A.O. SCOTT It’s an advanced image, bracingly forward of its time in some methods, wincingly dated in others. Lemmon and Joe E. Brown (because the millionaire Osgood) appear to make a case for homosexual marriage greater than half a century earlier than the Obergefell decision. On the identical time, one of many sources of the film’s enduring attraction — Monroe’s efficiency because the lovelorn ukuleleist Sugar “Kane” Kowalczyk — can also be generally a supply of discomfort. It may be exhausting to disentangle intercourse attraction from exploitation, or to keep away from seeing the shadow of Monroe’s profound unhappiness in Sugar’s melancholy moments.
The male fantasies about girls appear juvenile and Marilyn Monroe’s sexuality, particularly in that amazingly revealing robe she wears within the “seduction” scene with Tony Curtis, is each exploited and despatched up. These facets of the movie, plus understanding what we all know now about Monroe, make the movie appear simply straight-up unfunny. exploitative. B.G. Klinger, Chicago
“I believe there have been extra books on Marilyn Monroe than on World Battle II,” Wilder as soon as mentioned, “and there’s a terrific similarity.” No matter he meant by that, it’s true that she has been posthumously reworked from intercourse object to object of interpretation. “Some Like It Sizzling” definitely makes use of her to generate erotic warmth, in that just about invisible Orry-Kelly robe and in that steamy make-out scene with Curtis. However certainly Sugar is greater than eye sweet. Lemmon and Curtis are justly celebrated for his or her winking, campy, affectionate sendups of femininity, however isn’t Monroe doing one thing equally refined?
Sugar’s masculine aggression as she seduces a sexually repressed Josephine/Cary Grant/Tony Curtis turns one other male/feminine encounter utterly inside out. The intercourse object taking part in the position of intercourse predator works to perfection due to Monroe’s efficiency. We notice once more that what we see is seldom what we get. In any case, as Candy Sue tells us, “All my women are virtuosos.” Conrad Bailey, Prescott, AZ
MANOHLA DARGIS What she’s doing is as understanding as the remainder of the movie is, which is why it stays such an enchanting object to revisit repeatedly. Wilder was a virtuoso and appears to have been a bastard or at the very least performed one in life. Ed Sikov opens his biography of him with a quote wherein Wilder says, “In actual life, most ladies are silly,” including that so are those that write celeb bios. Sikov isn’t alone in seeing, as he places it, “a streak of misogyny” in Wilder’s profession, although I see him as an equal alternative cynic, one who gave girls unbelievable roles.