bachelor Osgood Fielding (Joe E. Brown).
Of course, Jerry is still dressed as Daphne, and the seven time divorcée proceeds to pursue Daphne Joe wants to romance Sugar but knows that he needs a wealthy front
The boys think they are safe until the gangsters arrive at the same Miami hotel to attend a gangsters' convention
Marilyn sang three songs in the film: "I'm Through with Love," "I Wanna Be Loved By You," and "Running Wild."
The movie's closing line is one of the most celebrated in movie history The film won an Oscar for Best Costume Design and was nominated for six Academy Awards
Irresistibly funny this black-and-white shot comedy is a definite must-see!
Sugar is one of Monroe's most loved and memorable character... She presents herself as a sensitive woman quick to feel compassion or affection, sensual and readily impressionable which is Sugar Kane... It was her greatest role and certainly her greatest film...
The film opens in 1929 Chicago during Prohibition, where Spats Colombo (George Raft) and his gang gun down seven men in a car garage A couple of small-time Jazz musicians witness it and flee
To avoid the mob, Joe (Tony Curtis) and Jerry (Jack Lemmon) disguise themselves as women and attach themselves to an all-girl band Joe calls himself Josephine and Jerry calls himself Daphne
The orchestra takes a train to play an engagement in Florida... On board, the two men have a hard time keeping cool with all the beautiful girls around, especially during a late-night pajama party in a Pullman sleeper Needless to say, Joe falls in love with the sensual Sugar (Marilyn Monroe), a luscious ukulele player and singer with the troupe
Once in Florida, Jerry meets a really wealthy bachelor Osgood Fielding (Joe E. Brown).
Of course, Jerry is still dressed as Daphne, and the seven time divorcée proceeds to pursue Daphne Joe wants to romance Sugar but knows that he needs a wealthy front
The boys think they are safe until the gangsters arrive at the same Miami hotel to attend a gangsters' convention
Marilyn sang three songs in the film: "I'm Through with Love," "I Wanna Be Loved By You," and "Running Wild."
The movie's closing line is one of the most celebrated in movie history The film won an Oscar for Best Costume Design and was nominated for six Academy Awards
Irresistibly funny this black-and-white shot comedy is a definite must-see!
Wusstest du schon
- WissenswertesYears after the film's release, a movie reviewer asked Tony Curtis why his "Josephine" was so much more feminine than Jack Lemmon's "Daphne." Curtis explained he was so scared to be playing a woman (or a man pretending to be one) that his tightly wound body language could be read as demure and shy, traditionally feminine traits, whereas Lemmon, who was completely unbothered, and "ran out of his dressing room screaming like the Queen of the May," kept much more of his masculine body language.
- PatzerEarly in the movie, Joe talks about the Brooklyn Dodgers, a name not officially used until 1932. From 1914 to 1931 the Brooklyn baseball team was the Robins, not the Dodgers. However, the Dodgers had been an unofficial nickname since 1895, and the World Series program from 1920 even referred to them as the Dodgers instead of the Robins.
- Zitate
[last lines]
Jerry: Oh no you don't! Osgood, I'm gonna level with you. We can't get married at all.
Osgood: Why not?
Jerry: Well, in the first place, I'm not a natural blonde.
Osgood: Doesn't matter.
Jerry: I smoke! I smoke all the time!
Osgood: I don't care.
Jerry: Well, I have a terrible past. For three years now, I've been living with a saxophone player.
Osgood: I forgive you.
Jerry: [tragically] I can never have children!
Osgood: We can adopt some.
Jerry: But you don't understand, Osgood! Ohh...
[Jerry finally gives up and pulls off his wig]
Jerry: [normal voice] I'm a man!
Osgood: [shrugs] Well, nobody's perfect!
[Jerry looks on with disbelief as Osgood continues smiling with indifference. Fade out]
- Alternative VersionenVideo version contains extended exit music after the film.
- VerbindungenEdited into Vida conyugal sana (1974)
- SoundtracksRunnin' Wild
(1922) (uncredited)
Music by A.H. Gibbs
Lyrics by Joe Grey and Leo Wood
Played during the opening credits
Played by the girls on the train and Performed by Marilyn Monroe
Performed also a capella by Tony Curtis
Gene Cipriano (tenor sax for Tony Curtis) and Alton Hendrickson (ukulele for Marilyn Monroe)
Top-Auswahl
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Details
- Erscheinungsdatum
- Herkunftsland
- Sprachen
- Auch bekannt als
- Una Eva y dos Adanes
- Drehorte
- Hotel del Coronado - 1500 Orange Avenue, Coronado, Kalifornien, USA(Seminole Ritz Hotel)
- Produktionsfirmen
- Weitere beteiligte Unternehmen bei IMDbPro anzeigen
Box Office
- Budget
- 2.883.848 $ (geschätzt)
- Weltweiter Bruttoertrag
- 208.786 $
- Laufzeit2 Stunden 1 Minute
- Farbe
- Seitenverhältnis
- 1.85 : 1
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