The beauty of Marilyn Monroe surely belongs to both art and nature. She is not an icon who has morphed into some bygone citizen, she still appears to reinvent herself in the full blossom of the eyes of the audience. She has a knack that it seems to her that she is lucky enough to discover the right lines when she is acting. Within this film, there are sequences of rapid fire line exchanges between Monroe and Curtis which are equally outrageous.
In a tight dress that is bursting in the chest area and which she is clearly using as bait in hopes of luring irritable boys with needy affection, she appears completely sexless and, at the same time, she liquefies men into everything wanting. “Look at that!” shouts Jack Lemmon to Curtis who gazes at her with open eyes. “Look how she moves. She is like jello on springs. There must be some motor inside her body. I tell you, it is a totally different kind of sex.”
It is one of Curtis’s most popular films even today, the fairy tale Wilders a picture 1959 inundated with inspirational rock egg crafting will leverage up nothing else but sex while it tries to masquerade as a motion picture seeking alibis in crime and repertoire. Everything is rather forced forwards underpinned by Wilder’s mild pessimism and let no one waste time on mushy stuff and all act animal instinctively. And all these characters seem to express one feeling successfully except the rude reason; Curtis believes he wants nothing more than sex. Monroe believes in nothing more than money. And they are just as surprised as they are pleased to find out that all they really want is each other.
The storyline is purely screwball. Curtis and Lemmon are Chicago musicians who flee Chicago dressed as women after witnessing the St. Valentine’s Day Massacre to avoid being murdered. They hop on a lady only band that is off to Florida. Monroe is the one who does the singing and wants to marry a wealthy man, but sadly says, “But I always get the short end of the stick.” Curtis lusts after Monroe and masquerades as a rich bachelor in order to win her. Monroe is motivated by the love of money and teaches him about how to love. The relationship is reversed and cartooned in the low comedy, in this case, Lemmon gets to marry a real millionaire Joe E. Brown. “You are a woman. Why are you so male in every way?” a bewildered Curtis confronts Lemmon. “You’re a bloke! How can a bloke ever marry another bloke?” lemmon “Safety!”
This picture has been likened to the Marx Brothers comedies, except for the inflation where mobsters are looking for heroes through hotel corridors. There are many gaps in possession of the Marx Brothers and these include music segments that include male characters, not solo performances by Harpo, but group love scenes with some wretched supporting performers.
“Some Like It Hot” has no problems with its musical numbers because the singer is Monroe, who, even if didn’t have a great singing voice, still sold the lyrics as good as Frank Sinatra.
Let us analyze her freelance for ‘I Wanna Be Loved by You.’ She is in the most simple of situations if she could be a pretty lady stationed in front of an orchestra and singing some song. Monroe and Wilder turn it into perhaps one of the most hypnotizing and sheerly erotic moments in the cinema. That is the rather problematic see through clingy dress with gauze covering the upper slopes of her breasts with just the neckline amounted to a censor’s eyebrow, no pleading dress trouble. Wilder has her in a round spotlight set such that it does not cover just the upper part of her body as is usually done but highlights the lower waist region and other sections alternate as Monroe raises and lowers various parts of her body in the light with apparent teasing accuracy. It is a striptease and nudity is unnecessary. All the time she appears not to be aware of the impact and so innocently sings the song as though she is the one who is speaking and singing the words. Experiencing that image can answer the question of why Monroe is the only actor heavy or light who exudes total sexual allure through a camera lens.
The chemistry of capturing was never an easy task. There are many myths about Sty listening to “Some Like It Hot.” Curtis said kissing Marilyn was like kissing Hitler. Monroe found it so difficult to get through one line ‘Where’s the bourbon?’ while peering into a dresser that Wilder had the line pasted inside the drawer. She instead opened the right one. He therefore had it pasted inside every drawer. Monroe’s quirks and emotional problems that she exhibited on film sets became the stuff of legends and notoriety. Curtis, and the other female screen stars certainly you have seen Curtis a lot, don´t you? Curtis comments on this famous scene, shot on the yacht Constellation. She kisses him, not in a sexually aroused manner but soft and sweet who is healing a wounded spirit with a gift. The memories of Curtis are fresh when he confesses that certain crotchets started to overshadow the rest. When Curtis spoke those things, they didn’t sound too appealing; For some people’s sake like Adele.
The film really centers around the characters of Lemmon and Curtis, and it has a very good support cast (amongst them Joe E. Brown, George Raft, and Pat O’Brien), but Monroe takes it all, just as she took every motion picture in which she appeared. It requires an act of will to focus on anyone else when she is on screen. Every Tony Curtis performance is remarkable, all the more considering how awful it is prove to us just how many takes she needed Curtis must have felt at times that it was a pro-am tournament she was playing. Still, he manages to keep somewhat of a playful spirit within a commercial film and related melodrama. He was himself a steam ruler, a conquered son of a wealthy tycoon when he first met them on the beach and shamelessly mocked the movie star Cary Grant, calling himself an heir of Shell oil. Observe his performance straight from Hollywood in the yacht seduction scene. See how he dares her innocence in a game. Monroe asks “Water polo? Isn’t that terribly dangerous?” curtained I’ll say! I had two ponies drown under me.
Observe, too, how difficult it is to avoid Wilder’s genius of seducing the audience with bisexual symbolism flowing obviously and slightly suppressed with the plot. Observe how, during that first couch kiss, Monroe deep throats Curtis’ phallic shoe as she holds nothing but his trousers behind her.
Does Wilder wish to cause this effect? Most definitely, because a little bit later, when the cold hearted millionaire admits that he is all better, he says, “I feel such heat in my toes like they are being slowly roasted on a barbecue”, Sellars hurries to answer them: “Let’s throw another log on the fire.” This is the one person Jack Lemmon loses out to on the fuzzy end of the lollipop inside the parallel relationship. Dubbed ‘The Apartment’, a brainchild from authors W. Wilder and I.A.L. Diamond The screenplay is Shakespearean when it comes to high moving, low class, high drama, low comedy, heroes, clowns. However, the Curtis character manages to return to his original state with all the makeovers. Clifford Odets tries to mimic Curtis, but Lemmon gets lost in the upstairs love story where Curtis romances Monroe and Lemmon is in the screwball love with Joe E. Brown. Their romance is rather of mercenary nature: Brown’s character has a series of marriages and divorces just like other men date, while Lemmon has designs on imitating Judith to him ‘will you pay for an alimony?’
But they both are having a blast getting to know each other! While on the boat of Brown, Curtis and Monroe are dancing such that the rose that Lemmon has in her teeth is aimed and thrown to Brown’s mouth. It is absolutely funny to watch Lemmon as he wakes up the next day after his big date, with beer cans and his lingerie, castanets in hands, all ready to set the date, “Announcing the engagement.” It’s a dream Curtis:-“What are you going to do on your honeymoon?” Lemmon “Well, he wants to go to the Riviera, but I cling on to Niagara Falls a bit.” To some extent, both Curtis and Lemmon are guilty of practicing inhumane subterfuges, since Curtis has Monroe believe she has concluded an affair with a millionaire and Brown believes Loemen is a woman, but the film flits away before anyone is injured. Both Monroe and Brown are reconciled with the facts and do not bother about them and very much after Lemmon discloses that he is man, Brown makes the greatest curtain line in the movies walls. If you have seen the movie, you know what it is; if you have not, then it is likely that you have the first opportunity to hear it directly from him and to know what it is.
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