Some Like It Hot (1959)

Full disclosure, I almost let AI write the show notes again because no one likes doing this part. BUT a Russian listener called in and AI didn’t know what to make of that either. In fact, it printed something like, “Man explains unique dynamic of theater troupe,” which although technically true, doesn’t quite do anything about that moment justice. So yeah. We talk about Some Like It Hot. I (Doug) hadn’t ever seen it because of reasons. We then talk about the making of the movie, and the power struggles that created just enough pressure to produce a diamond. We also talk about the current Broadway production of the material. Devon spends most of this time being awesome. AI agrees. Anyway, if you’re feeling squirrely when the episode is finished, please visit whatever podcast host you listen to our show on and write us a little review. It would really help the show a whole lot, unless you hate it. Then forget I said anything.  

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About the movie (copied from Wikipedia)

 

Some Like It Hot is a 1959 American crime comedy^[4] film directed, produced and co-written by Billy Wilder. It stars Marilyn Monroe, Tony Curtis and Jack Lemmon, with George Raft, Pat O'Brien, Joe E. Brown, Joan Shawlee and Nehemiah Persoff in supporting roles. The screenplay by Wilder and I. A. L. Diamond is based on a screenplay by Robert Thoeren and Michael Logan from the 1935 French film Fanfare of Love. The film is about two musicians (Curtis and Lemmon) who disguise themselves as women to escape from Chicago mobsters they have witnessed commit murder during the 1920's Prohibition-era.

Some Like It Hot opened to critical and commercial success and is considered to be one of the greatest films of all time. The film received six Academy Award nominations, including Best Actor, Best Director and Best Adapted Screenplay, winning for Best Costume Desig

Episode Transcript

(00:01):
You're listening to Radio Free Reinkliffe.
Welcome to Studio Property, the cinema broadcast for creatures like you.
I'm trying to think, Devon.
My name is Doug Wartell.
I'm Devon Irby, and this week we are discussing Some Like It Hot, circa 1959.

(00:21):
It's a charming little film about a pair of musicians who find themselves gussied up indrag while hiding from the mob in a traveling all-girl jazz ensemble fronted by the one
and only Marilyn Monroe.
But before we begin,
This episode is going to air on New Year's Eve, so no one's going to hear it.

(00:42):
you know, until 2025.
Right.
Until 2025.
Because it hits the podcast feed immediately after.
But I learned a thing today that I think that we can all go into 2025 with.
If I could be so pretentious.
please be pretentious.
I like it.
So I listen to a lot of Latin music, lot of cumbia.

(01:05):
I don't know why said it like that.
Like I was like on the 92nd street wide, something like that.
I listen to a lot of Latin music.
In the back of one of my Perez Prado records, something very interesting.
Did you ever listen to like a Latin orchestra or even like the bigger bands, like theyclearly have a brass section and a congressman.

(01:27):
You'll notice that like they punctuate certain movements with like noises like, ugh.
Yes, yes.
Right.
Perez Prado doesn't say, nine times out of 10, he's saying, ditto, which means say it.
no matter what you think, we are headed into this coming year, who your family are, whoyour friends are, who you're avoiding, how social media is playing with your fears.

(01:58):
I think we all need to go into 2025 with, you got the theme song cued up?
I do, I do have it.
could get it, get it, yeah.
We all need to go into 2025,

(02:20):
You're rotten soul that's studio property your studio property.
Hey, shut your mouth
So something like It Hot turns out is technically a remake.
Yes, it is.

(02:42):
A French film that was done in 1935 called Fanfare of Love, but they couldn't find it whenBilly Wilder and his diamond were gonna write this jammy.
They knew, like they were really inspired by a scene, but they couldn't find the film, sothey had to find the German remake of it.
Okay, that's actually a real...

(03:04):
twisty winding road to get there.
like that.
Yeah.
that was done.
It happens more than you think.
But this one was done in 51 and it was called, I'm going to mangle this, Van Foren deLave, something like that.
Oh, actually now I wish I could see the name written out because I've been taking Germanlessons.

(03:27):
So I might actually be able to pronounce it.
Spell it for me, fan.
F-A-N-F-A-R-E-N D-E-R, different word, D-E-R.
okay.
So it should be, oh, well of course, it immediately pulled it up in English, which Ididn't want it to do.
I believe it would be, Fanfahren der Liebe.

(03:47):
No, der Liebe.
Fanfahren der Liebe.
Oh!
Yeah, should be Fanfahren der Liebe.
Well, yeah, so they took this, I guess, little moment from the movie, or the basicpremise,
And that's how we end up with some like it hot.
Billy Wilder and is Diamond or IAL Diamond, if you're nasty.

(04:10):
Yeah.
Wrote this together.
And they've collaborated on a lot of, a lot of things, but they immediately get to castingthis jammy and they offer the part.
if you picture this in your head, they offer the part of Jerry to Frank Sinatra.
No.

(04:30):
Just now.
Just for a second, we don't have to say it on microphones, but just for a second, even ifit's a little moment of silence, just picture one sentence that would have come out of
Frank Sinatra's mouth upon wearing the lipstick.
my God.
Yep.
No, no.
Mm-mm.
Mm-mm, mm-mm.
So a few quick decisions are made.

(04:52):
They decide to make the movie in black and white so the makeup that is the premise of thefilm doesn't look so blatant.
Mm-hmm.
And also is a nice little nod to the fact that they're setting the movie and they'resetting the story in 29.
So the fact that it's a black and white film, which we had a bit appropriate in 1929, Ithink is lovely.

(05:12):
I didn't realize that.
That didn't even occur to me.
Yeah, yeah.
mean, that's in my head.
I like that, you know, this movie came out in 59, but it's supposed to be 30 years earlierand they're giving this whole gangster kind of thing.
Yeah, I like that whole, I'm like, yeah, yeah, want it in black and white.
That's perfect.
Before we start with that gangster whole thing, because it jumps off right at the very,very beginning of the movie.

(05:33):
Billy Wilder gets a call from Marilyn Monroe's folks because she wasn't offered the roleinitially.
Like they didn't even think they were gonna cast a big starlet, but her husband at thetime, Arthur Miller, the playwright, encouraged her to take a role with Billy.
And Billy Wilder had directed her before in Seven Year Itch.

(05:56):
right.
But knowing that he had an opportunity, Marilyn Monroe took the opportunity because shehad just had a miscarriage and was sort of recovering from that, but wanted to get to work
to get her mind of that, because she was very much suffering from depression at the time.
But enough about that, let's get into the mob.

(06:19):
Get into the mob.
I don't even know how to deal with that.
No, no.
This was not a good point in her life, was it?
No.
No, Yet she gave us comedic gold.
You know what's really weird?
I've never seen, and we'll get into more of this later, I don't think I've ever seen aMarilyn Monroe movie.
Not that I was avoiding it, I just never did.

(06:40):
Huh.
Yeah, I never saw a seven-year itch or I never saw this one.
This was your recommendation.
Yeah.
This is one of those, as we discussed last week with Cody and I were talking about ourpapa and his ridiculous film collection, this definitely falls into that category.
This is definitely a film.
he and I saw as kids, which I think was probably unusual as children in the eighties,maybe early nineties.

