A near-perfect exhibition of the comic arts, Some Like It Hot effortlessly melds cross-dressing and Chicago gangsters to blistering effect. In 1929, Chicago lies in the depths of winter and gainful employment is scarce. Luckily for Joe (Tony Curtis) and Jerry (Jack Lemmon), the heavy weight of Prohibition means that there are numerous speakeasies requiring musicians. Taken on by Spats Columbo (George Raft), in his funeral home club, the pair are looking forward to paying off their debts with hard cash. Unfortunately on pay day, the police use Toothpick Charlie's (George E. Stone) information to stage a raid. Thus Joe and Jerry are cast out onto the frozen streets, reducing to seeking odd jobs from agents like Sig Poliakoff (Billy Gray).

While Some Like It Hot could have so easily been yet another tiresome men-in-drag picture, the elements fortuitously collided to make something magical. Working from a witty script, written in collaboration with I.A.L. Diamond, Billy Wilder marshals a fine cast to deliver the polished lines. Central to the film's success is the teaming of Curtis and Lemmon, a match which generates that elusive and special chemistry which so many search for. Verbally batting sharp comments back and forth, their combined timing is spot-on. The pair are, however, equaled by the remainder of the cast. For once, Monroe's unique qualities are brought to the fore; a combination of shy, sexy and alluring, Monroe manages to look highly attractive without being unapproachable.

Somewhat unusually, Some Like It Hot simultaneously sustains almost two separate pictures. Connected only by Curtis and Lemmon, on one side bitter Chicago is populated by cold-hearted villains and tough city folk. Times are hard and no one is likely to give you a break, effectively putting a damper on people's dreams. In contrast, Miami is full of holiday-makers and rich families taking their vacation. The cheer is infectious and love breaks out all over, like a rather dynamic rash. In these surroundings, Joe E. Brown is terrific as Osgood E. Fielding, the aged tycoon who falls for Daphne. A veteran of numerous marriages, nothing phases him in his pursuit of a lady. In a stroke of genius, Wilder sets the two strands off at different times, then brings them together without ever making the film feel artificial. It's in these details that a great director leaves behind the merely ordinary.

The remaining area in which Some Like It Hot stands apart from the competition is that Curtis and Lemmon remain believable throughout. Instead of acting camp, they play their roles straight and with conviction. Picking up on the quirks of being female, the outcome is far more amusing than might be expected. The costumes of Orry-Kelly help a great deal, as does Wilder's decision to shoot in black and white, but the credit must lie with Curtis and Lemmon. Such professionalism contrasts with Monroe, legendary for her epic tardiness and inability to recall lines. Faced with such inconsistency, the performance that Wilder extracts is amazing; Monroe is funny, sings three memorable songs and adds her special sparkle. Overall, Some Like It Hot is remarkably innocent, a tone that perfectly wraps up what is one of the most consistent comedies ever to emerge from Hollywood.

Excerpt from UK Film Reviews located HERE