Cross-dressing has long been a recurring motif in comedic narratives, serving as a vehicle for both humour and social commentary. However, during certain historical periods, particularly under the stringent regulations of the Motion Picture Production Code (often called the Hays Code), such themes were often suppressed due to their perceived sexual implications. The conservative guardians of this code deemed cross-dressing unacceptable, leading to a significant absence of films exploring these themes. It was only through a gradual loosening of these restrictions, often ignored by more independent filmmakers, that Hollywood could produce groundbreaking works like the 1959 film Some Like It Hot. This is frequently hailed as one of the finest comedies in cinematic history, showcasing the potential of cross-dressing as a source of both laughter and insight.
The origins of Some Like It Hot can be traced back to 1935 with the French comedy Fanfare of Love, which introduced the concept of male musicians disguising themselves as women. This premise was revisited in 1951 when West Germany produced a remake titled Fanfares of Love, which garnered enough popularity to inspire a sequel, Fanfare of Marriage, in 1953. The 1951 film caught the attention of the legendary filmmaker Billy Wilder and his co-writer I.A.L. Diamond, who saw potential for a fresh comedic take on the material.
Wilder and Diamond retained only the basic premise of two musicians masquerading as women while crafting a unique plot set in 1929 during Prohibition. The film opens in Chicago, where struggling musicians Joe (played by Tony Curtis) and Jerry (played by Jack Lemmon) inadvertently witness the infamous St. Valentine’s Day Massacre, making them targets for gangsters led by Spats Colombo (played by George Raft). To escape their predicament, they disguise themselves as women and join an all-female band travelling to Florida. Joe, now "Josephine," quickly becomes infatuated with the band’s singer, Sugar Kane Kowalczyk (played by Marilyn Monroe), while Jerry, now "Daphne," attracts the attention of wealthy playboy Osgood Fielding III (played by Joe E. Brown). Joe encourages Jerry to flirt with Osgood to create an opportunity for himself—adopting the false identity of a shell‑oil tycoon to seduce Sugar.
At first glance, Some Like It Hot presents a deceptively simple narrative built around a high‑concept premise. However, within its two‑hour runtime lies a rich tapestry of humour and social commentary that operates on multiple levels.
Musically inclined, Some Like It Hot features an engaging score by Adolph Deutsch that enhances its comedic value. Iconic musical numbers, such as Monroe’s rendition of “I Wanna Be Loved By You,” contribute to the film’s charm and have become emblematic of its legacy. Monroe’s performance is particularly noteworthy; her portrayal of Sugar is both alluring and innocent, encapsulating the complexities of femininity during that era.
Moreover, the film serves as a vibrant period piece that immerses viewers in the Prohibition era and Jazz Age. Wilder cleverly weaves stereotypes of violence, irreverence, and decadence into the script, creating a rich backdrop against which the characters navigate their absurd predicaments.
Primarily, however, Some Like It Hot excels as a comedy—encompassing various sub‑genres. It operates as a “buddy film,” showcasing the chemistry between Curtis and Lemmon. Additionally, it embodies elements of “sex comedy,” reflecting societal shifts in attitudes toward romance and sexuality during the late 1950s. The film’s blend of screwball comedy and irreverent farce culminates in one of cinema’s most memorable closing lines, solidifying its status as an enduring comedic masterpiece.
Much of this success can be attributed to Wilder’s audacious creative choices. One notable decision was to shoot the film in black‑and‑white rather than colour—a bold move at a time when vibrant hues dominated Hollywood productions. Wilder argued that monochromatic cinematography would evoke nostalgia for audiences who remembered the late 1920s through black‑and‑white films. Additionally, this choice served practical purposes; it allowed for more effective makeup application for Curtis and Lemmon in their female personas.
The film also boasts an exceptional cast that delivered some of their most iconic performances. Tony Curtis successfully navigated the challenges posed by cross‑dressing while also parodying Cary Grant’s suave persona—a feat that showcased his versatility as an actor. Marilyn Monroe’s performance stands out as her most iconic role; despite her well‑documented struggles on set, she embodied Sugar with a charm and vulnerability that resonated deeply with audiences.
Jack Lemmon emerged as a standout performer in his role as Jerry/Daphne; although he was relatively unknown at the time, his portrayal established him as one of Hollywood’s greatest comedians—a reputation he would further cement through future collaborations with Wilder. The supporting cast also contributed significantly to the film’s success; Joe E. Brown provided delightful comic relief as Osgood Fielding III, while George Raft effectively played into his established gangster persona.
Producing Some Like It Hot was not without risks; its black‑and‑white format was unconventional for its time, and United Artists refused to comply with Hays Office regulations regarding script adjustments to meet Production Code standards. Nevertheless, this risk proved worthwhile; upon release, the film became one of the biggest box‑office successes of its time and garnered critical acclaim that solidified its status as a comedy classic.
RATING: 9/10 (++++)
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