(07:04):
This is a film we saw because of our grandfather and I've loved it from the word go.
I've always loved this movie.
Well, it's like one of the like greatest comedies of all time.
yeah, I mean.
So what you're saying is I'm not special for liking it.
That's not what I'm saying.
That's not what I'm saying.

(07:25):
No, you're right though.
is one of the best comedies, comedic films of all time.
No, I'm just teasing, but you're right, it is.
But it starts with three minutes with no dialogue.
It's just a chase scene.
During Prohibition.
Yes.
Which is like fantastic because like there's a car that's, there's a hearse.

(07:49):
As it's going on, you see that the coffin is filled with liquor bottles.
But the cops are chasing this hearse and this goes on for a while and it's awesome.
And it's a real aggressive chasing too.
mean, we're talking, yeah, it's a very aggressive classic gangsters.
Like you said, there's a couple of gangsters in a hearse and there's a coffin in there,but it turns out the coffin's full of illegal booze because it's prohibition.

(08:16):
you got, I don't know, what did they call?
They didn't call them the fuzz.
What did they call cops and like the FBI?
at that point.
don't even.
are after them and the coppers.
Yes, it's like every cliche you think about of like mobsters and cops at that point intime.
They're like lean out of the sides of the car.

(08:36):
They're taking full advantage of the side ramps that were on like all those cars at thetime.
Like there's a lot of standing on those like side ramps.
Yep.
This guy's banking a curb on one and the car's like I was like, wow.
guy's like Tony Hawk over here.
He's just like, awesome.
What blows my mind is so they end up that the chase scene ends at a funeral parlor, whichhas this incredible speakeasy inside of it.

(09:06):
And how that shot, I just love it because it's like layers of theater smoke to give itdepth.
And this is where we meet, know, Jerry and Joe, our protagonist.
Our protagonist.
We're essentially like, hey, look how charming I am, and he is my wingman.
Like in real life, you would cover your drink around them, but like...
Yes, yes.

(09:28):
But in the world of this film, they're really charming and hilarious.
Also, can I just say Jack Lemmon's stand-up bass playing makes me giggle every time Iwatch it.
Because it's in no way in sync with what the music is doing at all.
No, but it's so animated, he's like slapping that bass so hard, it's ridiculous.

(09:49):
Like Slim, what's his face from the stray cats?
Like he's like spinning the base.
Yeah.
It looked way cooler than it was.
Yeah.
I feel like Jack Lemmon had somebody help him with that.
Was like, I need to be like amazing at this.
And then it was a skill he had for the rest of his life.
I got to say this is probably like one of the best things I've ever seen Jack Lemmon in.

(10:11):
And there are a lot of great things, right?
yeah.
Right off the top of my head.
Odd couple.
of course, going Gary Glen Ross.
Love.
Right.
Well, yeah, I was of the age where grumpy old men.
God, love them and that's so much.
He's incredible.
He is incredible.
And later in this in further down in the spring, you and I are going to talk about anotherone, The Great Race, which I think he is spectacular in.

(10:41):
And I know you seen that episode.
Yeah, it's going to be great episode.
So good at that.
Tony Curtis is also in that.
It's another little outing to do.
people seasons away.
I know, we are.
Sorry, listeners.
We want to pick a couple of scenes to just, to touch on, because I don't want to recountthe whole movie, because again, we're writing the show out loud.

(11:02):
Right.
But first and foremost, we need to talk about the party that happens on the train on theway to Florida.
Yes.
See, our main characters are hiding from the mob in drag among a girl band.
who are traveling from Chicago to Florida by train.
Take us there, Dev.

(11:22):
All right, so first of all, we got Joe, who has become Josephine, and Jerry, who wassupposed to be Geraldine, but at the last second said his name was Daphne, which I adore
about him, that out of nowhere he was like, Daphne, I'm Daphne.
So they've hopped onto the train, they're getting themselves settled, they played alittle, practiced, rehearsed a little bit with the rest of the girl band, and they're

(11:45):
feeling like, okay.
We just have to get through this, but we can make this work.
We can get through it.
And their first night, they are trying to deal with sleeping in this train car situation.
And Joe, AKA Josephine, like, Jerry, you're a girl, you're a girl, you're a girl, you're agirl.
So he makes Jerry repeat this, like, I'm a girl, I'm a girl.

(12:07):
Because he's like, we have to keep it together, because literally people are trying tokill us.
So we have to.
be these ladies.
keep the horniness down to a controllable level.
Keep the horniness to a controllable level.
In fact, he puts Jerry in the upper bunk and then removes the ladder because he doesn'twant Jerry sneaking out during the night, which I think is actually amazing.

(12:28):
Right.
But of course, what happens?
Sugar and of course, oh, her name, Sugar Kane.
So ridiculous.
Marilyn Monroe's character, who is the lead singer of this little of this little all girlsband.
comes out because
Jerry, AKA Daphne, covered for Sugar when they were rehearsing and Sugar dropped a flaskof alcohol.

(12:52):
so Jerry was like, I'm so sorry that was mine and covers for her.
So Sugar immediately likes Daphne.
She immediately knows she's going to be friendly with Daphne.
So she goes, she sneaks over to say thank you to Daphne, which of course puts poor Jerryin this terrible situation where now he's literally dressed as a girl in a nightgown.

(13:12):
And this beautiful girl who he's very attracted to hops in the bed with him.
Like the most beautiful girl on the planet in that moment in time is in the bed in histrain car with him.
Right.
Yeah.
And of course, so not only do I think this scene is beautiful because it's brilliantannotated on Jack Lemmon's part, because here he is doing this lovely juxtaposition of I

(13:38):
have to pretend to be a girl.
but I'm with this beautiful, beautiful woman and I got to keep it together.
And then he kind of just wants to get rid of her.
So nobody finds him out and accidentally they start having a party.
So of course, Sugar's like, no, let's have a beverage.
And then somebody else in the band, isn't it like Dolores, the trombone player is like, Ihear a party a mile away.

(14:00):
And so the next thing you know, all these girls from the band have snuck into.
One by one, they sneak up to the bunk.
One has crackers.
It's a whole thing.
they just like sort of, it's Bedlam.
Like they're up in this whole thing.
Joe's down, like he eventually wakes up.
Yes.
And Joe of course is like, damn it, Jerry, damn it.

(14:24):
Like what happened?
Of course, poor Jerry's like, it was an accident.
I didn't have a party on purpose.
It wasn't my fault.
it's brilliant.
But also I think that, I think why I love that scene so much is because it reallyimmediately gives us
the women that Jerry and Joe find themselves becoming, right?
Because they're trying to inhabit a female persona in an effort to not be murdered bymobsters.

(14:50):
And what we find, of course, is Joe ends up being this very proper, always has her lipspursed, right?
Josephine is always like, and she has her lips pursed all the time.
And she's like, you need to behave and keep it together.
And then Jerry, as Daphne, is this very cute,
almost flamboyant.

(15:10):
You feel like he's in drag more, right?
That's a fantastic observation because yeah, they become entirely different people indrag, right?
like much different than their male selves, right?
yeah, that's great.
And yeah, and they definitely do become almost the opposite of who they actually are.

