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Some Like It Hot (1959)

Not Rated | | Comedy, Romance | 14 April 1959 (Japan)
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When two male musicians witness a mob hit, they flee the state in an all-female band disguised as women, but further complications set in.

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(screenplay), (screenplay) | 2 more credits »
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1,856 ( 96)
Top Rated Movies #118 | Won 1 Oscar. Another 9 wins & 13 nominations. See more awards »
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Cast

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Billy Gray ...
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Barbara Drew ...
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Storyline

When two Chicago musicians, Joe and Jerry, witness the the St. Valentine's Day massacre, they want to get out of town and get away from the gangster responsible, Spats Colombo. They're desperate to get a gig out of town but the only job they know of is in an all-girl band heading to Florida. They show up at the train station as Josephine and Daphne, the replacement saxophone and bass players. They certainly enjoy being around the girls, especially Sugar Kane Kowalczyk who sings and plays the ukulele. Joe in particular sets out to woo her while Jerry/Daphne is wooed by a millionaire, Osgood Fielding III. Mayhem ensues as the two men try to keep their true identities hidden and Spats Colombo and his crew show up for a meeting with several other crime lords. Written by garykmcd

Plot Summary | Plot Synopsis

Taglines:

The movie too HOT for words! See more »

Genres:

Comedy | Romance

Certificate:

Not Rated | See all certifications »

Parents Guide:

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Details

Country:

Language:

Release Date:

14 April 1959 (Japan)  »

Also Known As:

Not Tonight, Josephine!  »

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Box Office

Budget:

$2,883,848 (estimated)

Gross USA:

$25,000,000
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

(Westrex Recording System)

Aspect Ratio:

1.66 : 1
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Did You Know?

Trivia

Tony Curtis was signed first, but United Artists pressured Billy Wilder to cast a bigger box-office name than Jack Lemmon for the second male lead. Once Marilyn Monroe signed on, Wilder was able to cast Lemmon. See more »

Goofs

When Sugar tells Daphne that Josephine predicted Sugar would meet a millionaire, Daphne says: "That's one for Ripley", a reference to Robert L. Ripley's "Believe It Or Not". At the time the story takes place (1929), "Believe It Or Not" was published by the New York Evening Post only, and was not picked up for syndication until 1931. See more »

Quotes

[first lines]
Mulligan: All right, Charlie; that the joint?
Toothpick Charlie: Yes, sir.
Mulligan: Who runs it?
Toothpick Charlie: I already told you.
Mulligan: Refresh my memory.
Toothpick Charlie: Spats Columbo.
Mulligan: That's very refreshing; what's the password?
Toothpick Charlie: "I've come to Grandma's funeral." Here's your admission card.
[he gives Mulligan a mourning armband]
[...]
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Connections

Referenced in Superman III (1983) See more »

Soundtracks

Some Like It Hot
(1958) (uncredited)
Music by Matty Malneck and I.A.L. Diamond
Performed by Matty Malneck & His Orchestra;
George 'Red' Callender, bass; Gene Cipriano, tenor sax for Tony Curtis; Jack Dumont, reeds; Al Hendrickson, ukulele for Marilyn Monroe; Barney Kessel, electric guitar; Shelly Manne, drums; Dave Pell, tenor sax , saxophone coach for Tony Curtis; Art Pepper, alto sax; Leroy Vinnegar, bass; John Williams, piano.
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Frequently Asked Questions

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User Reviews

A gender-bending comedy ahead of its time
30 April 2004 | by See all my reviews

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".


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