Some like it hot

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Movie
German title Some like it hot
Original title Some Like It Hot
SOME LIKE IT HOT TITLE.jpg
Country of production United States
original language English
Publishing year 1959
length 120 minutes
Age rating FSK 16 (or 18 in the original rating)
Rod
Director Billy Wilder
script Billy Wilder,
IAL Diamond
production Billy Wilder,
IAL Diamond,
Doane Harrison
for United Artists
music Adolph Deutsch ,
Matty Malneck
camera Charles Lang
cut Arthur P. Schmidt
occupation
synchronization

Some Like It Hot (AKA: Some Like It Hot ) is an American comedy film from 1959. The screenplay was based on a story by Robert Thoeren and Michael Logan of IAL Diamond and Wilder Billy written. Wilder also directed and produced. The main roles are Marilyn Monroe , Tony Curtis and Jack Lemmon .

The film is set at the time of the Roaring Twenties in 1929. In Chicago , the two musicians Jerry and Joe witness a massacre by the Mafia . To escape the killers, they go into hiding dressed as women in a ladies' band that is on their way to Florida . While Jerry alias Daphne becomes the object of desire of an older millionaire, Joe, disguised as the millionaire heir Shell Junior, approaches the singer Sugar. But the mafia syndicate is on their heels.

The black and white film is a parody of gangster films and melodramas . With his pace, lively dialogues and puns, as well as slapstick borrowings, he stands in the tradition of screwball comedy . Lemmon and Curtis parody behavior towards the opposite sex in their disguise as women, Monroe delivers a brilliant performance in her typical role as a naive , lascivious blonde and proves her skills as a singer. Some like it hot was one of the most successful films of the year at the time, is now a classic and is still very popular. The American Film Institute lists the film as the best American comedy of all time.

action

In 1929, at the time of Prohibition , which operates Mobster leggings -Colombo in Chicago one disguised as a funeral night club where illegal alcohol is served. But Detective Mulligan gets a tip from the informer Toothpick Charlie and lets the club go up. When he and his people approach the raid , Jerry and Joe, double bass player and saxophonist in the club band, can escape just in time, but now they don't have a job either. Your agent Sig Poliakoff is urgently looking for a bass violin and a saxophone, but for a ladies' band. In a car garage they happened to witness how Gaaschen-Colombo had toothpick Charlie and his cronies killed in revenge for their betrayal. At the last moment they can escape. In order to hide from the killers, they accept the engagement - disguised as Daphne and Josephine. The band, led by feisty Sweet Sue and the idiot manager Beinstock, takes a train to Florida.

On the train ride to Florida they both fall in love with Sugar, the beautiful singer and ukulele player of the band. While rehearsing Sugar is caught by Sweet Sue with a bottle of whiskey, but Daphne claims it is hers and saves her from being thrown out. At night, Sugar sneaks secretly to her rescuer's cabin to say thank you. When the other women get wind of it, the tête-à-tête degenerates into a party in Daphne's bed.

In the Hotel Seminole Ritz in Miami , the two " conservatory ladies" themselves become objects of desire. Osgood Fielding III., An older millionaire and philanderer, falls in love with the "racial woman" Daphne. The precocious bellhop wants to hang out with Josephine. But Joe approaches Sugar. Disguised as the millionaire heir Shell Junior and absorbed in the Wall Street Journal , he met her “by accident” on the beach. Sugar tries to impress her "new acquaintance" and whispers that she was at the conservatory. In the evening Osgood invites Daphne to dinner on his yacht. But Joe persuades Jerry to peg him ashore. While Osgood and Daphne are dancing the tango in a bar , as the allegedly very rich oil magnate Sugar can ask for a rendezvous on "his" ship. After the tragic accidental death of his fiancée, he pretends to be completely insensitive to feminine charms. Sugar is shaken and does everything possible to heal him. In therapy, she relies on her seductive skills in addition to champagne and music, hugs and kisses the “poor man” with devotion. At first Joe pretends not to feel anything, but Sugar's ambition is awakened, and so she continues her rescue mission - not without numerous more kisses for control purposes - until he finally shows the first signs of recovery. Meanwhile, Osgood Daphne proposes marriage .

The "Friends of Italian Opera" arrive at the Seminole Ritz - an alias for the Mafia syndicate. Also part of the party are Gaaschen-Colombo and his gang, who are still trying to get rid of the Witnesses from Chicago. The ground is getting hot for both of them. Before they run away, Junior Sugar calls and cheats that he is unfortunately going to have to marry a business partner's daughter. Sugar is devastated and wants to drown her grief in whiskey. At the meeting, Little Bonaparte , the head boss of the Mafia, has Colombo and his gang liquidated for the garage murder - and again Jerry and Joe are witnesses. While Detective Mulligan arrests the syndicate bosses , their henchmen chase them around the hotel. Daphne calls Osgood and says she wants to run away on his yacht with him. Joe confesses his wrong game to Sugar, but she's already madly in love and wants to come along. Osgood is still determined to marry his beloved. Daphne tries by all means to talk him out of the marriage. When Osgood refuses to be dissuaded, Jerry takes off his wig and confesses that he is a man. Osgood, however, remains unimpressed and answers calmly: “So what? Nobody is perfect! ”(In the original:“ Well, nobody's perfect! ”).

History of origin

templates

Billy Wilder on his star on the Boulevard der Stars in Berlin

The original for the film was written in 1935 by Robert Thoeren and Michael Logan for the French film Fanfare d'Amour . In 1951, the story served as a template for the German film Fanfares of Love , directed by Kurt Hoffmann . There were no gangsters in this version. Some like it hot is therefore often viewed as a remake of Fanfare d'Amour and Fanfares of Love .

From the lexicon of international film is fanfare love praised as turbulent farce, which, however, Some Like It Hot "despite all the boisterous enthusiasm not nearly can hold a candle". The director Billy Wilder took up the basic idea, but described the German forerunner as "third-rate, absolutely terrible and miserable". Before that, however, he had already tested the comic potential of masquerades in his scripts, including in his first directorial work The Major and the Girl , in which Ginger Rogers disguises himself as a child in order to be able to afford a train ticket.

Wilder had made a number of films since the 1940s that are now considered classics. In the film industry, however, the idea of Some like it hot initially caused astonishment. The producer David O. Selznick warned Wilder that he couldn't start a comedy with a bloodbath: “Blood and laughter don't mix”, in German: “Blood and laughter can't be mixed”. Nevertheless, Billy Wilder and his long-term partner IAL Diamond based the script on this basic idea. With the garage murder, he had a plausible motive for the men to stay in the band disguised as women for so long.