(15:32):
Right, exactly.
But then what happens in the party, at some point in the party, like Joe finds himselfalone with Sugar.
Yes, yes.
And we do have to talk about this for a moment because there is a moment that reminds meof Tootsie.
okay.
So she starts like confiding and they, you know, sort of bond.

(15:56):
Mm-hmm.
Joe realizes like how incredibly beautiful she is and.
but he's in drag and she starts confiding in Joe about things she, like men she's commonlyfallen in love with, what they're like, and also the men she hopes.
She would like to fall in love with, yeah, who she really wants to find.

(16:19):
And as you say, there is also a great little moment because as Josephine is,
trying to be a nice girlfriend and listen to Sugar confide and be nice to this new girl orthis new friend to him as it were, also is fully recognizing that he's, as a guy, exactly

(16:40):
the kind of man she always has a problem with and is desperate to avoid.
Which is amazing.
I don't know if you remember that scene in Tootsie, right?
Like Dustin Hoff, his love interest confides in him as a female.
yeah, yeah.
what she would love to happen.
And it's something a little more aggressive.

(17:00):
Right.
Verbally.
he attempts that thing and she throws a drink in his face, not realizing, wait, I actuallywished for this out loud.
Yes.
Fun fact, the script doctor on Tootsie was Elaine May.
But yeah.
you know what?
We're getting a call.
Hold on a minute.
okay.
Do you want to answer it?
to it this time?
Sure, of course.
Okay, go ahead.

(17:21):
Give it the gusto.
Radio Free Reinkliff, thanks for calling.
Yes, thank you.
Thank you.
I am listening to the show.
This is wonderful.
You're doing you're doing great job.
Very, very fine job.
I have a connection.
Caller, what is your what is your name?

(17:41):
My name is Neil, like Neil Armstrong, the moon man, the astronaut.
I'm sorry.
In my head, I'm thinking cosmonaut, not cosmonaut.
But here.
is my name is Neil and where are you calling from Neil?
I am I am calling from Clint- Clinti- Clint- Clinti- corners you know?

(18:04):
Okay yeah yes I do that's right not too far from us Devin.
It's it's very nice out here very peaceful very cold we're very cold here.
Yeah yes today we are very cold we're gonna get more snow tomorrow.
Very very cold.
Everybody said to me, you're from Russia.
Are you from Siberia?
What a very cold.

(18:24):
No, I am not from the very very cold part of Russia like every other person thinks butthere's no place in Russia that is, you know, Miami.
Fair, fair.
I've enjoyed your podcast.
I have enjoyed it each week.
It's very nice.
The radio, Freel Reinkliff is an excellent station for me to listen to and

(18:47):
and to find out what's going on in the area.
But also for me to say to you, some of the things that are going on in the area, I havesomething to do with.
you're talking about this wonderful film, this wonderful, something like a tot.
Yes.
we are.
film.
I and some of my compatriots, some of my friends here that are in America, New York, NewYork state.

(19:15):
I didn't want to say combat because everybody gets a little iffy with those, those kindsof get it.
I get it.
I understand.
I see movies.
I know.
So what I am saying though is that we have a little troop here and we do reenactments.
Like military troop?
Like are you taking over?

(19:35):
No, no, no, this is a theater troop.
A theater troop because we, we all, we all love the old and you would, you would, um,
We have a troupe of actors who put on shows based on the films that we love, the Americanfilms that we just adore.
We love this film, the Sunlight at Where do you perform at around here?

(19:59):
We do perform at the Rheinbeck Performing Arts Center, but the only, don't get excited,only when we can kind of sneak in.
They have a schedule.
And they will give us a slot maybe once in a while.
Sometimes it is, we cannot raise the curtain until I am saying 11, 30, 12 at night.

(20:24):
So these people who come usually mostly family, mostly family come to see our shows, butwe have done our own.
We've actually done this one twice.
Some like it half.
Really?
As theater people, we have to get around.
any obstacles, So the only obstacle with some like it hot was our troupe is all female.

(20:51):
So the show that we are putting on, we had all female playing as both men and women,you're with me, and then the women had to pretend there were men playing women.
so holy Victor, Victoria, I was going to say
Sounds like a victorious situation.

(21:13):
Maybe it's not as good a choice of what we do.
We've done some other films.
did Castaway, one of my favorite films.
said, I want to do this and we'll adapt this for the stage.
And we adapted Castaway for the stage.
And you might think, what do you hold true?
What are you doing?
First of all, had Natalie, Natalia playing the Tom Hanks part.

(21:39):
She was brilliant.
She actually, and the one time by accident, she pulled out a real tooth.
dear.
But then for all the other props that Tom Hanks used, we have filled in with actors.
So Wilson the ball, that was a person.
That's a choice.

(22:02):
And then in the FedEx box that he's trying to protect through the whole thing, that wastwo people.
These people were really committed to the show.
That sounds amazing.
It sounds like it.
So this is fantastic.
So are you do you primarily direct or do you also adapt the movies that you're going toperform?

(22:22):
I am both.
mean, he's a small company.
We are very small.
We have we have seven.
What do you say?
Regulars.
And then we have four or five people who are friends of the family that we say, hey, yougot to come.
You got to be in the show.
You got to play a FedEx box or whatever, whatever they're playing.
For example, so the two women who played the Tony Randall and the Jack Lemmon, they werebrilliant.

(22:52):
Tony Randall and Jack Klugman?
Did I say Tony Randall?
know who I'm thinking of?
Tony Curtis?
I know it's Tony Curtis.
I think this now.
But I'm thinking of Tony Randall because I'm thinking when we did the odd couple, that isthe one play that we did and where I played Tony Randall.

(23:16):
Really?
Yes.
I played the Tony Randall or Walter Mathau, who played him in the.
No, no, no, no, no.
We did an adaptation of TV show and so we weren't playing the Oscar Felix.
We were not playing them.
We were playing.
Tony Randall, Jack Klugman.
And we would come in, we'd say, hey, what are you doing today, Jack Klugman?

(23:40):
And Jack Klugman would say, I'm going to be Oscar Madison.
I'm going to be Felix Unger.
So that was how it went.
So the whole play was kind of, what's the word?
What word?
Metal.
It was very metal.
It sounds very metal.
And no one came.
No one came to see that show.
It sounds like you worked really hard on it too.

(24:02):
Yeah.
Can I ask a quick question?
I know where the Performing Arts Center is.
Full disclosure, it's right down the street from the studio here.
Oh.
Yeah.
So what I'm wondering, because right now, Christmas Carol is playing.
Do you wait for that to be over and then you perform immediately after?
We do our own version of the Christmas Carol because you know,

(24:26):
That when, maybe you don't know, in Russia, I grew up, Christmas Carol was not presentedin the way that Dickensian, the way that Charles Dickens first wrote it.
It was not the same.
He is visited by seven ghosts.

(24:48):
And some of these extra ghosts, not, there is a ghost.
There is a Jacob Marley, ghost number one, then ghost of Christmas past, Christmaspresent, Christmas future.
We know all about that.
Then the ghost of Siberian hunger.
And then there is also the ghost of...

(25:11):
That's terrifying.
No one was supposed to be happy.
And in the end, Ebenezer Scrooge is dragged off.
It's terrible.
Terrible show.
Wait, who are the other two ghosts?
have to know now.
There was a Siberian hunger.
There was Stalin's boot.

