But before long, Jack Lemmon and Tony Curtis are dressing up in sensible heels and cloche hats, and we get to what the movie is famous for. And both the leading men are quite good.
But neither of them have anything on Marilyn Monroe, in what is by far her best performance, as the aptly named Sugar Kane. If you want to know what made Marilyn MARILYN, you only have to watch this movie. She is nothing short of magic, although she is helped ENORMOUSLY by Orry-Kelly's unbelievable costumes, which accentuate every (impressive) curve of that famous body for maximum impact.
So I very much wanted to pick a shot of Marilyn for Some Like It Hot's best shot, and there were a few that put up a good fight, but I found myself leaning towards a couple of shots from the film's gangster half. The first was actually a pair of shots where Wilder goes for an almost cartoon logic with characters running down hallways and through doors and coming out in a completely unexpected place.
And then there's this incredibly, shockingly stylistic shot of the death of the film's main antagonist, Spats. There's no bullets, no blood, just the bright light from the machine gun, and it's hugely impactful. It's a shock of violence without actually showing the violence - this is a comedy, after all!
But in the end, I had to come back to my first love in this movie, Miss Monroe. This moment towards the end of the film when Sugar has had her heart broken by "Junior" (Curtis doing a ridiculous Cary Grant impression), and sings "I'm Through With Love" with the band. It's a raw, real performance, and Wilder adds the perfect grace note at the end: