Selecting a favorite film is not easy, at least for me. I am always jumping back between two or three films; Alfred Hitchcock’s Rear Window or two films by Billy Wilder, Double Indemnity and Some Like it Hot. These two directors were there almost from the beginning of my love affair with film. So when it came to choosing a favorite film for this blogathon or any reason it becomes one more time where I have to make a torturous choice. That’s because in a week, a day, a minute from now I will be doubting myself for not going with one of the others. I have written about Rear Window in two different articles and once about Some Like it Hot. Surprisingly, at least to myself, I have yet to write about Double Indemnity. From the title of this article you can easily surmise that I still haven’t. I decided to go with Wilder’s 1959 farce, a reposting of an article I wrote some time back, primarily because of what you are about to read in the following paragraph. I was a young teen when I did what I discuss and have always felt a visceral connection to this film. The humor, the writing, the pacing, Jack Lemmon and Marilyn. it all came together. Anyway, here is the original article. Continue reading
George Axelrod was a playwright, screenwriter, novelist and film director best remembered for his 1952 hit Broadway play, “The Seven Year Itch,” turned into a movie by Billy Wilder and starring Marilyn Monroe. Axelrod’s plays which included “Will Success Spoil Rock Hunter” and “Goodbye Charlie” introduced to modern pop culture, the sex comedy, a sub-genre that would become more prevalent in the 1960’s and beyond. Axelrod’s other works include “The Manchurian Candidate,” “Breakfast at Tiffany’s,” “How to Murder Your Wife” (screenwriter), “Lord Love A Duck,” and “The Secret Life of an American Wife” (screenwriter and director). Continue reading
Marilyn Monroe made her name as a rising new film star in 1952. In 1953 she exploded on the screen with three standout Technicolor productions, “Niagara,” “Gentlemen Prefer Blondes” and “How to Marry a Millionaire,” all of which would help define the Monroe celluloid doctrine. Her screen persona was now full blown and propelled her into the Top 10 list of Hollywood stars.
1952 was an important year in Marilyn Monroe’s career, a Life magazine cover, photographed by Phillip Halsman, her nude calendar photos, originally published a year or two before were reissued and became a scandal that only helped her career plus the release of five films, including her first leading role. The first three films were released within a month of each other. In Fritz Lang’s “Clash by Night,” for which Marilyn was loaned out to RKO, she had a small but impressive role dressed mostly in a swimsuit. This was followed by a five minute appearance in “We’re Not Married,” a multi cast film with little to offer and then came “Don’t Bother to Knock,” along with “Niagara” the darkest roles in the Monroe catalog. Later the same year came “O’Henry’s Full House” another multi cast film in which Marilyn appeared in one segment and “Monkey Business” a comedy starring Cary Grant and Ginger Rogers. In this film Marilyn played the kind of part she already came to hate, the dumb blonde.
In “Don’t Bother to Knock,” Monroe’s character is a young disturbed woman recently released from a mental institution who gets a job, through her uncle, as a babysitter for a young girl. Considering Monroe’s mental history, and eventual suicide, plus her mother’s illness, it would seem this film could have hit very close to home for the young and upcoming actress as well as being prophetic. It is also arguably one of her best dramatic performances. Continue reading
This posting is my contribution to the CMBA Comedy Classics Blogathon which runs through Jan. 27th. You can find more contributors here.
Do you remember the first film you ever recorded? I do, it was Billy Wilder’s “Some Like it Hot” way back sometime in the 1960’s. “Wait a minute!” You say, “How can you have recorded it back in the 1960’s when VCR’s did not come out until the late 1970’s?” Well, it was simple, on a reel-to-reel tape recorder. I loved this film so much I recorded the entire soundtrack. I use to lay down in bed or on the couch with my headphones on and listen to the entire movie, visualizing all the scenes.
Crazy, weird? Probably, I am sure my parents thought so.
Needless to say, “Some Like it Hot” is one of my favorite movies, it has stood the test of time. Because of this film, I became a lifelong admirer of both director Billy Wilder and Jack Lemmon. It is a film I never get tired of watching.
Before and since its release in 1959, there have been many films that have used men in drag as a plot device (“I Was A Male War Bride”, “Tootsie”, “La Cage aux Folles”), even TV shows like “Bosom Buddies” got into the act, however none have come close or surpassed “Some Like it Hot” in its farcical humor. The well-known storyline is simple, it is 1929, two Chicago musicians, Joe (Tony Curtis) and Jerry (Jack Lemmon), witness The Saint Valentine’s Day Massacre after which they decide it might be best for their health if they leave town. The only jobs available are as musicians in an all girl band heading for Florida. It is at the train station they meet Sugar “Kane” Kowalczyk (Marilyn Monroe) a ukulele player and singer with the band. Continue reading
This is the first of seven entries I am writing for the Musical Countdown being hosted by WONDERS IN THE DARK. There are actually two reviews of the film posted, the other by Jim Clark. Below are links to both.
Found this photo below, most likely a publicity stunt, where some swimsuit attired ladies were protesting the film in front of Graumans Chinese Theater in Hollywood. The women rightly claiming “they have everything blondes have.”