Script versions

As usual in Hollywood, there were several versions of the script, which were revised over and over again in the course of production and some changes were made during production. On the train ride there was a scene between Joe and Jerry that was cut out after the first rehearsal. Jerry alias Daphne sneaks into the bunk where he thinks Sugar is, but doesn't know that she has swapped beds with Joe in the meantime. Jerry cautiously comes out with the fact that he is not really a girl and confesses his love to the supposed Sugar. When Joe grabs him by the collar, Jerry is startled and begs Joe not to hit a girl. This scene was cut out after a disastrous preview because the film was thought to be too long.

Even during the production of the film there were still changes in detail. For example, Sugar told her last boyfriend that she should have brought him Knackwurst , which is also called that in English, with potato salad. When she brought coleslaw instead, he threw the salad in her face. Tony Curtis' answer was that he would like to have Horseradish ( English for horseradish ) on his Knackwurst. This very suggestive dialogue has been changed. Sugar's sentence was subsequently overlooked during the synchronization and she now speaks of a hot dog. Josephine's comment had previously been removed from the script.

After the film was initially run under the working title "Not tonight, Josephine", the search was still for a more catchy, final title. According to Billy Wilder, his friend IAL Diamond came up with the idea. He recalled that the title had previously been used in 1939 for a Paramount film with Bob Hope . Since they also produced their film for Paramount, they already had the rights. The headline speaks Tony Curtis as Shell Junior to Sugar on the Beach while they talk about jazz music.

occupation

Leading roles

Marilyn Monroe (1954)

Mitzi Gaynor was initially discussed for the role of Sugar , but Wilder decided on Marilyn Monroe when he found out that she was free. He had shot The Itchy 7th Year with her in 1955 and achieved great commercial success with it. The scene in which Monroe's rock is blown up by the exhaust of the subway was iconic, and she was Hollywood's most sought-after actress at the time. Although she didn't really want to play these types of roles anymore, she accepted Wilder's offer. In addition to a salary of $ 100,000, she received a 10% profit share. The male protagonists both have bigger roles, but the film is decisively shaped by Monroe, who is all about. The comedy would be her greatest success and the highlight of her career. She died three years after the film came out.

The roles of the two musicians were played by Tony Curtis and Jack Lemmon , who, despite his Oscars for No Time for Heroism (1955), was still relatively unknown. The role of Lemmon was originally supposed to take on Frank Sinatra , who, however, did not appear for the preliminary meeting with Billy Wilder. Jerry Lewis and Danny Kaye were also in discussion . While Lewis declined, Kaye wanted to play the role, but was turned down by Wilder. Then, when Wilder saw Lemmon in the military comedy Operation Mad Ball , he liked him so much that he loaned him from Columbia for the film. With the film began a very successful, long-lasting collaboration between Wilder and Lemmon.

Supporting roles

The supporting roles were also heavily cast. Joe E. Brown , one of America's most successful comedians of the 1930s and 1940s, who had actually largely retired, was won over for the role of Osgood when Wilder met him at the season opening of the Los Angeles Dodgers . Joan Shawlee , who was even more frequently used by Wilder in later films, and the animated actor Dave Barry play the band director Sue and the manager Beinstock.

Pat O'Brien as investigative agent and George Raft as gang boss parodied their prime roles. Raft has been active in gangster films such as Scarface since the 1930s and counted the mobster Bugsy Siegel among his friends. Like George Raft, toothpick Charlie actor George E. Stone was often seen in gangster films, for example at the side of Edward G. Robinson in the gangster classic Little Caesar . Originally, Robinson was supposed to play the role of the top gang boss named Little Bonaparte, a nod to Robinson's most famous role. However, Edward G. Robinson no longer wanted to work with George Raft because he had a fight with him once. Instead, Nehemiah Persoff took on the role and delivered a parody of Mussolini . To do his friend a favor, Wilder hired his son Edward G. Robinson Jr. for the small supporting role of Johnny Paradise, the killer of Leggings-Colombo.

The actors Mike Mazurki and Harry Wilson , who often played in henchmen roles, were hired as henchmen from Legaschen-Colombo . Wilson has been dubbed a strange voice to emphasize his role as a dumb assistant. The music agent Poliakoff is played by the theater owner Billy Gray, who speaks a strange mixture of English and Yiddish in the original English version , Barbara Drew can be seen as his secretary Nellie. The members of the women's band are played by Beverly Wills as Sugar's roommate Dolores, Sandra Warner as Emily, Helen Perry as Rosella, Laurie Mitchell as Mary Lou, Marian Collier as Olga and Grace Lee Whitney . Al Breneman stayed as bellboy without being named in the credits.

Filming

Work on the set

The location for the exterior shots was the Victorian Hotel del Coronado in San Diego

The film was shot under the working title Not Tonight, Josephine in California in September 1958. The film was realized by the production companies Mirisch Corporation and Ashton Productions for United Artists . The Hotel del Coronado in San Diego , California acted as the Seminole Ritz Hotel in Miami . The house was chosen because it is not far from Los Angeles and optically fits in with the time of the film. The shooting was Charles Lang , with 18 Oscar nominations one of the most successful cinematographers of all time, and the twice Oscar-nominated film editor Arthur P. Schmidt on board, who both worked several times for Billy Wilder. Although Marilyn Monroe's contract actually stipulated that her films would be produced in color, Wilder had chosen to shoot in black and white . The make-up of Tony Curtis and Jack Lemmon in their disguise as women would have looked too mask-like in color next to that of Marilyn Monroe. Wilder also had a transvestite flown in from Berlin to teach Lemmon and Curtis.

Back then, a day of shooting cost $ 20,000. Monroe, who was pregnant at the time of filming, added to the cost by screwing up scenes very often, even if she only had a short sentence or two to say. In total, she extended the shoot by 20 days. Wilder describes in his memories that she should knock on the door of her friends room and say: "It's me, Sugar!". Instead she kept saying, "Sugar, it's me!" Jack Lemmon and Tony Curtis even placed bets on how many takes Monroe would take while filming . For the scenes on the hotel beach, however, an extra three days of shooting were scheduled because the Navy always had to be interrupted after a few minutes due to the military aircraft taking off and landing at the nearby airport. Despite long and difficult text passages and six pages of script, Marilyn managed to do everything in the first or second take, so that after 20 minutes the entire film excerpt was completely shot.

When Billy Wilder and his co-author IAL Diamond needed a punch line for the very last scene the night before the final scene was shot, they couldn't think of anything suitable. Finally, Diamond suggested the famous final sentence, “Nobody's perfect!”. Wilder did not find the sentence particularly original, but for want of a better idea left it in the hope that they would come up with another solution. Diamond wanted the sentence in the film and saw the strength of the sentence in the element of surprise. Audiences love to anticipate things. Even the dumbest viewer knows that Jerry's last sentence would be "I am a man". The viewer also expects a horrified reaction from Osgood. In order to surprise the audience, the final sentence had to be as dry as possible.

