| United Artists | Release Date: March 29, 1959 | CRITIC SCORE DISTRIBUTION | ||
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Mixed:
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Negative:
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Critic Reviews
Key to its success - along with its vivid characters and brilliant performances - is the snappy pace throughout. Non-stop gags, invention, twists and comic incident flow, as Joe and Jerry - sexy Curtis and screamingly funny Lemmon - elude mob boss George Raft by wriggling into an all-girl jazz band, with Josephine and Daphne’s legendary drag act taking in amorous adventures, seductive deceptions and madcap pursuits.
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Reinvented by Wilder and co-screenwriter co-writer IAL Diamond, Some Like It Hot is effortlessly fluent, joyous and buoyant: a high-concept comedy that stays as high as a kite, while other comedies flag. "Nobody's perfect" is the last line. Wilder, Lemmon, Curtis and Monroe come pretty close.
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Some Like It Hot is another supersonic, breakneck, belly-laugh comedy that should be a block-busting bonanza at the box office. It should be a proof that when the making of pictures is taken out of the bands of men-of-measured-merriment and handed over to men whose only purpose is to create amusement, they are still the world's best means of entertainment. Billy Wilder, who produced, directed and wrote the screenplay, with I.A.L. Diamond, was on the front burner all the way.
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In many ways, the ultimate Billy Wilder film, replete with breathless pacing, transvestite humor, and unflinching cynicism. Most of it is hilarious, but there is something disquieting in the way Wilder dances around his sexual theme—the film never really says what it's about, which might be just as well
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If Some Like It Hot isn’t the funniest movie ever made, you can’t blame it for not trying. The first time you see Billy Wilder’s 1959 farce, you might not believe that anything can make you laugh so hard for so long. Where most comedies wear out their audience after an hour and a half, “Some Like It Hot” goes on for 122 minutes and leaves you ebullient.
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SOME LIKE IT HOT expands a one-joke premise with hysterical results, due in no small part to the contributions of the near-perfect ensemble, with each of the major characters shining like a perfect jewel. Lemmon and Curtis are marvelous as the men-turned-women, creating believable characters and generally eschewing the lower forms of camp.
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Arguably the best cross-dressing comedy of all time, it's also one of director Billy Wilder's most fluid, vibrant, laugh-out-loud accomplishments, rife with zippy one-liners delivered in Lemmon's impeccable style, and a rakishly outrageous Cary Grant impersonation from Curtis. Monroe is at her gooey, blonde best here as the pouty, hard-drinking Sugar.
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A large part of what makes Some Like It Hot a perennial favorite is that it has the go-for-broke commitment of an early Marx brothers farce, but it's harnessed by a well-structured script that keeps building on itself. It's no fluke that the capper is the most famous closing line in movie history.
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Let's face it. Two hours is too long a time to harp on one joke. But Billy Wilder, who produced, directed and collaborated with I. A. L. Diamond on this breeziest of scripts, proves once again that he is as professional as anyone in Hollywood. Mr. Wilder, abetted by such equally proficient operatives as Marilyn Monroe, Jack Lemmon and Tony Curtis, surprisingly has developed a completely unbelievable plot into a broad farce in which authentically comic action vies with snappy and sophisticated dialogue.
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Lemmon is demoniacally funny - he really gives in to women's clothes, and begins to think of himself as a sexy girl. Monroe gives perhaps her most characteristic performance, which means that she's both charming and embarrassing.
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