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
- Minor Role
- (Nicht genannt)
- Party Guest
- (Nicht genannt)
Zusammenfassung
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After playing witness to a routine gangland shooting, two penniless Chicago musicians, Joe and jerry decide it is the perfect opportunity, to remain safe and get paid a easy buck when they decide to take up residence in an all girl band heading to Florida, crossed-dressed as Josephine (Tony Curtis) and Daphne (Jack Lemmon). But with the only simple aim of getting paid and avoiding the mob, things soon get a little more tricky when a ditsy singer named Sugar (Marilyn Monroe) captures the heart of' Josephine' and a eccentric playboy millionaire falls for 'Daphne'.
Some Like It Hot is one of those rare occasions, where everyone involved is at the very peak of their powers. Billy Wilder's directing is subtle but instrumental in loading every scene with comedic material ready to pop out like a wound up jack in the box. The writing is excellent, it constantly moves at a furious pace. Imagine Usain bolt on roller blades with jet pack attached to his back, and still that's not even as fast as how the dialogue rips through every scene. People may say that the comedy is too high concept, but for me that's the very reason it's so damn funny , as well a begin genius, because it means that the jokes will stand the test of time and span all generations because it's so easy to understand. Anyway who likes having jokes explained to them? No one!
But you can't talk about Some Like It Hot, without mentioning Tony Curtis and Jack Lemmon, who were absolutely perfect for their roles, each adding a feeling of assuredness to theirs, as well as bucket full's of originality with every facial expression as well as every line. Initially I was not convinced by Marilyn Monroe, as I felt she was slightly overrated, but in her role as Sugar, she brings a lot of composure to the role adding balance to the high energy of Tony and Jack, but still getting her laughs not through straight jokes but by simply being able to deliverer every air headed line with great delivery and timing. Whilst still being able to remain sweet, helpless and innocent, even as she plunges picks into a solid cube of ice with great fury, as she talks about her weakness for Saxophone players.
Some Like It Hot it like a magician of comedy, you never know what to expect next, as with every new scene you so excitedly anticipate what piece of comedic magic it will pull out of its sleeve. For me Some Like It Hot is the funniest comedy film I have ever seen, even though it is almost 55 years old, its comedy is still so accessible and funny too!
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.
In the 1959 classic, Curtis and Lemmon play two ragtag musicians scraping to make ends meet in Prohibition-era Chicago during the dead of winter who accidentally eyewitness a major gangland rubout (aka the St. Valentine's Day Massacre). Barely escaping with their lives (their instruments aren't quite as lucky), our panicky twosome is forced to take it on the lam. Scared out of their shoes (sorry), the boys don heels and dresses after they connect with an all-girl orchestra tour headed for sunny Florida. Killing two birds with one stone, they figure why not go south for the winter while dodging the mob? Once they hit the coast, they'll ditch both the band and their humiliating outfits.
Enter a major detour in the form of luscious Marilyn Monroe as Sugar Kane, given one of the sexiest (yet innocent) entrances ever afforded a star. Snugly fit in flashy 'Jazz Age' threads, a blast from the locomotive's engine taunts her incredible hour-glass figure as she rushes to catch her train to Florida. The boys, stopped dead in their high-heeled tracks by this gorgeous vision, decide maybe the gig might not be so bad after all. As the totally unreliable but engagingly free-spirited vocalist/ukelele player for the band, Sugar gets instantly chummy with the "girls" when they cover for her after getting caught with a flask of booze. As things progress, complications naturally set in - playboy Curtis falls for Monroe but has his "Josephine" guise to contend with, while Lemmon's "Daphne" has to deal with the persistently amorous attentions of a handsy older millionaire.
What results is an uproarious Marx Brothers-like farce with mistaken identities, burlesque-styled antics, and a madcap chase finale, all under the exact supervision of director Billy Wilder, who also co-wrote the script. Lemmon and Curtis pull off the silly shenanigans with customary flair and are such a great team, you almost wish THEY ended up together! Curtis does a dead-on Cary Grant imitation while posing as a Shell Oil millionaire to impress Marilyn; Lemmon induces campy hilarity in his scenes with lecherous Joe E. Brown (who also gets to deliver the film's blue-ribbon closing line). As for the immortal Monroe, she is at her zenith here as the bubbly, vacuous, zowie-looking flapper looking for love in all the wrong places. Despite her gold-digging instincts, Monroe's Sugar is cozy, vulnerable and altogether loveable, getting a lot of mileage too out of her solo singing spots, which include the kinetic "Running Wild," the torchy "I'm Through With Love," and her classic "boop-boop-a-doop" signature song, "I Wanna Be Loved by You."
The film is dotted with fun, atmospheric characters. Pat O'Brien and George Raft both get to spoof their Warner Bros. stereotypes as cop vs. gangster, Joan Shawlee shows off a bit of her stinger as the by-the-rules bandleader Sweet Sue, Mike Mazurki overplays delightfully the archetypal dim-bulbed henchman, and, if I'm not mistaken, I think that's young Billy Gray of "Father Knows Best" fame (the role is not listed in the credits) playing a snappy, pint-sized bellhop who comes on strong with the "girls."
For those headscratchers who can't figure out why the so-called "mild" humor of "Some Like It Hot" is considered such a classic today, I can only presume that they have been brought up on, or excessively numbed by, the graphic, mindless toilet humor of present-day "comedies." There was a time when going for a laugh had subtlety and purity - it relied on wit, timing, inventiveness and suggestion - not shock or gross-out value. It's the difference between Sid Caesar and Andrew "Dice" Clay; between Tony Curtis and Jack Lemmon and Chris Farley and David Spade; between "I Love Lucy" and "Married With Children"; between Lemmon's novel use of maracas in the hilarious "engagement" sequence, and Cameron Diaz's use of hair gel in a scene that ANYBODY could have made funny. Jack Lemmon could do more with a pair of maracas than most actors today could do with a whole roomful of props. While "Some Like It Hot" bristles with clever sexual innuendo, today's "insult" comedies are inundated with in-your-face sexual assault which, after awhile, gets quite tiresome -- lacking any kind of finesse and leaving absolutely nothing to the imagination. I still have hope...
Having ultimate faith in my fellow film devotees, THAT is why "Some Like It Hot" will (and should be) considered one of THE screwball classics of all time, and why most of today's attempts will (and should be) yesterday's news.
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")
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.
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
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