Some Like It Hot
Template:Short description Template:About Template:Use American English Template:Use mdy dates Template:Infobox film Some Like It Hot is a 1959 American crime comedy<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> film directed, produced and co-written by Billy Wilder. It stars Marilyn Monroe, Tony Curtis and Jack Lemmon, with George Raft, Pat O'Brien, Joe E. Brown, Joan Shawlee and Nehemiah Persoff in supporting roles. The screenplay by Wilder and I. A. L. Diamond is based on a screenplay by Robert Thoeren and Michael Logan from the 1935 French film Fanfare of Love. The film is about two musicians (Curtis and Lemmon) during the Prohibition era who disguise themselves as women to escape Chicago mobsters they witnessed commit murder.
Some Like It Hot opened to critical and commercial success and is considered to be one of the greatest films of all time. The film received six Academy Award nominations, including Best Actor, Best Director and Best Adapted Screenplay, winning for Best Costume Design. In 1989, the Library of Congress selected it as one of the first 25 films for preservation in the United States National Film Registry for being "culturally, historically, or aesthetically significant".<ref>Template:Cite news</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
The Production Code had been gradually weakening in its scope since the early 1950s, owing to greater social tolerance for taboo topics in film, but it was enforced until the mid-1960s. The overwhelming success of Some Like It Hot is considered one of the reasons behind the retirement of the code.<ref name="npr">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
PlotEdit
In Prohibition-era Chicago, Joe is a jazz saxophone player and an irresponsible, impulsive gambler and ladies' man; Jerry, his anxious friend, is a jazz double bass player. They work in a speakeasy owned by local Mafia boss "Spats" Colombo. Tipped off by informant "Toothpick" Charlie, the police raid the joint. Joe and Jerry escape, but later accidentally witness Spats and his henchmen gunning down Toothpick and his gang in revenge (an incident inspired by the Saint Valentine's Day Massacre).<ref>Template:Cite book</ref> Spats and his gang see them as they flee. Broke, terrified, and desperate to leave Chicago, Joe and Jerry disguise themselves as women named Josephine and Daphne so they can join Sweet Sue and her Society Syncopators, an all-female band headed by train to Miami. On the train, Joe and Jerry befriend Sugar Kane, the band's vocalist and ukulele player.
Joe and Jerry become obsessed with Sugar and compete for her affections while maintaining their disguises. Sugar confides to Josephine that she has sworn off male saxophone players, who have taken advantage of her in the past. She hopes to find a gentle, bespectacled millionaire in Florida. Josephine and Daphne become close friends with Sugar during a late-night party on the train and struggle to remember that flirting with her would compromise their cover.
After arriving in Miami, Joe woos Sugar by posing as oil heir Shell Oil Junior and affecting a Cary Grant-esque accent while feigning indifference to her. The aging, multi-divorcee Osgood Fielding III, an actual millionaire, persistently pursues Daphne, whose refusals only fuel his desire. After Osgood invites Daphne to dinner on his yacht, Joe convinces Jerry to keep Osgood occupied onshore so that Junior can be alone with Sugar on Osgood's yacht and pass it off as his own. On the yacht, Junior tells Sugar that psychological trauma from the death of a former lover has left him impotent, but that he would immediately marry anyone who could cure him. Sugar tries to arouse him, with considerable success. Meanwhile, Daphne and Osgood dance the tango (la cumparsita) until dawn. When Joe and Jerry get back to the hotel, Jerry announces that Osgood has proposed marriage to Daphne and that he has accepted, anticipating a divorce and cash settlement when his ruse is revealed. Joe convinces Jerry that he cannot marry Osgood.
