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Some Like It Hot av Billy Wilder
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Some Like It Hot (urspr publ 1959; utgåvan 1959)

av Billy Wilder (Regissör), Jack Lemmon (Actor), Marilyn Monroe (Actor), Billy Wilder (Regissör)

MedlemmarRecensionerPopularitetGenomsnittligt betygOmnämnanden
371854,320 (4.42)5
Two unemployed muscians accidently witness the St. Valentine's Day Massacre and flee to Miami disguised as female musicians.
Medlem:CrabAtlas
Titel:Some Like It Hot
Författare:Billy Wilder (Regissör)
Andra författare:Jack Lemmon (Actor), Marilyn Monroe (Actor), Billy Wilder (Regissör)
Info:
Samlingar:Film
Betyg:
Taggar:Ingen/inga

Verksinformation

Some Like It Hot [1959 film] av Billy Wilder (Director) (1959)

  1. 00
    Nuns on the Run [1990 film] av Jonathan Lynn (Ravenspine)
    Ravenspine: Two guys disguise themselves as women to hide from the mob.
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» Se även 5 omnämnanden

engelska (3)  italienska (3)  norska (1)  nederländska (1)  Alla språk (8)
Visa 1-5 av 8 (nästa | visa alla)
Weer een klassieker gezien! inclusief "I wanna get loved by you" dat ze voor JFK zong. Deze dagen een oorwurm geworden. Leuk als tijdsbeeld. De entourage. De plotwendingen zien we nu aankomen. De muziek en cast een plus. titel werd vertaald met ". 'Ieder zijn meug' (qua etenssmaak.) ( )
  EMS_24 | Aug 21, 2021 |
Dopo aver assistito ad un omicidio, per fuggire alla mafia, due musicisti jazz si travestono ed entrano in una band tutta al femminile.(fonte: Wikipedia)
  MemorialeSardoShoah | Jun 17, 2020 |
Some Like It Hot (1959)

Jack Lemmon – Jerry / Daphne
Tony Curtis – Joe / Josephine
Marilyn Monroe – Sugar Kane Kowalczyk

Joe E. Brown – Osgood Fielding III
George Raft – Spats Colombo
Nehemiah Persoff – Little Bonaparte
Pat O’Brien – Detective Mulligan
Joan Shawlee – Sweet Sue
Dave Barry – Bienstock
Billy Gray – Poliakoff

Screenplay by Billy Wilder and I.A.L. Diamond, based on a story by Robert Thoeren and Michael Logan
Directed by Billy Wilder

Twentieth Century Home Entertainment, 2008. 117 min. Black and white, 1.77:1. 5.1 Dolby Digital. Bonus: An interview of Leonard Maltin with Tony Curtis (31:14), “Memories from the Sweet Sue’s” (17:01) and slideshows (21:03).

=========================================

Jerry: I tell ya, it’s a whole different sex!
Joe: What are you afraid of? Nobody’s asking you to have a baby.

This is not, as sometimes claimed, the greatest comedy Hollywood ever produced for the simple reason that it’s not a comedy at all in the first place. It is a farce. Admittedly, the difference between them is somewhat vague. Most great comedies contain some elements of farce just as some farces contain traces of serious comedy. But this is not the case here. Some Like It Hot is pure, unabashed, undiluted farce. It would have been a mere period piece but for the genius of one man.

This man is, of course, Billy Wilder. He did a fabulous job on all fronts. First of all, he selected a cast that cannot be bettered and wrung from them some of the best performances of their careers. He directs with his usual flair, achieving maximum effect with minimum effort. Last but actually most important of all, Wilder and Diamond wrote a gem of a script. The story is ingeniously crafted, the tone is persistently flippant, and the characters have enormous vitality. The dialogue is brisk, sharp, bold and bawdy. There’s a laugh for everybody, even classical music lovers. Here’s Poliakoff speaking on the phone:

Hello. Let me talk to Bessie Malone. What’s she doing in Philadelphia? On the level? [hangs up and turns to Sue] Bessie let her hair grow and is playing with Stokowski.