(25:32):
You of the ghost of Stalin's boot?
Comes in, pow, pow, pow.
He just comes in, pow, pow, pow.
And then the final ghost was the ghost of all misery.
Oh, wow.
Is very depressing.
It sounds depressing.
This sounds really not like a holiday play.
Oh, no.

(25:54):
It is not.
But Christmas, know, Christmas, you do it.
Well, it's either that or family, right?
Like I'd pick a super sad play.
Sure.
What is your next production?
the next production will not will not be until what we are fascinated with.
see Patrick's Day.
You have St.
Patrick's Day.

(26:15):
We have doing one that is based on the movie Leprechaun.
So we are we are going to call it.
the leprechaun in the hood so it's going to be a little bit the John Singleton in the boysin the hood and a little bit Jennifer Aniston the leprechaun bang bang mother f***er

(26:42):
I have to see this.
Is this going to be invite only?
Because how do I get tickets for your rendition of Leprechaun in the Hood?
Well, I cannot tell you that now is a definite.
We have to see what the Rambach Performing Arts Center has for a place.
are hoping, hoping, hoping, fingers crossed for St.

(27:05):
Patrick's Day would be great.
Anywhere around that would be great.
Yeah.
But what you need to do is look.
on their website, their schedule, and there will be a little sliver that will say, IvanDrago players from Orsk presents.

(27:26):
And that is us.
That is the ones.
Because of course, great Russian actor, Dov Lundgren.
Ivan Drago, what a great...
Wasn't he Austrian?
He was Austrian in life.
Yeah.
thought it was German.
okay.
Well, go ahead, Google it.

(27:47):
He portrayed the Russian exactly the way we wanted him to.
Oh, okay.
So you just adopted him as your own.
That makes sense.
The character.
We're talking about the character, not so much the Dolph.
Not the Dolph.
Brilliant physicist.
he not?
He's brilliant.
he is.
And an engineer as well.

(28:07):
And a great job.
John's ex-boyfriend in real life.
Yeah.
That's the title of the mountain.
That would be how to find us and look there.
Again, one of the things that you could do is you could call their box office and requestthe Ivan Drago players because we would love for people to support us and maybe let the

(28:29):
Rheinbeck Performing Arts Center know that people would like to see us more.
Yes.
OK.
I think you hear that audience.
Definitely call the Rheinbeck Performing Arts Center.
and demand to see the Ivan Drago players from Orst.
Thank you very much.
I know you don't like to plug, plug, plug, plug.

(28:50):
like it.
no, no.
Let's plug.
actually, let me give you the number of the Performing Arts Center in Rhinebeck.
You can just call them directly at 845-876-3080 and tell them that you demand to see aplay by the Ivan Drago players from Orst.
Don't tell them we sent you.
No.

(29:10):
But definitely.
Thank you.
Definitely.
That will definitely give us some credit.
That is great.
That is really great.
Thank you so much.
you're absolutely welcome.
And man, I can't wait to see what you guys have cooking up for us next.
Thank you.
I will call in if I have something.
you have a movie and I have an idea that will adapt, I will call back.

(29:35):
It's been wonderful talking to you and thank you for the support.
Thank you so much for calling, Neil.
This has been fantastic.
By the way, we all messed up.
Dolph Lundgren is Swedish.
really?
Yeah, said Swedish American.
How do we all get it wrong?
I don't know how we all got it wrong.
The next time I visit you, we're going to see the Ivan Drago players from Orsk.

(29:58):
Absolutely.
Right?
I want merch.
Me too.
Again, the people who call the show, and it's usually like one a week for whatever reason.
I know, what's that about?
But okay, so where were you on this this film?
Okay, well we had talked through We got ourselves through the scene of Jerry slash DaphneHosting the accidentally hosting all the girls from the band and his little train sleeping

(30:26):
car.
Love it so much.
Okay, so Obviously this point we get ourselves to the hotel in Florida, which is wherethey're doing their little show and we were gonna talk about when Joe
decides he's going to pretend to be a millionaire so he can go on a date with Sugar.
Because of course, as Josephine, Sugar was telling Josephine all the things, like whatkind of man she wanted.

(30:53):
And now that he knows what kind of man she wants, he's pretending to be that.
So they go on a date.
And also at this point, can we just throw in a tiny aside, Joe E.
Brown is the actor who plays Osgood Fielding III.
Right?
right, right.
Right?
Oscar-peeling the third, who is so sexist and so like, he's just like, it is the male gazeintensified.

(31:20):
Every scene with him is the male gaze intensified and it's just he's just a groper.
He's a groper.
Yeah, there's literally like a moment where he's in the elevator with Daphne and we don'tget to see Jack Lemmon.
Jack Lemmon.
And apparently he squeezes her bottom and she slaps him across the face and gets off theelevator and immediately hollers at him for grabbing her butt.

(31:43):
But anyways, Joe has convinced Jerry to be as Daphne to go on a date with Osgood.
So that way Joe can borrow Osgood's yacht without Osgood knowing so he can take Sugar on adate, which is this ridiculous convoluted storyline, but we have to talk about this scene
of mother date.

(32:03):
I found things like that, twists like that, the whole premise of the mob.
I thought those were pretty solid motivations.
I was on board with the whole thing because the foundations of the film are so strong.
There's no way you're gonna get out of that situation alive.
Put on makeup and join this band and get out of town.

(32:27):
do whatever you have to do to get away.
you're right.
like, was the first opportunity that fell on their lap.
They did it that night.
They were gone.
They were out.
They were out.
Yeah.
And they even gave you that, like those extra premises of like, well, we have access toladies clothes.
We just got to go see the girls at the club.
We know they'll hook us up, give us a couple of wigs, send us on our way.

(32:48):
this is a total aside.
I do get aggravated when you've got a comedic film and they just
skip over so many things.
I want plausibility.
I want to feel like whatever shenanigans they've gotten into, reasonably they got there.
And you're right that that's one of the best things about this film is they give you areason and it's plausible every single thing that's happening.

(33:13):
Is it two guys in drag escaping the mob?
And is that ridiculous?
Yes.
But you get there reasonably and you're on, you're along for the ride and it's beautiful.
It's beautiful.
Yeah, the train's not going to jump that track because it's solid.
It's like, yeah.
And so the idea that like Joe could manipulate this woman onto a yacht.

(33:35):
Well, we got the yacht through this guy, but yeah, he's such an animated character.
This millionaire.
He's so perfect in that role.
Yes.
This is a tricky spot because during the date, you know, he's making out with MarilynMonroe.
But in real life, there was a lot going on, Marilyn Monroe.

(33:55):
Now, depends on who you ask, because there was a documentary done in the 80s, another onein the 90s.
There was, one of them was a mini documentary, but regardless, it depends on where you'rereading about the film.
She was either pregnant again, in the throes of a pill addiction,

(34:22):
or both, she's blowing lines left and right.
And again, depending on who you ask, how many takes there were of like a three, foursyllable line, like it's me, sugar, right?
According to one page, it was 47 takes.

(34:42):
Tony Curtis says later in another documentary that it was 82.
But the tension either way is getting
really high on the set because Marilyn came with her acting coach, a woman named PaulaStraussberg.
And when she would do takes, she would immediately look to Paula Straussberg and not BillyWilder, the director.

