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The sex object playing the role of sex predator works to perfection thanks to Monroe’s performance. Sugar’s masculine aggression as she seduces a sexually repressed Josephine/Cary Grant/Tony Curtis turns another male/female encounter completely inside out.
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Lemmon and Curtis are justly celebrated for their winking, campy, affectionate sendups of femininity, but isn’t Monroe doing something equally sophisticated? “Some Like It Hot” certainly uses her to generate erotic heat, in that almost invisible Orry-Kelly gown and in that steamy make-out scene with Curtis. “I think there have been more books on Marilyn Monroe than on World War II,” Wilder once said, “and there’s a great similarity.” Whatever he meant by that, it’s true that she has been posthumously transformed from sex object to object of interpretation.
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These aspects of the film, plus knowing what we know now about Monroe, make the film seem just straight-up unfunny. The male fantasies about women seem juvenile and Marilyn Monroe’s sexuality, especially in that amazingly revealing gown she wears in the “seduction” scene with Tony Curtis, is both exploited and sent up. It can be hard to disentangle sex appeal from exploitation, or to avoid seeing the shadow of Monroe’s profound unhappiness in Sugar’s melancholy moments. At the same time, one of the sources of the movie’s enduring appeal - Monroe’s performance as the lovelorn ukuleleist Sugar “Kane” Kowalczyk - is also sometimes a source of discomfort. Brown (as the millionaire Osgood) seem to make a case for gay marriage more than half a century before the Obergefell decision. SCOTT It’s a complicated picture, bracingly ahead of its time in some ways, wincingly dated in others. She really does always get the fuzzy end of the lollipop.
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Where the actresses in Wilder’s other films are allowed to show the full range of their talents, Marilyn is reduced to nothing more than her sex appeal in that shocking dress. Our readers had a lot of fun with Curtis and Lemmon dressed in 1920s women’s clothing, but they also had some issues - as did we. The mix of bloodshed and high jinks no longer raises eyebrows. It starts with a massacre and soon turns into a zany cross-dressing caper complete with Marilyn Monroe, millionaires real and fake, musical numbers and nonstop gags. “Some Like It Hot” is a classic about two musicians in 1929, Joe (Tony Curtis) and Jerry (Jack Lemmon), who transform into Josephine and Daphne to join a female jazz band, with gangsters chasing after them. You mean real machine guns and blood, in a comedy?’ I said, ‘Why not?’ He says, ‘Total failure.’ He was wrong.” We saw how wrong when we watched the film for our latest Viewing Party. “And he said, ‘The Valentine’s Day Murder?’ And I said, ‘Yes, that’s in the beginning.’ He looked at me and said, ‘You’re crazy. “I told him a little bit about ‘Some Like It Hot,’” Wilder recalled. Billy Wilder was fond of a story involving the producer David O.