Tony Curtis was never a great actor and hardly ever a good one, but he is perfectly cast here. Jack Lemmon, on the other hand, was a great actor whose comic range included everything from the darkest comedy to the goofiest farce. Neither takes the whole thing seriously for a single second. Both are relentlessly funny. Only an intolerable prig terrified by cross-dressing could fail to enjoy this feast of fun. (The rumour has it that the movie was banned on release in Kansas because the cross-dressing was considered too disturbing. I hope Kansas has improved since then.) No such thing like a dull moment with Jack and Tony. Together, they have the right kind of genius to make the most of such lines:

Jerry: I’m engaged.
Joe: Congratulations. Who’s the lucky girl?
Jerry: I am!
[...]
Joe: Why would a guy want to marry a guy?
Jerry: Security.

I suppose Marilyn was less hot and more talented than generally recognised. Maybe it was a really inspired casting choice. Anyway, she is so brilliant here that you might almost trace the popular misconception of the dumb blonde to that movie. It doesn’t hurt that she is burning hot, especially in some suggestive garments that might be deemed too risqué even today. Whatever trouble she might have been on the set (rumours are legion), the final result is worth it. She is a perfect match for the male leads. The yacht scene with Tony Curtis remains one of the sexiest in cinematic history. They don’t make them like that anymore.

The supporting cast – always a hallmark of the truly great movie – is flawless to the last cameo. George Raft is never better than when he plays a parody of all those gangster roles he was so famous for in the 1930s. Joe E. Brown, with that Jokerish grin, is hilarious just to look at. More to the point, he gives no quarter to Lemmon in their stormy romance. The tango scene is immortal and so, of course, is the legendary ending. Nehemiah Persoff appears for just a few minutes towards the end, chewing the scenery with gusto, and what mighty fun he is! Even that obnoxious bellboy is pitch-perfect: “That’s how I like ‘em – big and sassy.”

My personal favourite among the supporters is Joan Shawlee. A great favourite of Billy Wilder, she made memorable, if brief, appearances in Irma La Douce (1963) and especially The Apartment (1960). She doesn’t have a much bigger part here. But she’s a riot! That “Bienstock!” is one of the most tremendous aural sensations I’ve ever received from the movies. Note how she looks at Daphne and Josephine when she first meets them at the platform. She knows immediately, if only as yet subconsciously, that there’s something wrong with those broads. This is beautiful acting.

All in all, this remains one of the sweetest and most charming movies. Ever made. Anywhere on earth. Nobody’s perfect, that’s true. But some movies are. ( )
  Waldstein | Aug 1, 2019 |
Dopo aver assistito ad un omicidio, per fuggire alla mafia, due musicisti jazz si travestono ed entrano in una band tutta al femminile.
  MemorialSardoShoahDL | May 5, 2019 |
Two guys join an all-girl band to hide from the mob.

Only Billy Wilder could take such a dumb farce idea and make a completely enjoyable movie. It's still just a dumb farce, but worth watching. The ending is good enough to bump it up to a B.

Concept: C
Story: C
Characters: B
Dialog: A
Pacing: A
Cinematography: C
Special effects/design: A
Acting: C
Music: A

Enjoyment: B

GPA: 3.0/4 ( )
  comfypants | Feb 11, 2016 |
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» Lägg till fler författare (5 möjliga)

Författarens namnRollTyp av författareVerk?Status
Wilder, BillyDirectorprimär författarealla utgåvorbekräftat
Diamond, I. A. L.Producer and Screenwriterhuvudförfattarealla utgåvorbekräftat
Harrison, DoaneProducerhuvudförfattarealla utgåvorbekräftat
Lang, CharlesCinematographerhuvudförfattarealla utgåvorbekräftat
Curtis, TonyActormedförfattarealla utgåvorbekräftat
Lemmon, JackActormedförfattarealla utgåvorbekräftat
Monroe, MarilynActormedförfattarealla utgåvorbekräftat

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Two unemployed muscians accidently witness the St. Valentine's Day Massacre and flee to Miami disguised as female musicians.

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