Differences in the team

Curtis caused a stir and irritation. When a colleague asked what it was like to kiss Marilyn Monroe, he replied that it was “kissing like Hitler”. After first vehemently denying having said this, Curtis later admitted it and stated, “I said that as a joke. I mean, it was such a damn stupid question, and so I gave a stupid answer. ”The truth was, she kissed very well and he was very fond of Marilyn, who he dated for eight weeks in 1949. However, at the time of filming, she was already completely confused and without self-confidence.

Marilyn Monroe suffered from poor concentration due to her pill addiction. Often she hadn't learned her lines or wasn't satisfied with the recordings. She was also greatly influenced by her acting coach Paula Strasberg and her husband Arthur Miller , who often clashed with Wilder. On the weekends she flew to her doctor in New York . Under the impression of the unnerving filming, Wilder later replied to a columnist's question whether he would do another project with Marilyn Monroe: “I talked about it with my doctor and my psychiatrist, and they both said I was too old and too rich to go through that again. ”Some time later, given the tremendous success of the film, Wilder extolled Marilyn's unparalleled talent and announced that it would be a privilege for her to work for him again. In 2000, Wilder said, “It was one of the easiest films to make, including the problems with Marilyn Monroe. But we got her and had to live with her, we got her through the movie and she was great. She played a leading role, but was also part of the ensemble. "

Equipment, music and advertising

The Design was created under the direction of Ted Haworth, Edward G. Boyle was responsible for the film features the flavor of the time responsible. The interior shots were made in the Metro-Goldwyn-Mayer Studios. This is where not only the interiors of the nightclub, offices, railroad and hotel were created, but also, with the exception of the chase scene at the beginning of the film, the scenes in the streets of Chicago.

The costume designer Orry-Kelly was initially only commissioned to make the costumes for Marilyn Monroe. Tony Curtis and Jack Lemmon were to be dressed from the costume store of Western Costumes . They were given clothes to try on that had previously been worn by female film stars such as Loretta Young or Debbie Reynolds . Although attempts were made to change them, they did not match the stature of the two male actors. Finally, Tony Curtis turned to Billy Wilder and managed to get Orry-Kelly to make the women's costumes for him and Lemmon. Marilyn Monroe liked one of the dresses that had been sewn for Jack Lemmon so much that she wore it herself after making small changes. The hair of all musicians in the ladies' band was dyed an identical, medium- blonde shade . Only Marilyn Monroe was allowed to shine in a striking platinum blonde.

Dance of Daphne and Osgood
Tango La Cumparsita

The film music was composed by the American Adolph Deutsch , who had received the Oscar three times in the previous years . Jazz musician Matty Malneck was responsible for the songs . Monroe sings the evergreen I Wanna Be Loved by You as well as Runnin 'Wild and I'm Through with Love , famous songs of that era.

After the film was finished, the advertising photos for the poster had to be taken. Marilyn Monroe could no longer be available for this because her pregnancy was now obvious. That's why Sandra Warner, who played the saxophone player Emily, made the recordings with Lemmon and Curtis. Marilyn's face was then mounted on her body. A colored movie poster advertised with the joke "Marilyn Monroe and her bosom companions" ("Marilyn Monroe and her bosom friends"). Then the low-necked main actress presents herself with Lemmon and Curtis in women's clothes at her side.

synchronization

The German synchronization of the film took place in 1959 at Ultra-Film GmbH . Marilyn Monroe was dubbed by her regular dubbing voice Margot Leonard , Tony Curtis by Erik Schumann . Jack Lemmon's text was spoken by Georg Thomalla , who eight years earlier played the second musician in the German comedy Fanfares of Love, which was filmed based on the same story .

role actor Voice actor
Sugar "Kane" Kowalczyk Marilyn Monroe Margot Leonard
Joe (Josephine / Shell Junior) Tony Curtis Erik Schumann
Gerald "Jerry" (Daphne) Jack Lemmon Georg Thomalla
Osgood Fielding III. Joe E. Brown Alfred Balthoff
Leggings Colombo George Raft Arnold Marquis
Detective Mulligan Pat O'Brien Siegfried Schürenberg
Little Bonaparte Nehemiah Persoff Werner Lieven
Sweet Sue Joan Shawlee Friedel Schuster
Mr. leg stick Dave Barry Franz-Otto Kruger
Sig Poliakoff Billy Gray Hugo Schrader
Toothpick Charlie George E. Stone Gerd Martienzen
Nellie Weinmeyer Barbara Drew Elisabeth Ried
Johnny Paradise Edward G. Robinson Jr. Axel Monjé
Colombo's first henchman Mike Mazurki Benno Hoffmann
Gas station attendant in garage Otto Czarski

Film analysis

Content design means

Subversive humor and parody

"There are three important rules in filmmaking: you shouldn't be bored, you shouldn't be bored and you shouldn't be bored!"

- Billy Wilder : Quoted in: Der Tagesspiegel

Despite this maxim, Wilder was known for including subtle socio-critical allusions even in his comedies. The living conditions of the less well-off and the lives of the super-rich are portrayed in an ironically exaggerated way. Wilder, who had lived in Berlin for several years, also noted the influence of Weimar cinema, particularly visible in the “ subversive humor” and the play with travesty . In many scenes, behavior towards the opposite sex is parodied , for example when Daphne's leg stick tries to help Daphne get on the train. When she stumbles, he pats her bottom, whereupon Daphne is indignant like a fine lady. This in turn causes Beinstock to comment that they are real ladies. In another scene, Jerry is stunned and tells that he was pinched in the elevator by Osgood. Joe replies laconically that now he knows how his sisters are doing.

Burlesque comedy and erotic innuendos

Above all, as in many of his films, Wilder targets the prudish America of the 1950s. As for sexuality in films, the strict regulations of the Hays Code still applied . In Hollywood films back then, even married couples always had separate beds. The eroticism in Some Like It Hot is limited to a humor that was quite ambiguous for the time, to constantly erotic allusions and to showing Marilyn Monroe in skin-tight, figure-hugging clothes. In her first scene, when she rushes down the platform in high heels, her lascivious swing of her hips is filmed from behind. However, apart from a few kissing scenes, any direct representation of sex is avoided. The imagery is more suggestive when Sugar is wrapped in hot steam or when Junior slowly lifts his leg during the love lesson. In language, ambiguities, sexually connoted ciphers and symbols take on this function. The provisions of the code are cleverly bypassed, for example when Shell asks Junior Sugar where she learned how to kiss like this and she replies that she sold kisses for the milk fund. Junior promises to donate $ 100,000 to the Milk Fund. The heat of the action is alluded to when Sugar notices with satisfaction that Junior's glasses are fogging up. When saying goodbye at the hotel, he generously rounded up the "debt" from $ 850,000 to $ 1 million. What has happened on the yacht in the meantime is left to the audience's imagination. Tony Curtis parodies in his disguise as an uptight oil billionaire Shell Junior Cary Grant and his British accent. Curtis himself is said to have had the idea. Grant was so enthusiastic about Curtis' parody that he wanted him to co-star for the comedy Company Petticoat , which appeared later that year .