The hotel hosts a conference for the Friends of Italian Opera Society, a front for a national Mafia meeting presided over by Little Bonaparte. Spats and his men arrive and soon recognize Joe and Jerry, still in disguise as the witnesses they have been looking for. Fearing for their lives, Joe and Jerry realize they must quit the band and leave the hotel. Joe conceals his deception from Sugar by telling her over the telephone that Junior must marry a woman of his father's choosing and move to Venezuela. Sugar becomes distressed and heartbroken. Joe and Jerry evade Spats' men by hiding under a table at the syndicate banquet, where Little Bonaparte has Spats and his gang gunned down. Joe and Jerry are spotted and they flee through the hotel. Joe, still dressed as Josephine, sees Sugar onstage singing a lament to lost love. After Joe runs onto the stage and kisses her, Sugar realizes that Josephine and Junior are the same person.
Still dressed as "Daphne", Jerry persuades Osgood to take Daphne and Josephine away on his yacht. Sugar runs from the stage at the end of her song and jumps aboard Osgood's launch just as it is leaving the dock. Removing his disguise, Joe confesses the truth to Sugar and tells her that she deserves better, but Sugar wants him anyway, realizing he is the first man to genuinely care for her. Meanwhile, "Daphne" tries to get out of his engagement by listing reasons why "she" and Osgood cannot marry—can’t wear Osgood's mother’s wedding gown because she’s “not built the same”, not a natural blonde, smokes, can’t have children, has been living with a saxophone player—none of which dissuade Osgood. Exasperated, Jerry rips off his wig and says "I'm a man!" in his normal voice. Still smiling, Osgood replies "Well, nobody's perfect!" confounding Jerry and leaving him speechless.
CastEdit
SoundtrackEdit
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The soundtrack features four songs performed by Marilyn Monroe, nine songs composed by Adolph Deutsch, and two songs performed by jazz artist Matty Malneck.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
ProductionEdit
Pre-productionEdit
Billy Wilder wrote the script for the film with writer I. A. L. Diamond.<ref name="Rolston, Lorraine">Rolston, Lorraine, Some like it Hot (York Film Notes). Longman; 1 edition, 2000 pp. 7–57</ref> The plot was based on a screenplay by Robert Thoeren and Michael Logan for the 1935 French film Fanfare of Love.<ref name="Curtis, T 2009 p.13">Curtis, T. and Vieira, M. (2009). Some Like It Hot. London: Virgin Books, p.13</ref> The original script for Fanfare of Love was untraceable, so Walter Mirisch found a copy of the 1951 German remake, Fanfares of Love. He bought the rights to that script, and Wilder worked with this to produce a new story.<ref name="Curtis, T 2009 p.13"/> Both films follow the story of two musicians in search of work,<ref name="Rolston, Lorraine"/> but Wilder created the gangster subplot.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
The studio hired female impersonator Barbette to coach Lemmon and Curtis.<ref name="Curtis, T 2009 p.13"/> Monroe worked for 10 percent of the gross in excess of $4 million, Curtis for 5 percent of the gross over $2 million, and Wilder for 17.5 percent of the first million after break-even and 20 percent thereafter.<ref name="tino">Template:Cite book</ref>
CastingEdit
Tony Curtis was spotted by Billy Wilder while he was making the film Houdini (1953),<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and he thought Curtis would be perfect for the role of Joe. "I was sure Tony was right for it", said Wilder, "because he was quite handsome, and when he tells Marilyn that he is one of the Shell Oil family, she has to be able to believe it".<ref>Golenbock, Peter, American Prince: A Memoir, 2008, Publishing Group</ref> Wilder's first idea for the role of Jerry was Frank Sinatra, but he later thought he would be too difficult.<ref>Alison Castle (Hrsg.): Billy Wilder's Some Like It Hot. Taschen, 2001, p. 24.</ref><ref>Template:Cite magazine</ref> Jerry Lewis and Danny Kaye were also considered for the role of Jerry. Lewis was offered the role, but declined as he didn't want to do drag, a decision he would later regret. Finally, Wilder saw Lemmon in the comedy Operation Mad Ball<ref>Alison Castle (Hrsg.): Billy Wilder's Some Like It Hot. Taschen, 2001, S. 238.</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and selected him for the part. Wilder and Lemmon would go on to make numerous films together, including The Apartment and several films which also included Walter Matthau.