(35:06):
And it got to where it aggravated Billy Wilder so much that he had to be like, was thatokay, Paula?
And apparently she was like mortified on the set, like, he's calling me out.
So you have like this extra presence on the set.
that was comforting to her, but not necessarily to the production.
The actors are getting irritated.

(35:27):
She's becoming irritable.
Strasburg taught her an exercise where she shakes her hands to relieve stress.
But because of this particular period, again, whether it's another pregnancy, the pills orthe fear of the pregnancy, she's shaking her hands a lot.
So this becomes a point of contention that Jack Lemmon brings up a lot when asked aboutit.

(35:51):
And here's the thing, regardless of what she was going through or like what was happeningon that set, nobody's paying to see Jack Lemon in the scale that they're paying to see
Marilyn Monroe.
Nope.
This is the first time I've experienced a Marilyn Monroe movie.
Two days ago that I was, know, I get it.

(36:13):
I get the Marilyn Monroe thing.
Took me a while, but I get it.
to hear these men in these documentaries talk about her in such a way.
Whereas like, there's even a tale of where Tony Curtis, because we're here, we're at thedate, where he, when he does finally kiss her, allegedly on the set, when they were done

(36:35):
kissing, he looked at Billy Wilder and said, this is like kissing Hitler.
Yeah.
Billy Wilder claims it's true.
Jack Lemmon, 100 % claims it's true.
Tony Curtis denied it.
And you have to admit, of course Tony Curtis is going to deny it.
And if the other two are like, no, really, it happened.

(36:55):
And Tony Curtis is like, no, it didn't.
It totally happened.
It totally happened.
It totally happened.
I'm going to go on a limb and say, I don't care how many takes it took.
I don't care how frustrating it is.
Elton John is not writing songs about Tony Curtis.
Right?
That's true.

(37:16):
Yeah, he's not like, Hello, Tony Curtis.
Even though when you manipulated that blonde, I was really mad and grateful I was gay.
Like seems to me you lived your life like a douchebag in the wind.
Like it's not.
He should have.

(37:36):
I mean, it might it might have been a hit.
Let's be honest.
again, yeah, I mean, it could be a little annoying on the set, but also like they're
Guys that don't know.
these are men in what, 1958, 59?
Yeah, 59 is when the movie came out.
So yeah, we're looking at 58, 59.

(37:56):
They wouldn't even say period out loud in 1959.
exactly.
You know what mean?
So they don't know what's going on with her.
No.
But decades later when they're doing documentaries, they're like, oh, she was difficult.
Right.
She's had a miscarriage, right?
So she just recently suffered a miscarriage.
She's got a marriage on the rocks because every time she's married, it's on the rocks.

(38:18):
Right or wrong, that's what it is.
And they have no sympathy.
There's no sympathy.
In fairness, we don't know how much they know at that moment.
no, know, but years later, there's so many books.
Yeah, that's the thing though.
You're right.
Maybe in the moment, if they're annoyed in the moment, because the information isn'tthere, understandable.
But when you make a documentary 20, 30 years later, like you said, that information'savailable at that point.

(38:45):
It's no secret.
She's long since been passed.
None of this stuff is a secret.
Just a tiny bit of sympathy, gents.
A tiny bit of sympathy.
Yeah.
The tension had built so bad on the set that, do you remember the scene where they havelike a birthday, where they assassinate the mobster?
Because eventually they find themselves in Florida, right?

(39:07):
And the Yeah, the mob ends up at the same hotel in Florida.
Ridiculous.
Yeah.
This is the part that makes me laugh at the Italian Opera Appreciation Club or somethinglike that.
Which is a cover for some sort of weird Italian mob.
Yeah.
Yeah.
Like a big sit down with a lot of families.

(39:28):
Yes.
And they want to talk about the St.
Valentine's Day Massacre, which, know.
Joe and Jerry had witnessed, is what set this whole thing in motion the first place.
But they're sitting at, like there's this big round table situation and then a bigbirthday cake comes in and someone pops out of the cake and shoots the sect of the mob

(39:50):
that we're after, you know, our protagonists, right?
But the rest of the mob knows that he let two witnesses live and they, because of thewacky chase scene that follows, they realize it's them.
and they start chasing after them, but they didn't realize they were in drag.
It's a whole thing.
You gotta see the movie, it's wonderful.
But in real life, the tension was so thick that when they were filming that scene wherethe mobster pops out of the cake, Tony Curtis put a naked stripper in that cake.

(40:20):
God.
And then she pops out like wee, like naked.
Yeah, there's photographs of it.
Really?
It's in the documentary, yeah, like wee, and it just sort of like
You know, made everybody smile and laugh.
Like just sort of broke the tension up.
But apparently, Marilyn made things so stressful on the set that this was necessary.

(40:44):
That Tony Curtis was like, the only solution to relieve this tension is a naked ladyjumping out of a cake.
In fairness, that's the solution to everything.
But yeah, I mean, wow.
The performance that you get in the end, regardless of how we get here, is for the ages,obviously.

(41:07):
Everyone's heard the title, everybody knows how huge this movie is.
It becomes the greatest comedy of all time.
It was called this for decades.
And not just the ones were like, Sandman were popular, right?
Right, right.
It goes on to be like one of the funniest, and I think in the year 2000, it was stilllisted as like one of the funniest movies of all time.

(41:33):
Yeah, and it was one of the, when the United States National Film Institute came intoexistence, it was one of that first group of 25 films that was selected to be preserved at
the National Film Institute.
So was like 25 movies they picked and it was one of them.
So I mean, literally one of that,

(41:53):
you know, in that first wave or that first class of film to specifically be chosen to bepreserved for future.
That's a big deal.
So we have to get to the night or the morning after the date.
Yes, which is one of the best scenes in this whole film.
It's definitely my favorite scene of the whole film.

(42:15):
Joe sneaks back into the hotel room through a window to find Daphne slash Jack Lemmon.
in bed with a pair of maracas and he announces that he's going to get married because hewas out on the date distracting the millionaire and the millionaire had proposed to him
and he said yes.
was definitely a Billy Wilder moment, Jack Lemmon, as Daphne, has a pair of maracas and soin between these little bits of lines where they're going back and forth

(42:48):
He dances and plays the maracas.
And my favorite, of course, is when he starts, he's laying in the bed and he's like, hetalks and he's like, oh, that's good, it's getting married.
And of course, Joe's like, oh, who's the lucky girl?
Me!
And then like starts playing the maracas.
And he's still playing the maracas and shaking.
Yes, and he's like dancing and playing them all in bed.

(43:12):
They have a whole conversation about this, where it ends is in a weird.
place because you know, like, you know, like Joe has, Joe has to remind him you're a guyand he's like, what guy would want to marry another guy?
And then it becomes a little bit like, you know, all you're from the past.
Right.
yes, but, before then it goes on for a while where he's like, well, you you can't becauseit becomes this really great bit.

(43:44):
And he's like, well, because I don't have a thing to wear or you can't because well, orhis, because his mother won't like me, but hey, I don't smoke, which is a reference to
something the billionaire told him earlier.
But even at that ending of it, like you can't marry another man, there's laws against it,right?

