Believe it or not, the greatest comedy in cinema history was built on a foundation of sheer, unadulterated chaos. You’ve probably seen the black-and-white clips of Marilyn Monroe breathily singing about being loved by you, or Jack Lemmon frantically shaking maracas while wearing a wig that’s seen better days. But the Some Like It Cool legacy—actually titled Some Like It Hot, though the "cool" moniker has stuck in pop culture shorthand for its breezy, rebellious vibe—is way messier than the polished final product suggests.
Honestly, the movie is a miracle. It shouldn't work. You have a plot that starts with a brutal mob massacre (not exactly a laugh riot) and transitions into two guys in drag trying to join an all-girl band to save their necks.
The Ghoulish Truth Behind the Black and White
Most people think Billy Wilder shot the film in black and white because he wanted that "classic" look or to save a few bucks. Nope. It was actually a desperate move to save the movie from looking like a horror flick.
When they did the initial color tests with Tony Curtis and Jack Lemmon in full makeup, the results were, well, terrifying. Under the heavy studio lights of 1958, the "girls" looked green. Literally. Their heavy foundation and 다섯-o'clock shadows gave them a ghoulish, sickly appearance that would have killed the comedy instantly. Even though Marilyn Monroe’s contract specifically demanded the movie be shot in color, she took one look at the test footage of her leading men looking like swamp monsters and agreed to the monochrome switch.
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Marilyn, Diamonds, and 47 Takes for Three Words
Working with Marilyn Monroe was, by all accounts, an absolute nightmare and a total dream at the exact same time. She was struggling. Hard. Between a crumbling marriage to Arthur Miller and a high-risk pregnancy, she was barely keeping it together.
There’s this famous story about the scene where she has to say, "It's me, Sugar." Sounds simple, right? It took her 47 takes to get it right. She kept saying "Sugar, it’s me" or "It’s Sugar, me." Wilder eventually had to write the line on a piece of paper and hide it in the drawer she was opening just so she could read it.
- The Payoff: Despite the 47 takes, when you watch the film, she is luminous.
- The Cost: Tony Curtis famously (and maybe a bit cruelly) once said kissing her was like "kissing Hitler." He later walked that back, but it shows the tension on set.
- The Hidden Struggle: Marilyn was actually pregnant during filming, which is why her weight fluctuates in certain scenes and why her costumes by Orry-Kelly had to be constantly let out.
Why Some Like It Hot Defied the Censors
In 1959, the Hays Code was the law of the land. It was a strict set of moral guidelines that basically banned anything fun, provocative, or remotely "subversive." The Catholic Legion of Decency gave the film a "B" rating—"morally objectionable in part."
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But Wilder didn't care. He leaned into the innuendo. The movie is essentially a masterclass in "getting away with it." Because the characters are in disguise, the script could play with themes of gender identity and sexual orientation that would have been banned if they were "straight."
When Jack Lemmon’s character, Daphne, announces he's engaged to a millionaire named Osgood, the dialogue is lightning fast. Joe (Curtis) screams, "Why would a guy want to marry a guy?" and Daphne just shrugs and says, "Security!" It’s a cynical, hilarious take on capitalism that flew right over the heads of the most rigid censors.
The "Nobody's Perfect" Ending
The final line of the movie is legendary. It’s actually carved onto Billy Wilder’s tombstone. But here’s the kicker: it was never supposed to be the ending.
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Wilder and his writing partner, I.A.L. Diamond, put "Nobody's perfect" in the script as a placeholder. They figured they’d come up with something funnier or more profound later. They never did. When they filmed the scene where Joe E. Brown’s character accepts Daphne’s reveal with a simple shrug, they realized they had hit comedy gold.
Making the Most of a Classic
If you’re planning a rewatch or seeing it for the first time, look past the wigs. This is a movie about people doing whatever they have to do to survive—whether that’s hiding from the mob or pretending to be a Shell Oil heir to impress a girl.
- Watch the background: The Hotel del Coronado in San Diego (standing in for Miami) is a character of its own. It’s one of the few places that still looks exactly like it did in 1958.
- Listen to the rhythm: The dialogue isn't just funny; it’s musical. It’s designed to be played at a breakneck speed.
- Appreciate the "Shell Oil" voice: Tony Curtis based his "Junior" persona on a Cary Grant impression. Grant actually saw the movie and jokingly told Curtis, "I don't talk like that!"
The movie is a testament to the idea that sometimes, the most chaotic, troubled productions result in the most enduring art. It reminds us that even when the "color" of life looks a bit ghoulish, you can always switch to black and white and make it a masterpiece.
To truly appreciate the craft, try watching the scene where Jack Lemmon and Marilyn Monroe are in the upper berth of the train. It’s a masterclass in physical comedy and timing that took almost no takes compared to the rest of the film—a rare moment where everything just clicked. Check out the 4K restoration if you can; the detail in Orry-Kelly’s Oscar-winning costumes is finally visible in a way that shows just how much work went into making the "impossible" look easy.