According to York Film Notes, Wilder and Diamond did not expect a star as big as Marilyn Monroe to take the part of Sugar.<ref name="Rolston, Lorraine"/> "Mitzi Gaynor was who we had in mind", Wilder said. "The word came that Marilyn wanted the part and then we Template:Em to have Marilyn."<ref>Template:Cite book</ref> Monroe considered the role of Sugar Kane another "dumb blonde", but accepted it due to her husband Arthur Miller's encouragement and the offer of 10% of the film's profits on top of her standard pay.Template:Sfn Curtis stated that everyone told Wilder not to cast Monroe as she was too difficult to work with.<ref>Template:Cite magazine</ref> Wilder and Monroe had previously worked together on The Seven Year Itch in 1955.
It was George Raft's first "A" picture in a number of years.<ref>Template:Cite magazine</ref>
FilmingEdit
The film was made in California during the summer and autumn of 1958.<ref>Castle, Alison (Hrsg.): Billy Wilder's Some Like It Hot. Taschen, 2001, p. 24.</ref> AFI reported the production dates between early August and November 12, 1958, at Samuel Goldwyn Studios.<ref name="AFI"/> Many scenes were shot at the Hotel del Coronado in Coronado, California, which appeared as the "Seminole Ritz Hotel" in Miami in the film, as it fit into the era of the 1920s and was near Hollywood. The Mirisch Company was the film's presenter, and producer Walter Mirisch employed several crew members from his home base, the Allied Artists studio.Template:Citation needed
The film's difficult production has since become "legendary".Template:Sfn Monroe demanded dozens of retakes, and did not remember her lines or act as directed—Curtis famously said that kissing her was "like kissing Hitler" due to the number of retakes.Template:Sfnm The line "It's me, Sugar" took 47 takes to get correct because Monroe kept getting the word order wrong, saying either "Sugar, it's me" or "It's Sugar, me". Curtis and Lemmon made bets during the filming on how many takes she would need to get it right.<ref>Jack Lemmon in: Billy Wilder's Some Like It Hot. Taschen, 2001, Template:ISBN. p. 277</ref> Monroe privately likened the production to a sinking ship and commented on her co-stars and director saying Template:Nowrap why should I worry, I have no phallic symbol to lose."Template:Sfnm Many of the problems stemmed from her and Wilder—who also had a reputation for being difficult—disagreeing on how she should play the role.Template:Sfnm She angered him by asking to alter many of her scenes, which in turn made her stage fright worse, and it is suggested that she deliberately ruined several scenes to act them her way.Template:Sfnm Three days were scheduled for shooting the scene with Shell Jr. and Sugar at the beach, as Monroe had many complicated lines, but the scene was finished in only 20 minutes.<ref>Schlöndorff, Volker: Billy Wilder in Billy Wilder speaks. Some Like It Hot. DVD, October 2006.</ref> Monroe's acting coach Paula Strasberg and Monroe's husband Arthur Miller both tried to influence the production, which Wilder and other crew members found annoying.<ref>Walter Mirisch in: Billy Wilder's Some Like It Hot. Taschen, 2001, Template:ISBN</ref><ref>Tony Curtis in: Billy Wilder's Some Like It Hot, Taschen 2001 (2010), S. 286</ref>
Wilder spoke in 1959 about making another film with Monroe: "I have discussed this with my doctor and my psychiatrist and they tell me I'm too old and too rich to go through this again."<ref>Template:Cite book</ref> But Wilder also admitted: "My Aunt Minnie would always be punctual and never hold up production, but who would pay to see my Aunt Minnie?"<ref>Template:Cite book</ref> He also stated that Monroe played her part wonderfully.<ref>Alison Castle (Hrsg.): Billy Wilder's Some Like It Hot. Taschen, 2001, S. 287.</ref> Years later, Wilder noted "I think there are more books on Marilyn Monroe than there are on World War 2, and there's a great similarity."<ref>Basinger, Jeanine & Wasson, Sam, Hollywood: The Oral History, Harper, 2022, p. 393</ref>
