In 2024, we commemorate the 75th anniversary of the release of 'Some Like It Hot' (Billy Wilder in 1959), a film that not only solidified Marilyn Monroe's status as a Hollywood icon but also marked a turning point in cinematic history. Transitioning from minor supporting roles to commanding leading ones, Monroe's performance in this film captured the essence of her star power and consolidated her persona with the mix of naivety and sensuality. 'Some Like It Hot' revolutionized cinema by boldly exploring themes of gender identity and sexual liberation, challenging societal norms long before the mainstream movements of the 1960s. Let’s encapsulate the legacy from this masterpiece from the Golden Era of Hollywood, after 75 years.
‘Some Like It Hot’ is set in Chicago 1929. It was a notorious spot in the Prohibition years during the Roaring 1920s for corruption, gangsterism and intermitted mayhem. The film follows the journey of Joe (Tony Curtis), a saxophone player, and Jerry (Jack Lemmon), a double bass player who worked in a speakeasy owned by a gangster. Until they witnessed a police invasion and crime that led to their disguise themselves as women, Josephine, and Daphne in a train to Miami with an all-female band. The film is inspired in another, the French Fanfare of Love (Richard Pottier, 1935).
‘Some Like It Hot’ was the trailblazer in terms of crossdressing in mainstream cinema. It is worthwhile mentioning the film was made during the final years of Hays Code, which was between 1934 and 1968, it entailed industry guidelines for self-censorship for content to most motion pictures released by major studios in the United States. One of them was “sexual perversion”, which was any kind of LGBT+ portrayal on the silver screen. Besides that, off-screen, there were anti-crossdressing laws and anti-gay laws, both carried a negative undertone in the eyes of society.
With that being said, 'Some Like It Hot' was ahead of its time with its depiction of crossdressing in the leading roles. It offers a glimpse into women's daily anxieties of sexual assaults and harassment through the perspectives of two white men, both literally and metaphorically walking in women’s shoes. This crossdressing playfully explores the concepts of femininity and masculinity. However, this portrayal is not without its drawbacks. It carries a negative undertone regarding the trans and crossdresser community, serving as a precursor to the villainous trope of the 'transgender killer,' which is still frequently used in horror or comedy genres. This perpetuates social stigma and portrays them as unstable, deviant, and dangerous. Furthermore, the film implies a taboo-breaking happy ending involving a gay relationship, a decade before the Stonewall Riots. However, it's important to note that the film also includes recurring jokes about lesbianism in a negative light.
“Some Like It Hot" was set in the late 1920s, a period characterized by a pre-feminist society that had recently granted suffrage rights to women. However, it was produced during a transformative period in terms of gender roles. Women in the film are depicted in diverse roles, and their relationships are portrayed as sorority-based, lacking rivalry and condemning male insensitivity. However, there is a noticeable lack of diversity, and the acquired rights depicted in the film primarily benefit white women. Additionally, the film is viewed through the lens of the Male Gaze, as evidenced by the introduction of Sugar Kane (Marilyn Monroe) via a point-of-view shot of Joe, directed by Billy Wilder, following her movements and focus on specific body parts. Despite this, women are not merely depicted as objects of desire; rather, they are portrayed as individuals approaching their sexuality in an innovative and liberated way, embracing an open attitude toward sex, and expressing their desire for sexual liberation.
“Some Like It Hot" perpetuates the American superiority complex by portraying South America as an exotic place with bananas, depicting it as an escape and outlaw setting. However, this representation overlooks the reality of South America in the late 1920s, which was undergoing late industrialization and urbanization, leading to high rates of criminality. Thus, this portrayal extends beyond mere generalization, reflecting the ethnocentric perspectives and ignorance.
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