Another spicy scene is the conversation between Jerry, alias Daphne, and Joe, who comes back from his rendezvous with Sugar as Shell Junior. Daphne, intoxicated with dancing and the thought that Osgood wants to marry "her", is confronted with the bare facts by Joe. After Joe artfully circled the "problem" of their relationship, he finally asks what they want to do on their honeymoon. Frivolous images are evoked in the viewer without any explicit mention of sex between men. At first Daphne doesn't understand and replies that they either want to go to the Riviera or to Niagara Falls . So that the audience can hear the hint, Wilder has inserted a short pause in conversation after each sentence by Jack Lemmon, in which Daphne reenacts the tango with the maracas . This trick prevents the laughs in the cinema from covering up Tony Curtis' following sentence and thus Wilder's allusions.

Movie quotes

In the run-up to the murder of Colombo and his gang, the film quotes three important works of the gangster film genre. For example, Johnny Paradise, who later became the killer of Colombo and his gang, played with a coin in the log-in scene in the hotel, whereupon Colombo shouted at him angrily, wondering if that wasn't “a really cheap trick”. In the genre classic Scarface , Colombo actor George Raft had also played a supporting role as an aspiring gangster with a coin. The fact that Legaschen-Colombo wants to press a fruit in the face of one of his minions before the banquet begins is reminiscent of the famous grapefruit scene in The Public Enemy of 1931 with James Cagney. The nickname "Little Bonaparte" is an allusion to the gangster classic The Little Caesar (1931) with Edward G. Robinson , who was originally supposed to play Bonaparte. The film mentions that Toothpick Charlie and Bonaparte were friends from childhood. George E. Stone, who played Charlie, played Edward G. Robinson's henchman and friend in Little Caesar .

Staging

Structure in three acts

In terms of dramaturgy, Billy Wilder preferred the structure of the film plot in three acts as in classical theater plays. In his scripts without a template, such as Das Appartement , he constructed the plot himself, otherwise he took a three-act act as the basis. Some like it hot too, follows this structural principle. The first, relatively dramatic act is introduced by a chase and develops the basic motives of the two main actors Joe and Jerry, namely their poverty, the fear of the gangsters and the interest in women, on which the entire further plot is based. The second act is devoted to the amorous entanglements that arise from disguising as women. It is introduced by two pairs of man's legs, clumsily stalking across the platform in women's shoes, and introduces the third main character, the singer Sugar. The third act, beginning with the appearance of the gangsters in the hotel, finally heralds the dramatic end of the mistaken identity comedy. He starts with shoes in close-up, which you can immediately recognize by the gaiters as those of the gangster Colombo.

The director explained his concept of the three-act act in discussions with Volker Schlöndorff . Wilder always laid out his three-acts in such a way that the main actors had to make a moral decision at the end of the third act. In this case it is the unmasking and the admission of love. Sugar decides in favor of love and against her dream of becoming a millionaire, Joe decides to give up his previous vicious life in favor of love. This comes to an end through the irony in the final scene. Wilder liked to arrange the end of the film in such a way that the audience can continue the story in their minds.

Camera, editing and music

For the time, Wilder used modern editing techniques that were new to an audience with no film experience. During the transition from the first to the second act, after Jerry and Joe flee from the gangsters, Joe calls music agent Poliakoff in a female voice. Now it is cut hard on two men's legs stalking awkwardly across a platform in women's shoes. Everything that has to happen in between, dressing up and applying makeup, is left to the audience's imagination and the film gains speed. The gag of suddenly seeing the two protagonists in women's clothes also seems so much stronger. Wilder uses this technique again to introduce the third act. Again, only shoes that stride through the picture are shown. This time they walk across a carpet with the hotel's name on it. The spectator immediately recognizes the gang boss from Chicago by the gaiters. In the first act, the gang boss could only be recognized by his gaiters. The dramatic music increases the feeling of impending danger.

For actions that take place at the same time, the technique of parallel montage is used to keep the viewer up to date. During the love scenes between Sugar and Junior on the yacht , the tango scenes of Daphne and Osgood are repeatedly faded in. In order to create the impression of a quick change of location, the images are blurred between the scenes.

Through the targeted use of music, from tense and hectic in the gangster and chase scenes to soulful in the love scenes, image and sound are compositionally merged. Marilyn Monroe's appearances are accompanied by their own signature melody or short, characteristic tone sequences. An interpretation of I Wanna Be Loved by You , played with a heavily muted trumpet , underlines her sex appeal. The lighting is also cleverly used to underline the glamor of the Monroe. It is particularly staged in the vocal interludes.

Historical background

The historical epoch of the film is the time of the Roaring Twenties in 1929, shortly before the Great Depression . It is the time of prohibition , jazz and flapper girls. The first scenes take place in the Chicago gangster milieu. The organized crime showed little respect for the state, which is illustrated in the film by the behavior of the gangsters against Detective Mulligan. The film villain Legaschen-Colombo runs a funeral home to cover up , the real gangster Dean O'Banion used a flower shop as his headquarters. The gangster's outfit, which was considered typical at the time - especially leggings Colombo in pinstripes and leggings - refers to the Chicago outfit under Al Capone . He loved Italian operas just as much as the character of little Bonaparte, whose gangster syndicate invites to the hotel in Miami under the code name “Friends of Italian Opera”. This conference is again an allusion to the National Crime Syndicate , while the theatrical speech by little Bonaparte at the opening of the session is designed as a parody of Benito Mussolini . The massacre in the workshop alludes to the Valentine's Day massacre . Are used Thompson submachine guns that held in the 1920s in Chicago gangster circles feeder. This weapon is used again in the murder of Legaschen-Colombo and his gang.

Numerous well-known people from the Roaring Twenties are mentioned in the film, such as the swimmer star Johnny Weissmüller , the Rockefeller family , gang boss Al Capone , the Viennese neurologist Sigmund Freud , singer Rudy Vallée , the actor Rudolph Valentino , who died in 1926, and the actor couple Douglas Fairbanks senior and Mary Pickford .