The film's closing line, "Well, nobody's perfect", is ranked 78th on The Hollywood Reporter list of Hollywood's 100 Favorite Movie Lines, but it was never supposed to be in the final cut. Diamond and Wilder put it in the script as a "placeholder" until they could come up with something better, but they never did.<ref>Template:Cite news</ref> Wilder's tombstone pays homage to the line by reading, "I'm a writer, but then, nobody's perfect". In 2000, The Guardian ranked the closing scene at No. 10 on their list of "The top 100 film moments".<ref name="Grdn2000">Template:Cite news</ref>
StyleEdit
With regard to sound design, there is a "strong musical element"<ref name="Rolston, Lorraine"/> in the film, with the soundtrack created by Adolph Deutsch. It has an authentic 1920s jazz feel using sharp, brassy strings to create tension in certain moments, for example whenever Spats's gangsters appear. In terms of cinematography and aesthetics, Wilder chose to shoot the film in black and white as Lemmon and Curtis in full drag costume and make-up looked "unacceptably grotesque" in early color tests.<ref name="Rolston, Lorraine"/> Despite Monroe's contract requiring the film to be in color, she agreed to it being filmed in black and white after seeing that Curtis and Lemmon's makeup gave them a "ghoulish" appearance on color film.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Orry-Kelly created the costumes for Monroe<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> as well as Lemmon and Curtis,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> after the stock costumes the studio provided for the male leads fit poorly.
ReceptionEdit
Box officeEdit
By 1962, Some Like It Hot had grossed $14 million in the US.<ref>Madsen, Axel. Billy Wilder. Secker & Warburg. 1968.</ref> According to The Numbers, the film ultimately grossed $25 million in the US.<ref>"Some Like it Hot (1959) – Financial Information" Template:Webarchive. The Numbers. Retrieved 7 October 2020.</ref> As of 2020, it had grossed over $83.2 million internationally.<ref>"Some Like It Hot" Template:Webarchive. Box Office Mojo. Retrieved 7 October 2020.</ref>
The film opened in the week ended March 24, 1959, in several cities in the United States; the highest grossing of which were in Chicago, where it grossed $45,000 at the United Artists Theatre with Monroe making an appearance, and in Washington, D.C., where it grossed $40,000 at the Capitol Theatre.<ref>Template:Cite magazine</ref><ref>Template:Cite magazine</ref> With results from just six key cities, Variety listed it as the third highest-grossing film in the United States for the week.<ref>Template:Cite magazine</ref>
The film then expanded to 100 theatres around the country for the Easter holiday,<ref>Template:Cite magazine</ref> including at the newly renovated State Theatre in New York City on Sunday, March 29, 1959,<ref name="AFI">Template:AFI film</ref><ref>Template:Cite magazine</ref> and became number one in the country and remained there for three weeks before being knocked off the top by Imitation of Life.<ref>Template:Cite magazine</ref> Imitation of Life was top for two weeks before being replaced again by Some Like It Hot,<ref>Template:Cite magazine</ref> which remained there for another four weeks before being replaced by Pork Chop Hill.<ref>Template:Cite magazine</ref> In its first month, the film grossed $2,585,120 from 96 engagements.<ref>Template:Cite magazine</ref>
Retrospective appraisalEdit
Some Like It Hot received widespread acclaim from critics and is considered among the best films of all time. On review aggregator Rotten Tomatoes, 95% of 73 critics have given the film a positive review, with an average rating of 9.1/10. The website's critical consensus calls it "a spry, quick-witted farce that never drags."<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> According to Metacritic, another review aggregator which calculated a weighted average score of 98 out of 100 based on 19 critics, the film received "universal acclaim".<ref name="metacritic">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The Chicago Sun-TimesTemplate:'s Roger Ebert wrote: "Wilder's 1959 comedy is one of the enduring treasures of the movies, a film of inspiration and meticulous craft."<ref name="rogerebert.com">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Ebert gave the film four stars out of four and included it in his Great Movies list.<ref name="rogerebert.com" /> John McCarten of The New Yorker referred to the film as "a jolly, carefree enterprise".<ref>Template:Cite news</ref> Richard Roud, writing for The Guardian in 1967, called it "close to perfection".<ref>Template:Cite news</ref>
