Some Like It Hot is a 1959 comedy film directed by Billy Wilder.The year is 1929 or thereabouts. Joe (Tony Curtis) and Jerry (Jack Lemmon) are Chicago jazz musicians who become witnesses to the Valentine's Day Massacre. Unfortunately, being known to be a witness to a massacre is something the mob will kill people over, and Joe and Gerald have been spotted, so they need to get out of Chicago fast.It so happens that an all-girl band which is leaving town has openings for a bass player and a tenor saxophonist. This does mean that Joe and Jerry will have to pretend to be women, but they consider this better than dying. They introduce themselves as Josephine and Daphne (Jerry prefers that to Geraldine).The lead singer of the band is called Sugar, and she is beautiful (Marilyn Monroe!). She has a weakness for tenor saxophonists, which is why her current band is girls only (she thinks). She is attractive to the men, and they both have to remember that they're supposed to be girls.The train ends up in Miami, where the band has a gig in a hotel. Sugar expresses the desire to be romanced by a millionaire, and Joe decides to take up another ID as a (male) millionaire to court her. Meanwhile, real millionaire Osgood Fielding III (Joe E. Brown) is courting Daphne, and Daphne is starting to like it for more than the presents... which is unfortunate, since he's still a guy biologically.The coup de grāce is when Joe and Jerry/Daphne eventually learn that the hotel is booked for a friends of Italian opera convention...
This film provides examples of:
Abhorrent Admirer: The young bellhop to "Josephine" and Osgood to "Daphne"...at first.
Aborted Arc: At the beginning of the train trip, Sweet Sue tells Beinstock that she thinks there's "something funny about those new girls" and he tells her he'll keep an eye on them. Nothing further ever comes of this.
Different for Girls: Lampshaded as Jerry tries to figure out how to walk in heels, just as Sugar walks by them with a... memorable demonstration. Many years later, a movie reviewer asked Tony Curtis why his "Josephine" was so much more feminine than Jack Lemmon's "Daphne". A laughing Curtis explained that he was so scared to be playing a woman (or a man pretending to be one) that his tightly wound body language could be read as demure and shy, traditionally feminine traits, whereas Lemmon, who was completely unbothered, and "ran out of his dressing room screaming like the Queen of the May," kept much more of his masculine body language.
Dirty Old Man: Osgood. Jerry even names him as such at one point.
"Jerry, boy, why do you have to paint everything so black? Suppose you got hit by a truck? Suppose the stock market crashes? Suppose Mary Pickford divorces Douglas Fairbanks? Suppose the Dodgers leave Brooklyn? Suppose Lake Michigan overflows?"
Hollywood Darkness: The scenes when Sugar is running out to meet Joe after the concert are full of shadows and a bright sky...at one o'clock in the morning.
In fairness, there was a full moon.
Homoerotic Subtext: So very much, particularly for 1959. At one point Jerry-as-Daphne seems to be developing genuine romantic feelings for Osgood, much to Joe's consternation (and we later find out that Osgood is completely unfazed by Jerry's real gender). Also, Sugar doesn't seem to initially mind getting a full-on kiss from Josephine. On a side note, Joe and Jerry are Heterosexual Life-Partners, Joe is very insistent that they do everything together and that what's Jerry's is his and while Jerry vocally objects, he goes along with it anyway.
Though the last case may be more akin to them being like brothers, with Jerry being the little brother who gets bullied into doing things he doesn't want to.
Ironic Echo: When Jerry (Daphne) and Joe (Josephine) first get on the train and see all the other women, Jerry starts salivating over the prospect, and Joe has to tell him to keep telling himself, "I'm a girl." Later, after "Daphne" has accepted Osgood's proposal of marriage, Joe has to tell him again to keep telling himself, "I'm a boy."
"I'm a girl. I'm a girl. I wish I was dead. I'm a girl."
It Will Never Catch On: "Suppose the stock market crashes. Suppose Mary Pickford divorces Douglas Fairbanks. Suppose the Dodgers leave Brooklyn!"
Jerry's reaction to Joe's millionaire voice ("And where did you get that phony accent from? Nobody talks like that!"). It's actually Tony Curtis doing a Cary Grant impression.
Meganekko: Sugar believes that men who wear glasses are more gentle and vulnerable. Joe takes full advantage of this by dressing up as a bespectacled millionaire, though he behaves more like a Stoic Spectacles.
Misplaced-Names Poster: Some home video covers show Marilyn Monroe's name above Josephine, and Tony Curtis' name above Sugar. Jack Lemmon's name always seems to end up in the correct place (above Daphne).
Momma's Boy: Osgood's mother gets the last word in who her son's allowed to marry. Considering his age, it's a wonder she's even still alive.
Orphaned Punchline: "So the one-legged jockey says, 'Don't worry about me, baby, I ride sidesaddle!!' ", although the very beginning of the joke is told a few scenes before, when Josephine and Daphne are introduced to the band.
Pretty in Mink: Aside from the flapper era coats, Sugar wears a fox wrap for her date.
Unusual Euphemism: You didn't think the mafia convention called itself a mafia convention?
Unsympathetic Comedy Protagonist: While Jerry is a bumbling but well-meaning character, Joe comes across as a total sleazebag who is not above lying, theft and even cruelty to children just to get into Sugar's pants.
Wealthy Yacht Owner: Joe seduces Sugar Kane by pretending to be a millionaire with a yacht anchored offshore. Fortunately Osgood, a real millionaire, is in love with Daphne (really Joe's friend Jerry Disguised in Drag), so while he takes Daphne for a night on the town, Joe sneaks Sugar into Osborne's yacht and pretends it's his.