Some Like It Hot 1959

It is the chilling month of February in 1929, set against the vivid backdrop of Chicago, where the atmosphere is thick with the tension of Prohibition that prohibits the sale and purchase of any alcohol. Amidst this chaos, the mafia operates a covert liquor business disguised under the guise of a funeral parlor, cleverly transporting bottles hidden within coffins placed inside hearses. However, the watchful eyes of the police are always eager to crush these illegal enterprises.

In this vibrant yet perilous world, we meet Joe (Tony Curtis), a jazz saxophonist with a penchant for irresponsibility and gambling, alongside his level-headed friend Jerry (Jack Lemmon), who plays the double bass. Their day job is at a local speakeasy owned by the notorious mafia boss, “Spats” Colombo (George Raft). One fateful night, reminiscent of the infamous Saint Valentine’s Day Massacre, they narrowly escape death after being tipped off by “Toothpick” Charlie (George E. Stone), just in time to witness a horrid reprisal against Toothpick’s gang.

Desperate and broke, they seek a way out of town, which leads them to an unlikely opportunity with the all-female band, the Society Syncopators, led by Sweet Sue (Joan Shawlee). In a desperate attempt to evade their pursuers, they conceal their identities by dressing as women, adopting the names Josephine and Daphne. They board a train filled with their new bandmates, only to find themselves captivated by the dazzling Sugar Kane (Marilyn Monroe), the band’s sultry vocalist and ukulele player.

As their humorously disguised shenanigans unfold, both Joe and Jerry find themselves racing for Sugar’s affection, all while navigating the complexities of their charade. During their interactions, Sugar reveals her heartache from past romances with saxophone players and instead seeks out a charming millionaire in Florida. As their bonds deepen amongst the raucous atmosphere of the train, Joe and Jerry must constantly remind themselves of their own identities, torn between their burgeoning friendship with Sugar and their vocal roots as men.

Once they arrive in the sunny warmth of Miami, Joe opts to further his deception by becoming Junior, a fictitious millionaire from Shell Oil, cloaking his true intentions to win Sugar’s heart. Meanwhile, Jerry finds himself on the receiving end of affection from the incessantly pursuing Osgood Fielding III (Joe E. Brown), a wealthy and rather eccentric character, which adds another layer of comedic turmoil to their flight from the mafia.

As a series of amusing misunderstandings and romantic intrigues unfold on their journey, Joe portrays Junior as being psychologically troubled and, hence, unable to engage in romantic relationships; yet Sugar’s efforts to elicit a reaction from him show potential sparks of chemistry. Meanwhile, Jerry’s humorous attempts to navigate Osgood’s advances lead to inadvertent romantic entanglements that promise hilarity along the way.

Their precarious situation escalates as they inadvertently find themselves amidst a Mafia conference at the hotel, setting the stage for a series of pulse-pounding events. The fear of recognition drives Joe and Jerry to devise a plan to escape their impending doom, further complicating their lives when love and identities collide dramatically at a banquet event.

As the narrative culminates into a whirlwind of confessions, misunderstandings, and realization, the notion of identity becomes beautifully blurred. When Sugar chases after Joe, who reveals himself as Josephine, the truth unravels in a heartwarming twist that underscores the depth of their connection. Eventually, Jerry’s bold declaration reveals a profound truth about identity and acceptance, challenging societal norms with a humorous acknowledgment: > “Well, nobody’s perfect.”

This classic blend of comedic elements, romantic subplot, and thrilling escapades delivers a cinematic experience that captures the essence of camaraderie in the face of adversity, entwined with the charming allure of love and the joyous chaos of life in the roaring twenties.