To conquer Sugar, Joe poses as a Shell junior. In a later scene, Sugar replies to the advice to forget about Shell Junior, "How can I? There is a Shell petrol station wherever I go. ”The film takes place in February 1929, but the first Shell petrol station only opened in America in December 1929.

reception

Popular success

Some Like It Hot was released in American cinemas on March 29, 1959 and became a great financial success., The film was produced for around $ 2.9 million and grossed around $ 25 million in the United States alone. The comedy was also very successful in other countries. It was released in German cinemas on September 17, 1959. It was first shown on German television in 1972, is still repeated today and is available in several versions on DVD . The comedy is considered the best known of the numerous films by Billy Wilder and was the most successful by Marilyn Monroe .

criticism

United States

Some like it hot received excellent reviews when the film opened. The direction, the funny plot and the sophisticated dialogues of the clever, burlesque comedy were highlighted. The acting and comedic talent of Monroe, Lemmon and Curtis as well as the supporting actors were also praised. In prudish America of the 1950s, negative criticism was sparked primarily by the freedom of movement of the film. Among other things, the demand was made to remove the yacht scene between Joe and Sugar from the film. The National Legion of Decency, a Catholic film inspection agency, gave the film a “C” rating for “condemned” and saw some like it hot in clear contradiction to Christian traditions. The film is determined by homosexuality and the dialogues are not only ambiguous, but also dirty.

The industry journal of the film industry Variety wrote at the cinema release that Some like it hot was masterfully staged by Billy Wilder and is probably the funniest film in a long time, a crazy, clever, burlesque comedy that starts like fireworks and sparkles until the end . “It may sound trite, but Marilyn has never looked better. There is something deliciously naive about her performance as Sugar, the voluptuous blonde with a penchant for saxophone players and men with glasses. She is a comedian with that mixture of sex appeal and a flair for the right moment that is unbeatable. […] Whether Curtis will play Lemmon on the wall or the other way around is undecided. Both are excellent. ”Archer Winston of the New York Post particularly praised Monroe's performance:“ In a nutshell, Marilyn can be proud to have delivered such a distinct quality that makes you believe it is simply herself and herself, too, who fits so perfectly into this bygone era and this film. " AH Weiler , long-time film critic of the New York Times and chairman of the New York Film Critics Association, described Billy Wilder's film in 1959 as overly long, sometimes constructed, but at the same time as an incredibly funny string of variations of the age-old gag of men in women's clothes.

“Mister Wilder, supported by equally talented actors like Marilyn Monroe, Jack Lemmon and Tony Curtis , surprisingly managed to turn a completely implausible story into a dissolute farce in which a really comical plot competes with snappy and sophisticated dialogues. [...] Mr. Wilder and his staff use [...] explosive punchlines. "

- Abe H. Weiler : New York Times , March 30, 1959

In 2000, BBC 's Michael Thomson called Some Like It Hot “one of those rare films in which all the elements are constantly merged. Both Curtis and Lemmon show a real sense of both sexual ambiguity and exuberant silliness, while Marilyn counteracts the antics of the two rascals with the appropriate innocence. Wilder shows all three in extraordinarily comical scenes which, original and with perfect timing, combine slapstick and sharp wit. A top comedy beyond compare. ” Some like it hot is now considered Billy Wilder's masterpiece and a model of comedic perfection, thanks to the ingenious script by IAL Diamond and Billy Wilder and the great acting skills of Tony Curtis, Jack Lemmon and Marilyn Monroe. Also in 2000, the Pulitzer Prize winner for film reviews named Roger Ebert Wilder's comedy as one of the “enduring treasures of film”, which testifies to inspiration and meticulous craftsmanship that is all about sex, even though he pretends to do it it's about crime and greed.

“Imbued with Wilder's cheerful cynicism, no time is wasted on maudlins and everyone behaves according to Darwinian theory . But then the characters are taken by surprise with sincere feelings: Joe thinks he just wants sex, Sugar thinks she just wants money, and they are both amazed and delighted to find they just want each other. "

- Roger Ebert : Roger Ebert for Chicago Sun-Times , January 9, 2000

Germany

In Germany, the reactions to Some Like It Hot were mostly positive. Because of the sexual "slipperiness" and the "brutality" - including men in women's clothes, several people are shot - as well as the consumption of alcohol, the German FSK initially released the film from the age of 18 and it was prohibited to show it on public holidays. The age was later reduced to 16, which according to current estimates is still often viewed as too high. Der Spiegel certified Billy Wilder's successful film farce that the success of a cinema piece is not determined by the subject , but by its preparation.

“[…] The director of ambitious cinema dramas […] bought the stale German disguise 'Fanfares of Love', provided it with a parody of the gangster regiment of the twenties and ran through the fable - two musicians smuggle themselves into a ladies' band - with one Chain of funny ideas. Then he let Hollywood men Tony Curtis and Jack Lemmon act in women's clothes and hired Marilyn Monroe in a negligee. The result: A masterfully trimmed-to-order suit of nimble wit that only threatens to be drowned out by the roar of the audience. "

- Der Spiegel , September 16, 1959

Standard film works of the 1960s accused comedy of its "consistently cynical perspective" based on a pessimistic attitude. This assessment changed fundamentally in the German-speaking area in the following decades. Here, too, the film is now regarded as a timeless classic and Wilder's masterpiece. The lexicon of international films describes some like it hot as a fast-paced and convincingly cast comedy developed with “wonderful humor and lively dialogues. The accurate parody of gangster films and melodramas does contain some coarseness, but also enables insights into the usual role behavior. "Florian Tritsch from Moviemaze certified Wilder a first-class sense of speed, the right balance between quieter, more soulful scenes and fast-paced comedy, a good story and a really first-class cast with three Hollywood stars in top form. With Some Like It Hot , "Director Billy Wilder created a timeless classic that has lost none of its entertainment value to this day."

In 2013 the German director Tom Tykwer Some Like It Hot was one of the ten style-defining masterpieces of the film. He wrote: “Probably the most outrageous and at the same time smartest comedy of all time. Starts as a tough gangster film, turns into fumbling clothes and culminates in revolutionary queer fireworks. "

Awards

The costume designer Orry-Kelly was honored with the Oscar for the best costumes in black and white in 1960 . In total, the film was nominated for six Academy Awards. The other nominations were: best leading actor for Jack Lemmon, best equipment in a black and white film, best camera, best director and best adapted screenplay. In two categories, however, the film had to give way to Ben Hur and Anne Frank's diary . At the Golden Globe Awards in 1960, the film was named best comedy . Jack Lemmon and Marilyn Monroe received awards for best leading actor and best leading actress in a comedy.

Aftermath

Remake

The Turkish filmmaker Hulki Saner produced a remake in 1964 under the name Fistik gibi masallah and another in 1970 under the title Fistik Gibi .