In 1989, the film became one of the first 25 inducted into the United States National Film Registry.<ref>Template:Cite news</ref> In 1998, the film was ranked at No. 7 in Time OutTemplate:'s poll of Top 100 Films.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In 1999, Entertainment Weekly voted it at No. 9 on their list of "100 Greatest Movies of All Time".<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Some Like It Hot was voted as the top American comedy film by the American Film Institute on their list on AFI's 100 Years...100 Laughs poll in 2000, and was selected as the best comedy of all time in a poll of 253 film critics from 52 countries conducted by the BBC in 2017.<ref name=":0">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In 2005, the British Film Institute included this film on its list of "Top fifty films for children up to the age of 14".<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The 2022 Sight & Sound critics' poll ranked it as the 38th greatest film of all time, tied with Rear Window and a bout de souffle.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The 2022 Sight & Sound directors' poll ranked it 62nd, tied with nine other films.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In the earlier 2012 Sight & Sound polls, it was ranked the 42nd-greatest film ever made in the critics' poll<ref name="bfi">Template:Cite journal</ref> and 37th in the directors' poll.<ref>Template:Cite journal</ref> The 2002 Sight & Sound polls the film ranked 37th among critics<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and 24th among directors.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In 2010, The Guardian considered it the third-best comedy film of all time.<ref>Template:Cite news</ref> In 2015, the film ranked 30th on BBC's "100 Greatest American Films" list, voted on by film critics from around the world.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> It was included in The New York TimesTemplate:'s "The Best 1,000 Movies Ever Made" list in 2002.<ref>Template:Cite news</ref> In 2005, it was included on TimeTemplate:'s All-Time 100 best movies list.<ref>Template:Cite magazine</ref> The film was voted at No. 52 on the list of "100 Greatest Films" by the French film magazine Cahiers du Cinéma in 2008.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In July 2018, it was screened in the Venice Classics section at the 75th Venice International Film Festival.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
According to film historian Foster Hirsch, during a screening of the film at Grauman's Chinese Theatre in March 1959, "Joe E. Brown's nonchalant delivery of the final line elicited the loudest, deepest, heartiest laughter I have ever heard in a theater...recognizing a perfectly timed one-liner for the ages, a thousand spectators roared in unified delight."<ref>Hirsch, 2023 p. 550: Brown's response in discovering that Daphne is male: "Well, nobody's perfect."</ref>
Awards and nominationsEdit
The film is recognized by American Film Institute in these lists:
- 1998: AFI's 100 Years...100 Movies – No. 14<ref>{{#invoke:citation/CS1|citation
|CitationClass=web }}</ref>
- 2000: AFI's 100 Years...100 Laughs – No. 1<ref>{{#invoke:citation/CS1|citation
|CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
- 2005: AFI's 100 Years...100 Movie Quotes:
- Osgood Fielding III: "Well, nobody's perfect." – No. 48<ref>{{#invoke:citation/CS1|citation
|CitationClass=web }}</ref>
- 2007: AFI's 100 Years...100 Movies (10th Anniversary Edition) – No. 22<ref>{{#invoke:citation/CS1|citation
|CitationClass=web }}</ref>
