This is a film I’d NEVER heard of, BUT was curious to see (since it has both Hepburn and Mitchum). It was shown on TCM last week and is directed by the famed Vincente Minnelli (husband of Judy Garland and father to Liza). Minnelli does a VERY good job w/ a domestic drama mixed w/ film noir, which is NOT something you’d expect if you know his more well-known works (Meet Me in St. Louis, Father of the Bride, Gigi). He also directed The Bad and the Beautiful, which shows the dark side of Hollywood.
Hepburn is cast against type here, which fans (like me) may enjoy, and even some haters will be pleasantly surprised to see. She plays Ann Hamilton, the quirky/single daughter of small-town professor, Dink (Edmund Gwenn from Miracle on 34th Street). Ann prefers playing w/ her dog and tinkering in her home chemistry lab, eschewing ideas of marriage pushed upon her by cranky housekeeper, Lucy (Marjorie Main) and eager academic, Prof. Bangs (Dan Tobin).
 Call it Film-Noir. Call it Mystery/Suspense. Call it Psychological Thriller. Call it what you may…I call it: absorbing drama.
It moves very deliberately… and the facts are revealed one by one, in true mystery fashion, until the fantastic, thrilling ending.
 Hepburn gives her usual intelligent performance, showing a vulnerable, feminine side that is very appealing. There is a scene in a fitting room where she is absolutely stunning. The scenes between her and her father, played by Edmund Gwenn, are delightful and realistic…
 As others have noted, the plot has “Rebecca-esque” qualities, but a character completely its own.
-Various IMDB comments
One night, Ann’s life is changed when she meets Alan Garroway (Robert Taylor), a suave/dapper inventor who was meeting w/ Dink. It turns out that his company helped win WWII w/ a cutting-edge missile guidance system. Ann is struck by him at first sight; it’s obvious that he is interested, too. Soon, they’re married and off to DC! Ann meets his (high society) friends, gets a new/stylish wardrobe, and learns that her new husband is more complicated than she thought.
BOTH Taylor and Mitchum were younger than Hepburn.
In Minnelli‘s autobiography, he says that Mitchum was very uncomfortable in the role of the sensitive Michael.
Katharine Hepburn and Robert Mitchum did NOT get along during the filming. One day, Hepburn told Mitchum, “You know you can’t act, and if you hadn’t been good looking you would never have got a picture at all. I’m tired of working with people like you who have nothing to offer.” (OUCH!)
When broke Chicago musicians, Joe (sax player) and Jerry (on bass), witness the St. Valentine’s Day massacre, they need to get away from the gangster responsible (Spats Colombo). They’re desperate to get a gig out of town, but the only job available is with an all-girl band heading to Florida. They show up at the train station as “brand new” girls-Josephine and Daphne. They really enjoy being around the troupe of young, pretty women (esp. Sugar Kane Kowalczyk, who sings/plays ukulele). Joe (a ladies man) sets out to woo Sugar. Jerry/Daphne is wooed by an eccentric/sweet millionaire, Osgood Fielding III. Mayhem ensues as the two pals try to keep their true identities hidden. Then Spats and his mafia men show up for a gathering with other crime bosses.
This is one of my faves; if you need a laugh (or a dozen), definitely have a watch!I’ve seen the film several times on TCM; I also have it on DVD. Some Like It Hot was voted the 9th greatest film of all time by Entertainment Weekly magazine, and, is ranked on this list high enough to be the greatest comedy of all time.
The costumes Monroe wears are simply stunning! One of the evening gowns is SO revealing that even modern viewers wondered (on Twitter) HOW it got past censors. When Curtis and Lemmon saw the costumes that would be created for Monroe, they wanted to have beautiful dresses, too. Monroe wanted the movie to be shot in color (her contract stipulated that all her films were to be in color), but Billy Wilder (the director/co-writer) convinced her to let it be shot in black and white after costume tests revealed that the makeup that Curtis and Lemmon wore gave their faces a green tinge.
The co-leads, though opposites w/ regards to acting education and personal backgrounds, make a GREAT comedy team! Lemmon’s Jerry has nervous energy and is a fast-talker, while Curtis’ Joe is self-assured and able to charm others easily. However, its actually Jerry’s idea for them to disguise themselves as women! When the actors first put on the female make-up and costumes, they walked around the Goldwyn Studios lot to see if they could “pass” as women. Then they tried using mirrors in public ladies rooms to fix their makeup, and when none of the women using it complained, they knew they could be convincing as women. There is a scene on the train recreating this moment.