Adaptation as a musical

Tony Curtis (2004)

Around 1970 Michael Stewart made an attempt to adapt the film material as a musical . George Axelrod continued work on the book, which had the working title Doing it all for Sugar , but failed due to dramaturgical difficulties that arose in the second act. By then, composer Jule Styne and lyricist Bob Merrill had already written songs. In September 1971 Peter Stone took over the work on the book and finished it with the help of Neil Simon. The biggest problem with the adaptation was that the breathtaking dynamics of the film editing and elements such as car chases and grimaces, to which the film owes its attraction, were inevitably omitted on the stage. Under the title Sugar , the play was premiered on March 29, 1972, from April 9, 1972 it ran on Broadway at the Majestic Theater , produced by David Merrick . After a total of 505 performances, it was finally canceled on June 23, 1973. In the original cast, Robert Morse appeared as Jerry aka Daphne, Tony Roberts as Joe aka Josephine, Elaine Joyce as Sugar Kane and Cyril Ritchard in the role of Osgood. The set was designed by Robin Wagner. In 1973 the musical was nominated for a Tony Award for Best Musical , but lost to Stephen Sondheim's and Hugh Wheeler's A Little Night Music . From 2002 to 2003 Tony Curtis toured the US with the musical - this time as Osgood Fielding. Since 1989 Sugar has occasionally been performed in Germany.

Cultural influence

Billy Wilder's gravestone alluding to the famous final sentence "Nobody's perfect"

Joe E. Brown's final sentence was to become legendary. “Well, nobody's perfect!”, In German: “So what? Nobody is perfect! ”Or, in short:“ Nobody is perfect! ”Has also become a saying in German. The phrase was voted one of the 100 Most Important Film Quotes by the American Film Institute . Wilder said: “'Nobody's perfect' is the sentence that best sums up my entire work. There is no comedy or drama with perfect people. ”Billy Wilder decided that“ Nobody's perfect ”should be on his tombstone. This wish was granted to him.

The rock band Die Ärzte used Lemmon's dubbing voice in 1998 to say “Men? Those horrible, hairy beasts ... “in men are pigs . The sentence, spoken by Georg Thomalla , was recorded in the original sound of the song.

Because of the parody of typically female and male gender behavior, the film is often an object of investigation in the context of research on gender identity in the media.

Film historical significance

The film was one of the last great films from Hollywood's golden era and is now considered the best-known film by both Marilyn Monroe and Billy Wilder . More clearly than almost all films of the time, it contains slipperiness and allusions to gender behavior and thus provoked the audience. The success of Some Like It Hot, as well as Hitchcock's thriller Psycho , contributed to the loosening and ultimately to the dissolution of the Hays Code .

The American Film Institute voted the film 14th of the 100 best American films of all time in 1998 and number 1 of the 100 best American comedies of all time in 2000 . In 2007 it was voted number 22 of the best American films. In 2017, Some Like It Hot ended up in first place in a BBC survey of 253 film critics from 52 countries on the best comedy in film history. The film appears on almost all leaderboards. As early as 1989, Some Like It Hot was included in the National Film Registry .

literature

  • Thomas Bräutigam: Stars and their German voices. Lexicon of Voice Actors (With detailed filmography on CD-ROM). Schüren, Marburg 2009, ISBN 978-3-89472-627-0 .
  • Alison Castle (ed.), Dan Auiler (interviews): Billy Wilder's Some like it hot . Taschen, Cologne 2001, ISBN 3-8228-6056-5 . (Interviews with Billy Wilder, Tony Curtis, Jack Lemmon and others; German, English, French).
  • Cameron Crowe : Was it fun Mr. Wilder? (Original title: Conversations With Wilder, translated by Rolf Thissen ). Diana, Munich / Zurich 2000, ISBN 3-8284-5031-8 .
  • Tony Curtis: The Making of Some Like It Hot . Wiley & Sons, Hoboken NJ, 2009, ISBN 978-0-470-53721-3 (English).
  • Glenn Hopp: Billy Wilder, all the films . Taschen, Cologne 2003, ISBN 3-8228-1685-X .
  • Hellmuth Karasek: Billy Wilder - A close-up . Hoffmann and Campe, Hamburg 1992 (updated and expanded new edition: 2006, ISBN 3-455-09553-4 ).
  • Kevin Lally, Wilder Times: The Life of Billy Wilder . Henry Holt & Co, 1996, ISBN 0-8050-3119-7 (English).
  • Michaela Naumann: Billy Wilder - behind the mask of comedy: the critical handling of the cultural self-image of American identity (= Marburger Schriften zur Medienforschung , Volume 22). Schüren, Marburg 2010, p. 69ff, ISBN 978-3-89472-724-6 (Dissertation University of Marburg, 2011, 384 pages).
  • Neil Sinyard, Adrian Turner, Heinz-Gerd Rasner: Billy Wilder's films (conversation with Billy Wilder. Internat. Film Festival Berlin. Foundation German Kinemathek, original title: Journey Down Sunset Boulevard . Translations by HU Lederer). Spiess, Berlin 1980, ISBN 3-88435-011-0 .
  • Ed Sikov: On Sunset Boulevard: The Life and Times of Billy Wilder . Hyperion, 1999, ISBN 0-7868-8503-3 (English).
  • Nicole Walther: Musical diversification in the film “Some Like It Hot”. The relation between background knowledge and the application of film music. Diploma thesis (Magister Philosophy) in musicology, University of Vienna 2008, 204 pages. 2008, accessed on January 8, 2015 (full text, online, free of charge, PDF, 204 pages, 1.4 MB).
  • Billy Wilder, IAL Diamond; Reinhard Gratzke (Ed.): Some Like It Hot. Screenplay. (= Reclams Universal Library - Volume 19753 - Foreign Language Texts ). Reclam, Stuttgart 2008, ISBN 978-3-15-019753-0 .

