YMMV / Some Like It Hot

• Alternative Character Interpretation: Some people have taken Osgood's completely nonplussed reaction to "Daphne's" confession of actually being a man in drag as an indication that he'd already figured it out on his own.
• Award Snub: It received six Academy Award nominations and won for Best Costume Design, but it wasn't up for Best Picture. While Jack Lemmon was nominated for Best Actor, neither Tony Curtis nor Marilyn Monroe were nominated.
• Ensemble Dark Horse: Many find Osgood Fielding to be the funniest and most memorable character in the movie.
• Fair for Its Day: When you take the Values Dissonance and Values Resonance below and put them together, you get this trope.
• It Was His Sled: Jerry/Daphne reveals his true gender to Osgood and the latter's cool with it.
• Once Original, Now Common: At the time, the joke with the line "Nobody talks like that" is that Tony Curtis was doing an impression of his idol Cary Grant, whose voice hadn't yet been heard on film in 1929. Grant's distinctive transatlantic accent quickly faded out of fashion and is now viewed as a relic of the 1930s and '40s, likely causing people to just take it at face value.
• One-Scene Wonder: Nehemiah Persoff as Little Bonaparte.
• Retroactive Recognition:
  • Sugar's fiddle player is Grace Lee Whitney.
  • Nehemiah Persoff, better known for his later roles such as Reb Mendel in Yentl and as the voice of Papa Mousekewitz in the American Tail movies, plays a mobster known as Little Bonaparte.
• Signature Scene: The ending: "Well, nobody's perfect!" That final line ranks #48 on AFI's 100 Years...100 Movie Quotes and is even paid homage to on Billy Wilder's gravestone.
• Trans Audience Interpretation: Not only does Jerry apparently come to enjoy pretending to be a woman, one scene has him forget he's actually a man and cheerfully announce that he's going to marry the (male) millionaire Osgood, much to Joe's bewilderment. This has led many 21st-century viewers to interpret Jerry as genderfluid, a view that the 2022 musical adaptation wholeheartedly embraces.
• Values Dissonance: Jerry's and Joe's respective methods of seducing Sugar come off a little rapey by today's standards.
  • Jerry tries to get her drunk while pretending to be a woman to lure her into a false sense of security (presumably so he can have his way with her while she's too intoxicated to know what's going on or remember that her band mate "Daphne" is a man in the morning). He lampshades this by saying "This may even turn out to be a surprise party!" This is Played for Laughs. Today, it wouldn't be played for light-hearted comedy.
  • Joe manipulates her into kissing him, by making up a tragic story about never having been able to feel anything for a woman before. Although, Sugar is lying to him too (though more subtlely than he is), plying him with alcohol, and encouraging him to kiss her even though he says he's not interested in women in general or in anything they're doing. It comes off a little like trying to convert a gay guy by today's standards. Basically, neither one of them is a very good person, but we mostly like them anyway. The movie's final line ("Well, nobody's perfect!") could apply well to them.
  • Also, the way Joe and Sugar talk about aromantics and asexuals like they're horrifically deformed is hard to stomach for modern audiences, especially with Sugar's insistence that they just need to find the right woman in order to be cured.
• Values Resonance: While the film's comedy hinges on playing with gender roles, it's done light-heartedly, and plays more with social expectations of the genders rather than how it perceives them (especially women) to actually be. The amount of Les Yay between Sugar and her "pals" Daphne and Josephine, and implied Ho Yay between the secretly male "Daphne" and Osgood (who seem to still have some feelings for each other even when they know the other is male) is done non-maliciously, non-stereotypically, and very much taken in stride. Such portrayals continue to be well-regarded in a time when gender and sexuality norms are continually called into question.
• The Woobie: Sugar when she recounts and experiences tales of having her heart broken by scumbag men. As she sings "I'm Through With Love" at the end, Joe has a Heel Realization and realizes he actually cares about her, unlike the countless girls he's used in the past.
  Story of my life, I always get the fuzzy end of the lollipop.

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