(44:05):
It's actually playfully alluded to and not said out loud.
Do you know what was less sensitive?
One of my favorite movies of all time, some might call it a guilty pleasure, I would not.
I would call it a masterpiece is a film called Soap Dish from 1991.

(44:29):
That ended with the reveal of Cathy Moriarty being transgender and she being like avillain, if you remember.
Right, right.
Right?
A lot more offensive than
by today's standards than what we just witnessed.
Like what could have been in this film, especially then, has to be rewarded.

(44:53):
There are chaplain movies that have way more offensive scenes.
Yeah.
This movie was brilliant on multiple levels.
So there's a lot of drama during the filming and yet Marilyn Monroe gives this spectacularperformance.
It is truly,
ridiculously funny.

(45:13):
Billy Wilder quite specifically did not send the script for the film to the people who didthe Hays Code.
the MPAA?
Yeah, well, whatever it was, I think it was pre MPAA.
I'll just say a bunch of letters.
Yeah, okay.
So that first group before we have the modern MPAA.

(45:34):
The WKZE?
That's them.
Yep, that's them.
So he specifically doesn't send the script.
because he knows that they're going to argue with it, argue about it.
And he's like, no, this will be good.
This will be funny.
And so it's a real risk, right?
So this whole thing is a real risk.
And yet it's not just done to comedic effect.

(45:55):
It also pushes boundaries in a way that quite frankly needed to be pushed at that time.
So yeah, so we get the whole delightful ridiculousness of Daphne slash Jerry, you know.
Osgood's proposed, you know, that whole thing.
But it's done in an absolutely brilliant way that absolutely works.

(46:17):
And ultimately, it comes out and at first, there's a little bit of a swiffy reception,right?
There's a little bit of a concern.
And then basically, they took it to like a college campus to play it.
And these college kids were like, oh my goodness, this is the funniest thing I've everseen.
It's hysterical.
Well, the first test screening didn't go so well.

(46:38):
No, no.
There was one person laughing, exactly one person.
Do know who that person was?
Hopefully Billy Wilder.
No, it was a comedian Steve Allen.
He happened to be in audience that first screen test.
Yeah.
And he was the only person in the audience that found it funny.
And he's quick to point out, like, I knew before any of you, this movie is gold.

(47:03):
yeah, I mean, the funniest thing is like someone came back with like notes you have tocut.
You have to take out a lot of these things because, not specific things, you have to takesome time out of this because the movie's a farce and we're at two hours for a farce,
which was unheard of at the time.
Right, right.
I mean, is unusually long for a comedy at that point, yeah.

(47:27):
Billy Wilder took out one minute.
took out one minute and it was like a scene that went on a little bit too long that hejust shaved off.
And he was like, all right, that's it, there's your cut.
Billy Wilder ironically had giant balls to make this film and I love that.
Literally a film about a couple guys in drag.

(47:47):
And the way he pushed that limit was brilliant.
Now, I feel like today we can have a real argument about it because as it stands, youcan't make that movie today.
It's different.
can't today have a couple of guys be like, I'm running from the mob, so I'm gonna dress ascouple, we're gonna dress as girls.

(48:10):
It just, wouldn't, you know what I mean?
just wouldn't fly as far as like- I'm trying to understand what you mean because thenumber one show in the country is RuPaul's Drag Race.
so today, as some like it hot stands, it would come across offensively.
Basically the way these two guys

(48:30):
who are not drag queens and they are not gay men, essentially utilizing drag to hide.
It's a little bit like bosom buddies, which really doesn't hold up.
You know what I'm saying?
From like that standpoint.
So in a way, it doesn't hold up in that sense.
However- Oh wait, you know what?

(48:51):
Let's spend some time with this, but I'm gonna announce it as a segment and we'll just,we'll Susan to the curb this week.
Ooh, I like it.
This is a new segment.
that we did once before called Upon Reflection, sound effect here.
Go ahead.
Okay.
So this movie at the time, 1959, Billy Wilder does all these things to push it andbasically gives a giant middle finger to the Hays Code, right?

(49:17):
And like you said, even though it's initial, you know, viewing isn't necessarily, doesn'tgo over well, but they find their audience, they figure it out, they get it out there,
ends up being this huge thing.
But.
There are little things that it does.
So for example, one of the first scenes when Jerry and Joe have first dressed like thegirls, they don't even have like names or anything yet and they're at the train station

(49:42):
and Jerry can't walk in the high heels.
And there's that whole ridiculous segment of them trying to get to the train to be like,yes, we're Josephine and Daphne or whatever.
And Sugar walks by them.
And all we do in that moment is aggressively ogle Marilyn Monroe's behind.
So they literally have, I mean, they're pointing out the fact that Marilyn is nothing morethan an object for your pleasure because she's literally walking away from you and they

(50:13):
don't even really show her face that much.
It's mostly her behind, cause they're making that point of how she's walking in the dressand in the high heels.
And Jack Lemmon's character, they're like aggressively looking at her and they're like,how does she do that?
And Jack Lemmon's like, it's like,
she's like a bowl full of jelly.
He basically describes her like it's like jelly on high heels.

(50:34):
Like how is she doing that?
He can't do that.
And so you get this first moment.
So they're just like viewing her as an object, not as a person.
And then you get into almost the moment they hop on the train when, you know what I mean?
Jerry's character, cause they're supposed to be Josephine and Geraldine.
And it's, I'm Josephine, I'm Daphne.

(50:55):
And the look on Tony Curtis's face like,
Out of nowhere, you suddenly decided, you know, like, I'm Daphne.
And Daphne's very over the top.
And Jack Lemmon sort of accidentally turns into this very, you know, almost a, almost kindof a bit of a drag queen, a bit comedic, right?
Very flamboyant, very over the top.

(51:16):
Yeah.
Maybe not, you know, whereas then Josephine is extremely demure and like, no, I gotta dialit back.
Yeah, Josephine kind of reminds me of Bea Arthur a little bit.
yes.
Right?
That's not out of left field, right?
that's- No, that is not out of left field.
That is a good description.
And that's Bea Arthur pre-real Bea Arthur.
So I like that.

(51:36):
That's, yeah.
Maybe Star Wars Christmas special Bea Arthur.
Star Wars I'm sorry I had to bring that up.
No, it's okay.
I'm not sad about it at all.
Happy Life Day.
This is our New Year's Eve show.
So I'm not unhappy at all that you brought up Star Wars Christmas special Bea Arthur.
Or technically Star Wars holiday special.
Oh, sorry.
Star Wars holiday special.

(51:57):
Yeah.
But also, as we continue throughout the movie, we get these other sprinkles too.
So there's Ozgood.
so when the girls- Wait, can I keep you at the train for a moment?
Yeah, sure, keep me at the train.
I think that could totally be done because that's the point in the film where they arefinding who they are in drag, right?

(52:23):
Yes, yes.
Yeah, he's fawning over her, which I'm sorry,
just sexuality.
I don't know that he's like, is he objectifying her?
Yeah, but sometimes objectifying people is part of sexuality.
I mean, that is true.
That is true.
Did he say anything demeaning to her?
No.
He is objectifying her.

