A qualcuno piace caldo

What Jack Lemmon and Tony Curtis do in "Some Like it Hot" would be par for the course in modern movies – every other month, similar fish-out-of-water movies premiere with men posing as women ("Tootsie"), women posing as men ("The Associate"), black people posing as white people ("White Chicks"), and on and on. What makes "Some Like it Hot" different is two things: the strength of its comedy, and the presence of Marilyn Monroe, then at the height of stardom.

Lemmon and Curtis turn in admirable performances both as Joe and Jerry, and as Josephine and Daphne. Tony Curtis does Lemmon one better by creating a third identity, "Junior", in order to woo Sugar Kane (Monroe).

Tying the pair's story into the Chicago Valentine's Day Massacre, where a gang war spilled over into a parking garage, leaving a number of people lined up against the wall and shot, is a deft touch (though the serious tone of these gang sequences contrasts sharply with the bulk of the movie).

The movie does an excellent job building the far-fetched stakes of the movie ever-higher, from their finding refuge from vengeful gangs in a women's jazz band, to their showdown in the Florida hotel, to the eventual revealing of Curtis' and Lemmon's identities. The movie's surprisingly suggestive and risque content is at odds with the time frame of the movie, and even with the period of the movie's creation. The many smart double-entendres and plays on words are very well-written, and alternate between lowbrow and highbrow comedy,

The films only fault might be a couple of overlong musical numbers, performed either by the whole band or soloed by Sugar Kane. Though to be expected in a Marilyn Monroe film, these musical acts are literal "show stoppers" that bring the comedic momentum of the film to a screeching halt. However, it is easy to over look these minor defects in the movie as a whole, because by and large it is quite funny – no wonder it s considered a classic – and after all, "nobody's perfect".

"Movies should be like amusement parks" filmmaker Billy Wilder once said "People should go to them to have fun". So If Some Like It Hot was an amusement park: it would Thorpe Park, mixed in with Legoland, added with a dash of Disney land. Some Like It Hot is the granddaddy of comedies, the Godfather of laughs and the Mike Tyson of punch lines. Heck! Watching this film is like getting into the ring with Muhammad Ali, as you're constantly hit with fast paced gags. Even when you're least expecting it you're hit with a punch line so funny it leaves your side aching, or a piece of slapstick comedy that leaves your eyes running. Even the fade out line has been regarded as the funniest and most famous in history. Once you hear it, you'll guarantee never ever, ever to forget it. Trust me, it's hilarious!

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!

Legendary comedy masterpiece from filmmaker Billy Wilder and IAL Diamond that Won Oscar and another 13 wins & 8 nominations . Immensely charming comedy set among Chicago and Miami , being starred by an all-star-cast . When two unemployed musicians witness a mob hit , the St Valentine massacre in Chicago carried out by mobster chief (George Raft) they flee the state in an all female band disguised as women and headed for Florida , but further complications set in. There appears a gorgeous singer , Sugar Kane (Marilyn Monroe) , who is object of pursuit by the musicians (Jack Lemmon , Tony Curtis) who cannot reveal their identity because are dressed as women in order to getaway from killer gangsters' retaliation .

Rightly enjoyable and fun-filled , milestone comedy which neatly combines humor , mirth , entertaining situations and amusement . This noisy comedy is intelligently and pleasingly written to gives us lots of fun , laughters and smiles . Mordantly funny , though by time of premiere was rated as bad taste and some discomfort ; however , is todays considered a real classic movie . Billy Wilder kept the studio Paramount happy , the picture consistently made money and was hit at box office . Flawless comedy with a trio of sensational protagonists , including an unforgettable Marilyn who parades sexily at her best and more relaxed and enticing than ever . The hit of the show is undoubtedly for the fetching Marilyn Monroe who gives one of the best screen acting and sings marvelous songs as ¨Running wild¨, ¨I'm through with love¨ and the immortal ¨I wanna be loved you¨. Magnificent performances from Jack Lemmon as angst-ridden musician dressed in drag and sensational Tony Curtis as a philander young , playing his Gary Gray Grant impression . Furthermore , a splendid secondary cast , a variety of notorious actors who make sympathetic interpretations such as Pat O'Brien , George Raft , Mike Mazurski , Nehemia Persoff and , of course, smitten Joe E Brown , including his now-classic closing line .

The motion picture was very well directed by Billy Wilder who includes several punchlines . Billy was one of the best directors of history . In 1939 started the partnership with Charles Bracket on such movies as ¨Ninotchka¨ , ¨Ball of fire¨ , making their film debut as such with ¨Major and the minor¨ . ¨Sunset Boulevard¨ was their last picture together before they split up . Later on , Billy collaborated with another excellent screenwriter IAL Diamond . Both of them won an Academy Award for ¨Stalag 17¨ dealing with a POW camp starred by William Holden . After that , they wrote/produced/directed such classics as ¨Ace in the hole¨ , the touching romantic comedy ¨Sabrina¨ , the Hickcoktian courtroom puzzle game ¨Witness for the prosecution¨ and two movies with the great star Marilyn Monroe , the warmth ¨Seven year itch¨ and this ¨Some like hot¨. All of them include screenplays that sizzle with wit . But their biggest success and highpoint resulted to be the sour and fun ¨¨The apartment¨. Subsequently in the 60s and 70s , the duo fell headlong into the pit , they realized nice though unsuccessful movies as ¨Buddy buddy¨ ,¨Fedora¨ , ¨Front page¨ and ¨Secret life of Sherlock Holmes¨, though the agreeable ¨Avanti¨ slowed the decline . The team had almost disappeared beneath a wave of bad reviews and failures . ¨Some like hot¨ rating : Above average , essential and indispensable watching ; extremely funny and riveting film and completely entertaining . It justly deserves its place among the best comedy ever made . One of the very funniest films of all time and to see and see again . It's the kind of movie where you know what's coming but , because the treatment , enjoy it all the same .

Admittedly biased, "Some Like It Hot" can certainly stand on its own merit with or without my thunderous round of applause. More than a decade ago, I had the privilege of performing both the Tony Curtis and Jack Lemmon roles in "Sugar," the musical adaptation of "Some Like It Hot" which originally starred Tony Roberts, Robert Morse and Elaine Joyce on Broadway in the 70s. Though it hardly compares to the film's original (how could it???), the musical nevertheless is still a big hit with live audiences. I can't remember ever having a better time on stage than I did with "Sugar," and it's all due to the irrepressible talents that instigated it all.

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.

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.