The film was inducted in 1989 into the National Film Registry by the Library of Congress.<ref>Template:Cite news</ref> The Writers Guild of America ranked the film's screenplay the ninth greatest ever written.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
AdaptationsEdit
An unsold television pilot was filmed by Mirisch Productions in 1961 featuring Vic Damone and Tina Louise. As a favor to the production company, Jack Lemmon and Tony Curtis agreed to film cameo appearances, returning as their original characters, Daphne and Josephine, at the beginning of the pilot. Their appearance sees them in a hospital where Jerry (Lemmon) is being treated for his impacted back tooth and Joe (Curtis) is the same O blood type.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
In 1975, a Bollywood remake was released as Rafoo Chakkar.Template:Citation needed
A 1984 stage production at the Claridge Hotel & Casino in Atlantic City, New Jersey, starred Joe Namath as Joe.<ref>Template:Cite journal</ref>
A 1991 stage production of this show in London featured Tommy Steele and retained the film's title.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Tony Curtis, then in his late 70s, performed in a 2002 stage production of the film, this time cast as Osgood Fielding III, the character originally played by Joe E. Brown.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>Template:Cite journal</ref>
BroadwayEdit
The 1972 musical Sugar, based on the film screenplay, opened on Broadway starring Elaine Joyce, Robert Morse, Tony Roberts, and Cyril Ritchard, with book by Peter Stone, lyrics by Bob Merrill, and (all-new) music by Jule Styne.<ref>Template:Cite magazine</ref>
On January 5, 2019, Marc Shaiman and Scott Wittman confirmed they were writing the music and lyrics for a new adaptation in an interview with Graham Norton on BBC Radio 2. The version had aimed for a Broadway production in 2020, but was delayed by the COVID-19 pandemic.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>Template:Cite news</ref> On April 20, 2022, the production was confirmed to star Christian Borle at the Shubert Theatre with previews beginning November 1, 2022, with music by Shaiman, music and lyrics by Shaiman and Wittman, and book by Matthew Lopez and Amber Ruffin.<ref>Template:Cite news</ref> The Broadway production went on to win four Tony Awards at the 76th annual ceremony in 2023: Casey Nicholaw for Best Choreography, Charlie Rosen & Bryan Carter for Best Orchestrations, Gregg Barnes for Best Costume Design of a Musical, and J. Harrison Ghee for Best Leading Actor in a Musical.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Ghee was the first openly non-binary actor to be both nominated for and to win a Tony Award, along with Alex Newell, who won for their role in Shucked.
See alsoEdit
- Cross-dressing in film and television
- List of American films of 1959
- List of cult films
- List of films considered the best
NotesEdit
SourcesEdit
- Template:Cite book
- Template:Cite book
- Hirsch, Foster. 2023. Hollywood and the Movies of the Fifties. Alfred A. Knopf, New York. Template:ISBN
- Template:Cite book
- Template:Cite book
Further readingEdit
- Curtis, Tony (2009). The Making of Some Like It Hot. Wiley & Sons. Hoboken NJ. Template:Isbn.
- Maslon, Laurence (2009). Some Like It Hot: The Official 50th Anniversary Companion. New York, HarperCollins. Template:Isbn.
External linksEdit
- Some Like It Hot essay by David Eldridge at National Film Registry
- Some Like It Hot essay by Danel Eagan in America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry, A&C Black, 2010 Template:ISBN, pp. 552–553
- [https://www.imdb.com/{{#if: 0053291
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- Some Like It Hot at AllMovie
- Template:AFI film
- Template:TCMDb title
- Template:Rotten Tomatoes
- Roger Ebert's review of Some Like It Hot
- Roger Hall's review of Adolph Deutsch's film score for Some Like It Hot Template:Webarchive
- Some Like It Hot (1959) at Virtual History
- Some Like It Hot: How to Have Fun an essay by Sam Wasson at the Criterion Collection
Template:Billy Wilder Template:GoldenGlobeBestMotionPictureMusicalComedy 1951-1960