(52:43):
But then we get more scenes as we leave the train, we get through, especially like, youknow, we already talked about the accidental party and how
Jack Lemon plays Daphne in that moment.
And again, Daphne is so over the top and giggly and the girls all love her because she'sso outgoing and ridiculous.
And they're like, my God, she's amazing, right?

(53:04):
And you see them sort of fall in love with this new member of their band.
We get ourselves down to Florida and as the girls in the band are walking into the hotel,we got a porch full of old millionaires.
gross old millionaires who literally pulled out.
Okay, so just to describe it for a minute, yeah, gross old millionaires who are in asingle file line of white rocking chairs and dress like they're in a barbershop quartet.

(53:31):
Yes, yes.
And they all like pull down their newspapers and immediately start ogling all the girls.
And it's done for comedic effect, but it's also pretty gross.
And as a woman, even today as a woman, I can be like, ugh.
been there gross, right?
Maybe not so old fashioned version of it, but still, you've been there and you Which is bythe way, a lot grosser, because they probably smelled weird.

(53:58):
they probably did smell weird.
They smelled old.
Yes.
But then we get ourselves moved into Osgood aggressively going after Daphne, and thatelevator scene is spectacular, because it's just, they get into the, he's hitting on,
okay, so he's hitting on Daphne, and Daphne,
immediately finds herself turning into like a, uh-uh, no, you can't hit on me.

(54:22):
And I love that transition, because it's so fast, right?
So we've gone from staring at Marilyn Monroe's butt, saying how it looks like jelly.
I took that wording to mean, how does she balance all that on two pegs of shoes, right?
absolutely.
That is what he's saying.
You're not wrong.

(54:43):
That is what he's saying.
My argument is even though that's what he's saying, it still has very much that male gazeto it.
And in this very short time period later, we see him already flipping to the, I'm on thereceiving end.
And I feel like as a woman, you appreciate seeing them on the receiving end where they'reimmediately like, wait, this is what this is like, you know?

(55:12):
Part of Daphne is sort of flirting back with Osgood when he's like, what do you, know,she's like, I play the bass and they're going back and forth and he's like, well, normally
I slap it.
And it's kind of, you know, right?
There's like this flirting, this inadvertent flirting and you're wondering, does Daphneeven know she's really flirting with them?
Then they get on the elevator, you see the little, the elevator, the old fashioned theelevator numbers, they go back up and then right back down.

(55:36):
yeah.
And she's yelling at him and she's clearly slapped him because he grabbed her bottom.
And she's very annoyed by this.
So that whole process, and then it just continues to go further, right?
Even with, even though like Joe is deceiving Sugar, cause he's pretending to be, you know,Shell Oil Jr.
or whatever, right?

(55:57):
He's still trying to be the man she wants him to be.
And then at the same time, turning around and being Josephine and being very supportive.
she likes a guy and now I have to be the nice girlfriend.
and be supportive while she, you know, she's like, my gosh, I met a boy, right?
That's the interesting part of the duality, isn't it though?

(56:17):
Yes, it is.
He is definitely lusting after her, but when he's in the drag character, the advice thedrag character is giving is pretty solid.
Mm-hmm.
You know?
Which again, adds to that whole juxtaposition of what's it your feminine qualities thatmake you want to relate with people or make you want to communicate with others?

(56:38):
Yes.
It's interesting.
So,
I just love Billy Wilder giving the middle finger to the Hayes Code.
love that we're that's wonderful.
Right?
And we're sitting through something and it is a true progression, right?
This is a progression.
And then right after this, finally get to basically Jerry and Joe have been caught by themob again, so they have to take off.

(57:00):
But Joe realizes he really does like Sugar and he can't just take off without seeing her.
And she's singing with the band.
Right.
And she's so crushed.
because she's under the impression that Shelloil Jr., this millionaire she's falling inlove with, is just taking off on her.
She obviously doesn't know that that's actually Josephine, and Josephine's actually Joe,and the whole thing.

(57:24):
And there's that beautiful moment where Joe realizes how utterly crushed sugar is by beingdumped and essentially played by this guy.
And he, on stage, goes up to her and says,
Sugar, no, no guy's worth this and kisses her, which of course, again, F you, Hayes code,because you essentially even though it's a man and a woman, it looks like two women

(57:48):
kissing.
So you get this moment of two girls kissing and where everybody against, you know, everyround of the whole band thinks that it's another girl, you know, this Josephine's kissing
sugar.
Yes.
But Joe genuinely saying to her, no guy's worth it, which is all you ever want agirlfriend to say when a guy has been a jerk to you.
is no guy's worth it.

(58:09):
then, yeah, and takes off.
And then of course Sugar realizes it's him, you know, the same person.
But this whole progress is, and I know I'm going on too long, but this whole progress isso perfect to me.
It is.
Everything you're, like, I wanna watch it again based on, you know, how you're presentingit.

(58:30):
Because I definitely would love to see this remade.
But I but it's a classic, so you don't.
You really do that?
Like you should probably just remake crap, right?
Yeah.
You know, make it better, you know?
And by that, I mean a very specific Matt Dillon, Gene Hackman movie.
might have mentioned in episode one, like, but yeah, maybe not touch this one, but yeah, Imean, it still holds up.

(58:56):
Like, yeah, because they played it so right.
That is the point I'm trying to make is.
They do, they take you through that step where they get to be a guy doing guy things,being on the male side of that male gaze.
And then they get to find themselves on the other side of it and understand what thatfeels like and how incredibly hard it is to deal with on a regular basis.

(59:22):
And of course, was it worse then than it is now?
Yes.
But have I as a woman found myself in situations where you're like, wow,
Can guys just stop, can guys just not be gross on occasion?
Sorry, Douglas.
no.
But you know what I'm saying.
And so having that opportunity to find yourself- I'm sure it was like disgusting like 20minutes ago.

(59:46):
Somehow.
You were not.
were not.
I disgusting on the way to the studio.
But you know, so that whole transition, having been done in 1959 when you weren't allowedto do it, is utterly brilliant to me.

(01:00:06):
It's radical.
It's nothing short of radical.
I'm going to play the ending.
Okay.
Because we're going to put a pin in this because we do revisit this subject.
But the very, very ending is we have our millionaire on the boat with Daphne after theypresumably drop Joe and Malamon Row off and sugar off somewhere.

(01:00:33):
This is the most perfect ending.
It's up there with like Chaplin's, the ending of City Lights.
It's probably one of the best endings in any film I've ever seen.
But with the dialogue alone.
mama, she was so happy she cried.
She wants you to have her wedding gown.
It's white lace.
Yeah, that's good.
I can't get married in your mother's dress.

(01:00:56):
She and I, we are not built the same way.
We can have an altar.
Yeah, I know you don't.
That's good.
I'm gonna level with you.
We can't get married at all.
Why not?
Well, in the first place, I'm not a natural blonde.
Doesn't matter.
I smoke.
I smoke all the time.

(01:01:17):
I don't care.
I'm a terrible pass.
For three years now I've been with a saxophone player.
I forgive you.
I can never have children.
We can adopt some.
But you don't understand, Osgood.
I'm a man.
Well, nobody's perfect.

(01:01:44):
Perfect.
my God, so good.
of course- Talk about sticking the landing.
Yeah, sticking the landing.
And I love, and I know you were thinking this too, I love that that was meant to be aplaceholder line and nobody came up with anything better.
we're like, of course you didn't, because it's that good.
Yeah, and they didn't think so.
When they shot it, they didn't even understand how perfect it was.

