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365days365movies · 3 years

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April 9, 2021: Some Like it Hot (1959) (Recap: Part One)

If there was ever a movie more hyped than this one...

Ever heard of the American Film Institute? Well, according to them in 2000 (recent, I know), this is the funniest comedy...period. At the time, anyway. That beats Tootsie (getting there), Dr. Strangelove (love it), Annie Hall (also loved it), Duck Soup (classic), Blazing Saddles (classic, topical, and fantastic), M*A*S*H (maybe later this year), It Happened One Night (maybe next year), The Graduate (later this WEEK), and...THE FUCK DO YOU MEAN Airplane! IS NUMBER 10? You CANNOT be seri...yeah, OK, you know where I’m going.

Anyway. Yeah, so, maybe AFI has Oscar syndrome, because that’s a little bullshit. So, uh...how about the BBC? In 2017, they asked 253 film critics ACROSS THE GLOBE what the best comedy of all time was, and number ONE was Some Like it Hot. Other than beating Airplane! again, it also beat Groundhog Day, Monty Python’s Life of Brian and Monty Python and the Holy Grail, This is Spinal Tap, The Big Lebowski, and His Girl Friday, and...well, every comedy you can think of. This movie CANNOT be that funny.

...Can it?

But there’s more to this film than that. Apparently, it was made without the approval of the MPPDA, which means that it wasn’t Hays Code adherent! Damn! In fact, this film was partially responsible for its collapse about 6 years later! But what is the Hays Code? Well, briefly covered, it was a set of standards laid out by Will Hays and his Motion Picture Produces and Distributors of America, or the MPPDA. It was enforced in the mid 1930s, and stood firmly in place until 1968, when it basically disappeared.

So, what are these standards? Well, there are a lot, but in a nutshell:

No cursing or taking the Lord’s name in vain in any way.

No nudity, real or suggested. And sex is kind of OK, if consensual and between a man and a woman ONLY. But, they can’t be in bed together, and they can only kiss one time, IF one of them isn’t a villain.

No weddings, no wedding nights, and barely any reference to marriage.

No prostitution, or what was called “white slavery”. Yes. Really.

Oh, also, no weird race-mixing stuff. What’s a “civil rights”?

Buuuuuuut...don’t insult any races either. Of course, considering the time period, “insult” or “offense” is probably subjective, so...fuck that, I guess.

PRIESTS ARE HOLY AND CANNOT BE MOCKED

No guns, fire, American flags, murder, smuggling, drugs, hanging, electrocution, or...law enforcement?

No childbirth, seen or inferred, and no naked kids. I mean...that’s common sense, to be completely fair.

NO RACE-MIXI-oh. Oh, I said that already, didn’t I? Well, OK, I’ll pare it down a little. They can’t have sex, but I guess...looking at each other is OK? Yeah, yeah, we’ll go with that. I’m progressive!

That about covers it. And this movie wasn’t adherent to it? Oh...well, I am excited! Let’s jump right in! SPOILERS AHEAD!!!

Recap (1/2)

The whole thing starts with a bang; literally. It's Chicago in 1929, smack dab in the middle of the Prohibition Era, and a group of gangsters are smuggling some alcohol inside of a coffin, while riding in a hearse. The cops aren't fooled, ad a shootout takes place between the gangsters and the cops, but they eventually drop off as the group takes the coffin into a funeral home. At the funeral home, a man named “Toothpick” Charlie (George E. Stone) meets with Mulligan (Pat O’Brien) a detective who’s got Charlie as his informant. With his help, he makes his way into the funeral home, actually a speakeasy in disguise.

Said speakeasy is run by “Spats” Colombo (George Raft), and within the speakeasy is a massive party, which the partygoers call a funeral. Spats arrives there shortly afterwards, and Mulligan watches all the while. Also at this party is a group of dancers accompanied by a band, which contains two partners, ladies’ man and sax player Joe (Tony Curtis) and anxious double bassist Jerry (Jack Lemmon).

The two talk about what they’re going to do with their upcoming paycheck, with Joe planning on using it for gambling on dog races. Jerry is understandably worried about this, as they owe rent, but Joe rattles off other things that he might was well worry about.

Suppose you got hit by a truck. Suppose the stock market crashes. Suppose Mary Pickford divorces Douglas Fairbanks. Suppose the Dodgers leave Brooklyn! Suppose Lake Michigan overflows.

Fun fact, though: the stock market’s about to crash in a year, Pickford and Fairbanks divorce in 1936, and the Dodgers left Brooklyn in 1957, famously. Lake Michigan has not overflowed...YET. It’s actually at record high water levels, and could cause flooding around it in the next few years. So, although those middle three were DEFINITELY part of the joke...that last one wasn’t at the time. Of course, it’s actually there as a line to set Jerry up with a way to tell him that the streets are “about to flood”, as he spots Mulligan and makes him. He tells Joe, and they both quietly pack up their instruments and leave, BEFORE the ruckus is about to begin.

And begin it does, and the cops raid the place almost immediately afterwards. As the party’s broken up and people are loaded into the paddywagon (Spats included), Joe and Jerry take their chance to escape behind the cops’ backs. However, this also means that the two musicians aren’t getting paid after all. Joe’s still set on betting money on the dog the next day, and get the money for the bet by selling their coats. However, while they do sell their coats, they instead end up looking for jobs at a local music agency, run by Sig Poliakoff (Billy Gray).

The agency is recruited by band owner Sweet Sue (Joan Shawlee) and her nebbish band manager Bienstock (Dave Barry), as they need a bass and a sax player to replace two of their own, in their band in Florida. On hearing this from Poliakoff’s secretary Nellie (Barbara Drew), the two barge into the office. However, much to their dismay, the only ones they’re looking for are women. While Jerry tries to weasel their way in, it doesn’t quite work, and they instead take a job up north for a Valentine’s Day dance. The two go to a garage to borrow a car from Nellie in order to get to the job. There, playing cards, is Toothpick Charlie with a group of men. But then...somebody else arrives.

