Showgirls Lorelei Lee and Dorothy Shaw travel to Paris, pursued by a private detective hired by the suspicious father of Lorelei's fiancé, as well as a rich, enamored old man and many other doting admirers.
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
"Some Like It Hot" was rated "B - Morally Objectionable in Part for All" by the Roman Catholic Church Legion of Decency. See more »
It is supposed to be 1:00 AM when the Sweet Sues finish playing, yet clouds can be seen behind Sugar and Junior as each are shown hurrying to the pier. What's more, the cloud formations are different. See more »
A Comedy that has it all, and lacks absolutely nothing. "Nobody's perfect"
may be an inherent truism, but "Some Like it Hot" is a definite somebody in
the universe of cinema, thus it IS perfect in every sense. Swing, sex and
slapstick, (three words that immediately come to mind when trying to
describe it) , are a mix so delicious, so fruitful in its possibilities that
one cannot imagine a film which can live up to them, and yet this one does.
Marilyn, her trademark, displeasingly infantile voice aside, is a bombshell
of thermonuclear dimensions, whose powers of titillation will not expire so
long as there are hormones and/or Viagra. The sexual content, for
socio-historical reasons cannot be as explicit as we've come to expect, but
there's still plenty of it, from Monroe's see-through outfit to the double
entendre worthy of the Farelli Brothers ("What do I do if it's an emergency
? - Pull the emergency break!" ), including overtly gay themes that have a
cult following of their own. The Lemmon/Curtis duo operates with gleeful,
unrestrained vitality that can only be likened to Chaplin in his heyday.
Though not a Musical, the combustive energy of this movie is so stimulating
it almost makes you get up and dance.
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