(01:02:06):
brilliant.
But we were talking about relevance and-
playing with the idea of a remake, but it is a musical now on Broadway.
opened in 2022.
Is that correct?
It was actually had been started and was set up to, should have come out sooner, but COVIDhappened.

(01:02:27):
And so it got pushed back.
And so that's how it ended up coming out in 2022.
It went on to receive a leading 13 nominations at the 76 Tony Awards, including BestMusical and Harrison Gee.
got a nomination and subsequently won best leading actor in a musical.

(01:02:48):
And this makes Guy one of two first openly non-binary performers to be nominated or whento be nominated or, or win for that matter.
other thing that's brilliant about that is so earlier I was saying, you know, exactly asit stands, it wouldn't quite work today.
So when they made the musical, they did shift a tiny bit and they basically

(01:03:12):
allowed Jerry slash Daphne to lean into that role and basically let Daphne be like, yeah,I'm kind of both Jerry and Daphne.
I'm not one or the other.
I'm not just Jerry dressing as a girl to get away from this mob guy who wants to kill us.

(01:03:33):
But I legitimately kind of has this beautiful moment of realizing, no, I really am.
Daphne is a part of who I am.
And it's brilliant.
So first of all, here's, I mean, if you've seen any clips, it's brilliant and beautifuland perfect in it.
Where can I see it?
Where can I see clips?
there's a few like on YouTube and obviously they performed at the Tony's that year andthen they were on our household.

(01:03:59):
I'm sure I said this before, we watch a lot of CBS Sunday morning in my house because JanePauli always has like the best little stories.
Um, so they, they reviewed it.
She just does.
All right.
She just does that.
And those nature sections at the end of the episode, I can't help it.
I love it.
Um, stupid trumpet at the beginning, whatever, but no, it's, we did a whole thing on itand it is, it's utterly brilliant because that as much as they pushed it, as, far as it

(01:04:28):
was pushed in 59, right.
There was a line in which it had to stop and it stopped there.
And of course then in 2022,
The musical was able to go, nope, nope, we're well past a point.
We can jump way over that line.
We're allowed to do that now.
And they did, and they did it in a brilliant way.
And it's fantastic.
like, Oscar and That's how relevant that movie is.

(01:04:50):
That's relevant that movie was, is they made a musical.
Oscar and Daphne do actually get married in the end.
wow.
Which is fantastic.
I absolutely.
Now I want to see it.
Now I want to see the play.
I was looking because.
I know I've this before, listeners, but I'm Midwestern girl, other than maybe going to oneof the bigger Midwestern cities, I don't always get stuff close to me.

(01:05:13):
And yes, apparently it is in a couple months, if they want to say in March, it's going tobe not too far for me.
So I'm really excited.
I've been, I've been working on my hubby and I'm like, Brian, you have to take me to thecity.
You know, I hope it's not near St.
Patrick's day because, oh yeah, we have plants.
We do.
crap.

(01:05:33):
You're right.
We do have plans.
You know what?
We've got to see Leprechaun in the Hood.
I want to say it's like that week.
I want to say it's like right after St.
Patrick's Day.
I don't know.
Some like it hot.
Oh, no.
The Broadway production of Some Like It Hot in your town.
Or Leprechaun you come here and go see right.
Well, now I'm Listeners, we'll find out what happens.
I'll either get myself...
Oh, this is a cliffhanger.

(01:05:54):
It is a cliffhanger.
I know what's going to happen now.
Now you ought to talk to Brian and be like, babe.
We only have two options and we've got to decide what's going to happen.
Well, the icing on the cake of this episode is that Some Like It Hot just won a Grammy forbest musical theater album at the 2024 Grammy Awards.

(01:06:16):
That is so utterly brilliant.
Yeah.
So all day long, we Some Like It Hot.
Like it's forever.
Right?
It is forever.
And hopefully it keeps evolving and keeps, you know, and keeps
smashing boundaries and just being the trailblazing piece of art that it is.
These are the moments when I feel like I remember I grew up in a cinema loving householdbecause it's not just about the silly things that you watch like...

(01:06:45):
Fever.
Saturday Fever and I'm trying to think what were you know Star Wars and you know I don'tknow Despicable Me, The Hunger Games, whatever ridiculous movies you're watching but it's
also
Sitting through like being exposed to some like it hot when literally you're a kid and notnecessarily being able to process Fully, but understanding you're seeing something

(01:07:09):
groundbreaking while also understanding that today Nope, nope, not enough doesn't push theline far enough.
It would probably be almost tiny but offensive But it does a better job than you think itmight right, but it does a better job than you think it Absolutely.
And you know, I feel like it's it's on that list of
For me, it's certainly on that list of movies that had a massive impact, even if Icouldn't fully understand what that impact was at the time.

(01:07:37):
And I'm sure, I know you and I have two very different lists.
Because yours includes Saturday Night Fever.
Well, here's the thing, because the things that are on my list, yeah, I mean, they arevery, very different.
But I walk away from the things that you make me watch forward.
wow, did I never see this before?
but also like how grateful am I that I got to see it and how does that impact me after Isee it?

(01:08:03):
These are very profound.
So you make a profound effect on my life with your list.
Well, thank you.
I appreciate that.
But in fairness, you do the same to me because you made me sit through Saturday NightFever and it was a substantially better film than I anticipated.
Well, see.
no.
Yeah.
Yeah.
no, I admitted that on record.
Feelings.

(01:08:24):
Feelings.
So that is our
episode of Some Like It Hot, technically our last episode of 2024.
next week, what are we doing next week?
We're going to do The Man Who Fell to Earth because it is David Bowie's birthday.
So we're doing a David Bowie movie for David Bowie's birthday.

(01:08:45):
I don't know if you know this.
It's also my mother's birthday.
No, I don't think I knew that.
Yeah.
She was born on the same day as Bowie.
Wow.
And some guy named Elvis.
But the only Elvis that matters is still with us.
All I could think about was when I took ballroom dancing lessons with my husband, thatthere was a kid named Elvis that took lessons at the same studio.

(01:09:07):
He doesn't matter.
I know, it only Elvis I could think of in my brain kind of process.
Probably not even to the people around him.
No, probably not.
Yeah.
So anyway, sorry, Elvis.
We are really excited for you to join us next week.
We're your studio property.
Whose turn is it to come up with a Oh no, I think it's my turn.

(01:09:29):
Because we keep blowing it.
Yeah.
Okay, I think it's my turn.
All Yeah.
I'm Doug Wartell.
I'm Devin Irby.
Don't let the film catch on fire.
What?
Because, you know, I was thinking of Cinema Paradiso and the film catches on fire.
many episodes.
This was, that was crap.
I know, it was crap.

(01:09:50):
weren't even trying.
I wasn't.
really wasn't.
Studio Property is mixed at Spillway Street Content in Red Hook, New York and syndicatedon Radio Free Reinkliff.
Themed song by the Corner Bodega.
Be sure to subscribe to the podcast and follow us on Instagram at Studio Property Show.
Thanks for listening and we'll catch you next week.

(01:10:20):
Spill away street!