Web links

Individual evidence

  1. ↑ Some Like It Hot. Encyclopædia Britannica , accessed July 20, 2013 .
  2. ↑ AFI's 100 Years ... 100 Laughs. AFI's 100 Funniest American Movies Of All Time. American Film Institute , accessed January 24, 2013 .
  3. ↑ Some Like It Hot (1959). Trivia. Internet Movie Database , accessed May 22, 2015 .
  4. ↑ Fanfares of love . ( Memento of the original from February 2, 2013 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. Film service. @1@ 2Template: Webachiv / IABot / www.film-dienst.de
  5. ↑ Cameron Crowe: Was it fun, Mr. Wilder? engl. Original title: Conversations with Wilder . Diana Verlag, 2000, ISBN 3-8284-5031-8 , p. 161.
  6. ↑ Glenn Hopp: Billy Wilder, all films . Taschen Verlag, Cologne 2003, ISBN 3-8228-1685-X , p. 122.
  7. ↑ Alison Castle (Ed.): Billy Wilder's Some like it hot . Taschen, 2001, ISBN 3-8228-6056-5 , p. 191.
  8. ^ Tony Curtis: The Making of Some Like It Hot . Wiley & Sons, Hoboken NJ 2009, ISBN 978-0-470-53721-3 , p. 71.
  9. ↑ Alison Castle (Ed.): Billy Wilder's Some like it hot . Taschen, 2001, pp. 121-122.
  10. ↑ Audrey Wilder, Jack Lemmon, Barbara Diamond: Billy Wilders Some like it hot . Taschen, Cologne 2001, ISBN 3-8228-6056-5 , pp. 292/293 u. 297.
  11. ↑ Jack Lemmon and Barbara Diamond in: Billy Wilders Some like it hot . Taschen, 2001, ISBN 3-8228-6056-5 . P. 293
  12. ↑ Alison Castle (Ed.): Billy Wilder's Some like it hot . Taschen, 2001, p. 130.
  13. ↑ Cameron Crowe : Was it fun, Mr. Wilder? engl. Original title: Conversations with Wilder . Diana Verlag, 2000, p. 162.
  14. ↑ Cameron Crowe : Was it fun, Mr. Wilder? engl. Original title: Conversations with Wilder . Diana Verlag, 2000, ISBN 3-8284-5031-8 .
  15. ↑ Susanne Weingarten, Martin Wolf: The American Venus . In: Der Spiegel . No. 31 , 2002, p. 130 ( online ).
  16. ↑ Donald Spoto: Marilyn Monroe. The biography . Wilhelm Heyne Verlag , Munich 1993, ISBN 3-453-06919-6 , p. 387.
  17. ↑ Alison Castle (Ed.): Billy Wilder's Some like it hot . Taschen, 2001, p. 240.
  18. ↑ Alison Castle (Ed.): Billy Wilder's Some like it hot . Taschen, 2001, p. 24.
  19. ↑ Some Like It Hot. Note . American Film Institute ; accessed November 11, 2013.
  20. ↑ Alison Castle (Ed.): Billy Wilder's Some like it hot . Taschen, 2001, p. 238.
  21. ↑ Tobias Kniebe: Two old grumblers . In: Focus , No. 18, May 2, 1994. Retrieved February 17, 2013.
  22. ↑ Alison Castle (Ed.): Billy Wilder in Billy Wilder's Some like it hot . Taschen, 2001. p. 238
  23. ↑ George Raft Aids Defense at Trial of Bugsy Siegel . Los Angeles Times Blog . Retrieved November 12, 2013.
  24. ↑ Jeffrey Meyers: The Genius and the Goddess: Arthur Miller and Marilyn Monroe . University of Illinois Press, 2010, ISBN 978-0-252-03544-9 , p. 193.
  25. ↑ Tony Curtis in: Billy Wilder's Some like it hot . Taschen, Cologne 2001, ISBN 3-8228-6056-5 , pp. 137/240.
  26. ↑ Gary Cahall: Here's to the Henchman . ( Memento of the original from October 6, 2014 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. Moviefanfare, April 30, 2010. Retrieved November 11, 2013. @1@ 2Template: Webachiv / IABot / www.moviefanfare.com
  27. ↑ Alison Castle (Ed.): Billy Wilder's Some like it hot . Taschen, 2001, p. 31, cf. also p. 131 and p. 159.
  28. ↑ Alison Castle (Ed.): Billy Wilder's Some like it hot . Taschen, 2001, p. 24.
  29. ↑ Hellmuth Karasek : Billy Wilder - A close-up . Hoffmann and Campe, Hamburg 1992. (updated and expanded new edition. 2006, ISBN 3-455-09553-4 )
  30. ↑ Donald Spoto: Marilyn Monroe. The biography . Wilhelm Heyne Verlag , Munich 1993, ISBN 3-453-06919-6 , p. 388.
  31. ↑ Jack Lemmon in: Billy Wilder's Some like it hot . Taschen, 2001, ISBN 3-8228-6056-5 . P. 260
  32. ↑ Jack Lemmon in: Billy Wilder's Some like it hot . Taschen, 2001, ISBN 3-8228-6056-5 . P. 277
  33. ↑ a b c Volker Schlöndorff : Billy Wilder in Billy Wilder speaks . Some like it hot. DVD, October 2006.
  34. ↑ Billy Wilder, Alison Castle (ed.), Dan Auiler: Billy Wilder's Some like it hot . Taschen, 2001, ISBN 3-8228-6056-5 , p. 255 (statement by Barbara Diamond).
  35. ↑ Cameron Crowe : Was it fun, Mr. Wilder? engl. Original title: Conversations with Wilder . Diana Verlag, 2000, ISBN 3-8284-5031-8 , p. 42.
  36. ↑ Petronella Wyatt: Tony Curtis on Marilyn Monroe: It was like kissing Hitler! In: Mail Online. Associated Newspapers Ltd, April 18, 2008, accessed April 4, 2015 .
  37. ^ Tony Curtis: The Making of Some Like It Hot . John Wiley & Sons, 2009.
  38. ↑ Walter Mirisch in: Billy Wilder's Some like it hot . Taschen, 2001, ISBN 3-8228-6056-5
  39. ↑ Donald Spoto: Marilyn Monroe. The biography . Wilhelm Heyne Verlag, Munich 1994, p. 394.
  40. ↑ Alison Castle (Ed.): Billy Wilder's Some like it hot. Taschen, 2001, p. 287.
  41. ↑ Tony Curtis and Jack Lemmon in: Billy Wilder's Some like it hot . Taschen, Cologne 2001, ISBN 3-8228-6056-5 , p. 263.
  42. ↑ Hellmuth Karasek : Billy Wilder - A close-up . Hoffmann and Campe, Hamburg 1992. (updated and expanded new edition. 2006, ISBN 3-455-09553-4 )
  43. ↑ Sandra Warner replaces Marilyn Monroe on a promotional photo for 'Some Like It Hot'. gettyimages.com.
  44. ↑ Thomas Bräutigam : Stars and their German voices. Lexicon of voice actors (data CD). Schüren-Verlag, Marburg 2009, ISBN 978-3-89472-627-0 .
  45. ↑ Voice actors for Some Like It Hot . ( Memento of the original from November 5, 2017 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. In: synchronous database. private website. Retrieved February 27, 2014. @1@ 2Template: Webachiv / IABot / www.synchrondatenbank.de
  46. ↑ Voice actors for Some Like It Hot . In: German synchronous card index. private website. Retrieved February 19, 2013. (Note: H. Hoffmann is not 100% guaranteed as Mazurki's voice actor.)
