DVD - Wide Screen / Dolby 5.1 / Mono Learn more
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| DVD - Black & White / Wide Screen | $24.99 |
Nostalgic Look Back with Tony Curtis and hosted by Leonard Maltin; featurette: Memories From The Sweet Sues; Virtual Hall Of Memories with five vignettes featuring never-before-seen photos of Marilyn Monroe, Tony Curtis, Jack Lemmon, Billy Wilder and behind-the-scene images; original pressbook gallery; original theatrical trailer; Billy Wilder film trailers
Full Product DetailsSide #1
0. Scene Selections
1. Title/If You Gotta Go... [5:09]
2. ...This Is The Way [6:53]
3. Seeking Sax And Bass [6:13]
4. Bumped Off [5:49]
5. A Whole Different Sex [4:59]
6. Sugar Kowalczyk [5:50]
7. "Party In Upper 7" [13:37]
8. Life As A Red Flag [5:49]
9. "Shell Oil Junior" [2:59]
10. Millionaire Swap [11:51]
11. Fighting Freud [8:14]
12. Daphne's Last Chance [10:55]
13. Italian Opera Lovers [4:56]
14. Run From Commitment [1:05]
15. Spats Takes The Cake [4:50]
16. "Nobody's Perfect" [9:37]
Billy Wilder's legendary cross-dressing comedy, Some Like It Hot, satisfies on split levels: silly and sophisticated, sweet and salacious, feminine and masculine -- often, all of these at once. Set in 1929, the film costars Jack Lemmon and Tony Curtis as a pair of down-and-out Chicago musicians trying to escape the wrath of vicious gangsters. Posing as women, they sign on for an all-girl gig in Florida, where they both fall for the act's sexy lounge singer, Sugar Kane (Marilyn Monroe). Lemmon's classic observation about Monroe, that she moves "like Jell-O on springs," is just the tip of the iceberg here. Some Like It Hot's snappy, sexually charged dialogue never lets up. But the movie’s more than just talk: Wilder displays storytelling virtuosity, unfolding his madcap tale at a giddy pace through a series of endless twists and turns. Yet, through it all, the characters and situations are realized with a clarity on the order of a Shakespearean comedy. Some deliberate male-female stereotyping early on yields quickly to subtle, urbane explorations of sexuality and sexual roles. Lemmon and Curtis prove to be perfect matches for this material, sliding in and out of drag and female personae with ease, with Curtis indulging in a sly Cary Grant caricature to boot. Monroe, meanwhile, is at her most vulnerable and voluptuous, serving as the explosive catalyst in one of the screen's greatest love triangles. Add to this Monroe's breathy renditions of "I'm Through with Love" and "I Wanna be Loved by You," and it's easy to see why Some Like It Hot is one of the most beloved comedies ever to come out of Hollywood. They don't make them better than this. Gregory Baird, Barnes & Noble
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