I recently learned that Wilder, the actors, and crew had a VERY tough time on this movie b/c of Monroe’s behavior. She was heavily into drugs during this time, so kept forgetting her lines, and MANY takes had to be shot before she got even the simplest lines correct. There is something meta about Monroe’s performance as Sugar, who smuggles in alcohol (though she claims she can stop drinking anytime) and laments her pattern of falling for the wrong kind of men (particularly sax players).
Lemmon got along with Monroe and forgave her eccentricities. He believed she simply couldn’t go in front of the camera until she was absolutely ready. “She knew she was limited and goddamned well knew what was right for Marilyn,” he said. “She wasn’t about to do anything else.” He also said that although Monroe may not have been the greatest actor or singer or comedienne, she used more of her talent, brought more of her gifts to the screen than anyone he ever knew.
One of the MOST hilarious scenes in the film involves Jerry/Daphne and Sugar in Daphne’s bunk. Jerry is SO excited about Sugar sidling up to him, but she sees him as Daphne. The expressions on Lemmon’s face are just priceless! They are soon interrupted by almost all of the other girls, who want to join in the fun. Jerry Lewis was offered the role of Jerry/Daphne but declined because he didn’t want to dress in drag. Lemmon received an Oscar nomination for the role (well-deserved).
Another great thing about this film is the goofy accent that Joe (as Shell Oil Jr.) adopts to impress Sugar. Jerry exclaims:”Nobody talks like that!” Curtis said he asked the director if he could imitate Cary Grant; Wilder liked it and shot it that way. When Grant saw the parody of himself, he jokingly said: “I don’t talk like that.”
While Shell Oil Jr. and Sugar were making out on the yacht, Daphne and Osgood were dancing tango at a Cuban nightclub. They danced VERY well, too! The music used in the film contributes to its atmosphere; portions of the following tunes were used: Sweet Georgia Brown, By the Beautiful Sea, Randolph Street Rag, La Cumparsita and Park Avenue Fantasy (AKA Stairway to the Sky).
Despite her gold-digging instincts, Monroe’s Sugar is cozy, vulnerable and altogether loveable, getting a lot of mileage too out of her solo singing spots, which include the kinetic “Running Wild,” the torchy “I’m Through With Love,” and her classic “boop-boop-a-doop” signature song, “I Wanna Be Loved by You.”
Lemmon really steals the movie here. He invests Daphne with such enthusiasm that we can understand why he’s falling for Osgood. He’s having way too much fun and it’s great to watch him.
Why a would man would want to marry another man? asks Tony Curtis. Security! Jack Lemmon replies without missing a beat. Clearly, he had put the question to himself before and had arrived to a perfectly sensible conclusion.
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 low-brow and high-brow comedy,
This is a FUN (which we REALLY need these days) Technicolor musical full of dancing, singing (duh), and witty humor! The tale centers on a trio: Don Lockwood (Gene Kelly)- popular star of MANY silent films, Cosmo Brown (Donald O’Conner)- Don’s comical accompanist/best pal, and Kathy Selden (Debbie Reynolds)- a unknown talent that Don meets by chance. He brags about his work, BUT she is NOT impressed, calling herself a serious actress who works on the stage (NOT film).
At a big studio party one night, Don is amused to discover Kathy popping out of a false cake and performing w/ a troupe of dancers. Don’s co-star/wannabe fiancee, Lina Lamont (Jean Hagen), is VERY jealous when she sees him chatting w/ Kathy. Don has NO romantic interest in Lina, who is a self-centered bimbo, BUT the magazines have linked them together (w/ help from their studio).
The studio head insists that Don and Lina make a talkie next; silent films are on the out (audiences are crazy for sound). The MAIN problem: Lina, though familiar to moviegoers, has a terrible voice (screechy w/ an unrefined New York accent)! Hmmm… HOW will this get solved?
Don and Cosmo realize (after spending some time w/ Kathy) that she has MANY talents, incl. her lovely voice. SHE can do the talking for Lina in the new film; after that, she will get HER own work. What could go wrong?
There is some VERY interesting trivia re: this film. In 2007, the American Film Institute (AFI) ranked this as the #5 Greatest Movie of All Time. Reynolds (only 19 y.o. when filming began) was NOT a trained dancer; Fred Astaire saw her crying on the set (after Kelly insulted her), and decided to help her prepare.After the “Good Morning” number, Reynolds had to be carried to her dressing room b/c she had burst some blood vessels in her feet- OUCH! Are you a fan of Star Trek: Deep Space Nine? Cyd Charisse is the maternal aunt of Major Kira Nerys (Nana Visitor); you’ll see the obvious resemblance.