  47. ↑ Matthias Kalle: Til Schweiger sticks to the rules . In: Der Tagesspiegel , March 15, 2013. Retrieved November 11, 2013.
  48. ^ Billy Wilder in the Austria forum . Retrieved February 17, 2013.
  49. ↑ Some like it hot in the retrospective A Weimar Touch at the Berlinale 2013 ( Memento of the original from March 4, 2013 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. . Berlinale . Retrieved February 13, 2013.  @1@ 2Template: Webachiv / IABot / www.berlinale.de
  50. ↑ Cameron Crowe : Was it fun, Mr. Wilder? engl. Original title: Conversations with Wilder . Diana Verlag, 2000, ISBN 3-8284-5031-8 , pp. 38/39.
  51. ↑ Hellmuth Karasek : Billy Wilder - A close-up . Hoffmann and Campe, Hamburg 1992 (updated and expanded new edition 2006, ISBN 3-455-09553-4 ).
  52. ↑ Some Like It Hot . American Film Institute . Retrieved November 12, 2013.
  53. ↑ Cameron Crowe : Was it fun, Mr. Wilder? engl. Original title: Conversations with Wilder . Diana Verlag, 2000, ISBN 3-8284-5031-8 , p. 67.
  54. ↑ Hellmuth Karasek : Billy Wilder - A close-up . Hoffmann and Campe, Hamburg 1992 (updated and expanded new edition 2006, ISBN 3-455-09553-4 ).
  55. ↑ Jeffrey Meyers: The Genius and the Goddess: Arthur Miller and Marilyn Monroe . University of Illinois Press, 2010, ISBN 978-0-252-03544-9 , p. 193.
  56. ↑ Hellmuth Karasek : Billy Wilder - A close-up . Hoffmann and Campe, Hamburg 1992. (updated and expanded new edition. 2006, ISBN 3-455-09553-4 )
  57. ↑ Alex Raynor: Some Like It Hot (1959) movie script. In: Screenplays for You. Retrieved April 4, 2015 .
  58. ↑ movie script from Some Like It Hot Script - Dialogue Transcript . Private website script-o-rama . Retrieved January 22, 2013.
  59. ↑ Donald Spoto: Marilyn Monroe. The biography . Wilhelm Heyne Verlag, Munich 1994, p. 394.
  60. ↑ Release Info. Internet Movie Database , accessed May 22, 2015 .
  61. ↑ Some like it hot . Credits. Film service . Retrieved February 15, 2015.
  62. ↑ Alison Castle (Ed.): Billy Wilder's Some like it hot . Taschen, 2001, p. 326.
  63. ↑ Some Like It Hot (1959). Notes . Critique of the National Legion of Decency . Turner Classic Movies website. Retrieved November 12, 2013.
  64. ↑ Review Some Like It Hot . In: Variety, February 24, 1959. Retrieved February 21, 2013.
  65. ↑ Michael Conway, Mark Ricci: The Films of Marilyn Monroe . The Citadel Press, Secaucus, New Jersey 1964, ISBN 0-8065-0145-6 , p. 145.
  66. ^ Abe H. Weiler: Some Like It Hot: 2-Hour Comedy . New York Times , March 30, 1959. Retrieved November 12, 2013.
  67. ↑ Michael Thomson: Some Like It Hot (1959) . BBC , October 17, 2000. Retrieved November 22, 2013.
  68. ↑ Roger Ebert's review of Some Like It Hot . Roger Ebert's website at Chicago Sun-Times . Retrieved February 21, 2013.
  69. ↑ The American Venus . In: Der Spiegel . No. 38 , 1959, pp. 69 ( online ).
  70. ↑ Dietrich Kuhlbrodt: Kuhlbrodts Critique in Concrete . In: Konkret , June 2006. Retrieved on February 23, 2013.
  71. ↑ Some like it hot. In: Lexicon of International Films . Film service , accessed March 2, 2017 .Template: LdiF / Maintenance / Access used 
  72. ↑ Florian Tritsch: Some like it hot on Moviemaze. Retrieved April 1, 2013.
  73. ↑ Tom Tykwer: Educated instead of googled. Movie. In: Focus Online . Focus Magazin No. 35 (2013), August 26, 2013, accessed on September 8, 2013 .
  74. ↑ Fistik gibi masallah (1964) in the Internet Movie Database (English)
  75. ^ Hobe Morrison: Still Summer on Broadway. New Season Mostly Rumors , The Herald Statesman, Yonkers, NY, Sep. 14, 1971, p. 13.
  76. ^ Glen Litton: Musical Comedy in America . From The King and I to Sweeney Todd. Routledge, New York 1991, ISBN 0-87830-564-5 , pp. 303 .
  77. ^ Sugar. In: playbillvault. Retrieved September 14, 2014 .
  78. ^ Sugar . Internet Broadway Database. Retrieved November 16, 2013.
  79. ↑ Some Like It Hot. Note . American Film Institute . Retrieved November 12, 2013.
  80. ↑ Sugar (some like it hot). Website of Felix Bloch Erben - Publishing House for Stage, Film and Funk, accessed on September 14, 2014 .
  81. ↑ Sugar - some like it hot. Staatstheater Wiesbaden, 2011. (No longer available online.) Website musicalfreunde.de, archived from the original on September 14, 2014 ; accessed on April 29, 2019 .
  82. ↑ Cameron Crowe : Was it fun, Mr. Wilder? , engl. Original title: Conversations with Wilder . Diana Verlag, 2000, ISBN 3-8284-5031-8 , p. 42.
  83. ↑ Hellmuth Karasek : Billy Wilder. A close up . Hoffmann and Campe, Hamburg 1992, updated and expanded new edition, 2006, ISBN 3-455-09553-4 .
  84. ↑ Alison Castle (Ed.): Billy Wilder's Some like it hot . Taschen, 2001, p. 24.
  85. ↑ AFI's 100 Years… 100 Movie Quotes . American Film Institute , June 22, 2005. Retrieved November 12, 2013.
  86. ↑ Charlotte Chandler: Not the Girl Next Door . Simon & Schuster, New York 2002.
  87. ↑ See Michael V. Tueth: Reeling with Laughter. American Film Comedies from Anarchy to Mockumentary . Scarecrow Press, 2012, p. 90.
  88. ↑ Peter Lev: The Fifties. Transforming the Screen 1950-1959 . University of California Press, Berkeley / Los Angeles 2003, ISBN 0-520-24966-6 , p. 94.
  89. ↑ AFI's 100 Years ... 100 Movies. 100 Greatest American Films Of All Time. American Film Institute , June 20, 2007, accessed September 15, 2014 .
  90. ↑ BBC Critic Survey: These are the Hundred Best Comedies. In: Spiegel Online , August 22, 2017, accessed on August 25, 2017. The 100 greatest comedies of all time. In: BBC Culture , August 22, 2017, accessed August 25, 2017.
  91. ^ National Film Registry Titles 1989-2013. National Film Preservation Board, September 9, 2014, accessed September 20, 2014 .
This version was added to the list of articles worth reading on November 23, 2013 .