Spats and his men arrive at the garage, and tell all of the men to stand with their hands on the wall. Joe and Jerry, however, manage to hide in the garage. And if you know anything about Valentine’s Day during Prohibition Era Chicago...then you know exactly what’s about to happen to Toothpick and the guys.

After the massacre (based upon the real St. Valentine’s Day Massacre, Jerry makes a noise and alerts the gang to their presence. This is a problem, because Spats isn’t keen on the idea of witnesses, and immediately orders the musicians killed.With a distraction caused by the still-alive-but-dying Charlie, the two manage to escape Spats’ wrath. Now needing a fast way out of town, Joe figures out a plan. See, that job, the one from Sweet Sue, is in Florida, which is far enough away that they should be able to escape. But, uh...the band is only looking for women. And so...

This is the second most famous thing about the film. Meet Josephine and Daphne, the female aliases of Joe and Jerry respectively. As Jerry realizes the difficulties of the female wardrobe (namely skirts and heels), the two walk up to the band of women, known as “Sweet Sue and her Society Syncopators.” But they aren’t the only arrivals, and the other is the MOST famous thing about this movie...

This is Sugar “Kane” Kowalczyk, the lead singer, ukelele player, and...OK, look, it’s Marilyn Monroe, and I think I need to acknowledge this now. Marilyn Monroe is an underrated talent today, but she had a hell of a lot of potential as an actress and as an individual. She had a lot of troubles, and her early death by suicide is an absolute tragedy, no matter how you slice it. She’s a talented actress and singer, and she deserves recognition for that.

SHE IS ALSO INSANELY HOT I’M SORRY I’M WEAK

Look...it’s Marilyn fucking Monroe, OK? I know, I’m a straight cissexual man, but I wanted to make a point to acknowledge the fact that Marilyn Monroe is a talent far outside of her beauty and physicality. She (and all women) deserve that much, and deserve not to be objectified by the male gaze. I genuinely agree with this, and I do understand that concept. I’ll never personally understand the female experience, but it’s my responsibility and duty as an individual to understand experiences foreign to my own, including this one.

But DEAR LORD, her physicality is not easy to ignore, now and then! I mean COME ON! The woman’s considered a standard of classic beauty to this day by many (not by all, and not by herself), and it’s unfortunately her most famous feature to nearly everybody. But, of course, Monroe got a lot of grief for her looks as well (which is bullshit), and the stress of her life sadly led to her terrible suicide. But that doesn’t mean that her beauty inside and out shouldn’t be appreciated for what it is: beauty.

ALSO SHE IS DROP DEAD GORGEOUS I’M WEAK I KNOW

See, the train agrees with me! Oh...OH RIGHT, THE MOVIE! OK, where was I. Well, Joe and Jerry agree with me about Sugar Kane, but it is the 1950′s when the film is made, so of course they do. They watch her get on, and they follow suit, meeting the women of the band, and Sugar Kane. Sugar, see, has a teensy bit of an alcohol problem. That’s not necessarily to say she’s an alcoholic, but she is admonished for it by Sweet Sue and Bienstock, also being a repeat offender of drinking during working hours. That (and men) is something that Sweet Sue doesn’t tolerate.

She’s almost in trouble that night, when her flask falls from her stocking during a performance. However, Jerry covers for her, much to her appreciation. As they settle in for the night, all of the girls (including Joe and Jerry) sleep in the same cabin, much to the, uh, frustration of Jerry, despite Josephine’s urgings to keep it together. As Jerry continually reminds himself that he’s posing as a girl, he’s surprised that night with the appearance of Sugar, who comes to thank her for her help that night. Sugar tells “Daphne” that she owes her one, and also climbs into the cot with him to hide from Sweet Sue. Jerry...that poor mother fucker.

Well, Jerry tries to ease the tension by offering some of Joe’s whisky. But more of the girls overhear this, and eventually, a massive party erupts, with all the girls mixing drinks and sharing the single space of Jerry’s bed. Joe wakes up from all of this, and tries to help end the party, only for Sugar to climb out of it, and ask Joe for help with a block of ice for the drinks.

It’s here that she reveals that she used to work with men’s bands, but joined this band to get away from men. This is especially to get away from her weakness: tenor sax players. This intrigues Joe, the tenor sax player. However, she’s essentially sworn off of tenor sax players because of multiple bad relationships, and is instead hoping to find a millionaire in Florida, preferably one with a yacht. Meanwhile, Jerry’s bed is getting a little too full, and the girls are getting a little TOO familiar. They start to tickle him, and to prevent his cover being blown, Jerry pulls the train’s emergency brake. All of the girls scatter as the train stops, and they manage to get away with the party as Sweet Sue and Bienstock wake up only then.

The train gets to Florida, and the girls make their way into a hotel. As they check in, Jerry (as Daphne) is spotted by Osgood Fielding III (Joe E. Brown), a millionaire, and a man with eclectic tastes in women. And those tastes apparently include Daphne, as he unsubtly (and unwantedly) hits on her. And Jerry’s having none of it. After Osgood pinches him in the elevator, he gets off after slapping him. Unfortunately, that makes Osgood only want Daphne THAT MUCH MORE. This man...this man may just be the legendary alpha simp of which the stories tell.

Meanwhile, Joe manages to get ahold of Beinstock’s luggage and glasses. He steals his clothes (after fending off an overeager bellboy), and uses them to dress as a millionaire. Why? Why, to seduce Sugar, of course!

This is right at the halfway point, so we’ll pick this up in Part Two! See you there!

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