Some Like It Hot (1959)

"Some Like It Hot" is ranked number one on the American Film Institute's Top 100 Laughs; making the film basically the funniest movie of all-time. Yet, I couldn't refrain from asking myself if this movie really deserves the number one spot, or even "Tootsie" at number two; perhaps there IS something about transvestitism that appeals to the general public, mind you, if they're done skillfully. I feel I'm in no position to argue. With that said this delightful comedy has a little something for everyone to enjoy.

After being nearly arrested for entertaining in an illegal backdoor dive and gambling club two musicians named Joe and Jerry, played by Tony Curtis and Jack Lemmon, flee the scene and quickly start looking for jobs elsewhere. After hearing that a certain opening is available for a saxaphone and bull fiddle player Jerry tries to convince an agent that he and Joe can qualify for the engagement -- the only catch is that they have to be women. Joe refuses the idea and suggests the alternative and play at a dance located 100 miles out-of-town. In an effort to provide themselves with transportation Joe charms his way with a woman to borrow her car located at a parking garage. While there Joe and Jerry witness a mob massacre; narrowly escaping death themselves. In fear of their lives the two flee the state, joining an all-girl band masquerading as women and head out by bus to Florida.

During this bus ride the two men encounter an attractive blonde named Sugar Kane Kowalczyk, played by a voluptuous, then pregnant Marilyn Monroe. From the very first meeting she comes across as a not particularly bright, bottle-sipping ukulele player who wants nothing more but to marry a nice, kind man with lots of money -- like a millionaire with glasses. As the story progresses Joe takes a fancy to Sugar and funny complications ensue. The band eventually arrive in Florida, and Joe and Jerry, now calling themselves Josephine and Daphne, instead of fleeing on arrival decide to play out their stint at a hotel lounge. Meanwhile, Joe attempts to win the affection of Sugar while pretending to be an English millionaire equipped with glasses and a yacht. But their amusing absurdities come to a halt when the mob from Chicago, headed by Spats Colombo (George Raft), catches up with them by odd chance at the same hotel.

There are two reasons why "Some Like It Hot" works and why so few of the same kind of movies that followed have been a success. 1) The cast. In addition to the superb character actors, Pat O'Brien and Joe E. Brown, you just can't go wrong with Jack Lemmon, Tony Curtis and Marilyn Monroe. The two men play off each other so well and they're a delight to watch. And to top it off you have Marilyn Monroe, in what I've always considered was the last triumph in her film career before making her final picture, "The Misfits", a year or so later. 2) Billy Wilder as director. Wilder has such a strong ability for comedy on screen it is unparalleled, HE is unparalleled; watch any or all of this man's movies and you'll understand why he's considered one of the greatest filmmakers of the 20th century. Presently, "Some Like It Hot" is working on being nearly 60 years old, and it doesn't seem dated one bit. **** out of ****

Hell's Angels (1930)

Brothers Roy and Monte Rutledge ditch their native Oxford for England's Royal Flying Corps at the onset of the First World War. One of the brothers (James Hall) is madly in love with a beguiling and attractive girl named Helen, played by Jean Harlow. Meanwhile, after the news that war has been declared on Germany, their German friend Karl (John Darrow) is ordered back to his country to enlist in the war and fight Britain; a sentence he resents on account that he considers the English his friends. Karl ultimately ends up on a Zeppelin (a German airship) with orders to bomb an area in London.

As the story progresses Roy and Monte volunteer for a risky mission: to bomb a German munitions facility using a German plane. Before they commence to their duty however, Roy and Monte decide to enjoy what could possibly be their last night together and Roy goes off and looks for Helen, only to find her in the arms of another man. (Sometime in mid-1934, The Motion Picture Association of America (MPAA) drafted a document that set the standards on what was acceptable to be shown on motion picture screens. A lewd scene in the movie involving Helen and a drunken man is a fine example of pre-code behavior).

"Hell's Angels" was really a movie ahead of its time. Howard Hughes, the director, wasn't afraid to do anything if he knew it would be beneficial to the picture, and cost certainly wasn't an issue because the results were sensational. The aerial sequences alone were convincing for its time, and even today, because it was acheived through the means of practical effects and obviously required an aviator's skill. The color sections of the film (the destruction of the Zeppelin in particular), were also well done, creating the right atmosphere for a highly elevated airship in danger of being compromised. And the sacrificing of the German airman falling down a darkened pit without even so much as a whimper was both frightening and unnerving; this scene is a sparkling example of how images can triumph over words. But what I found most wonderful of all in this film was an eight minute, two-strip Technicolor scene featuring Jean Harlow, the only color footage that exists of the actress. ***1/2 out of ****

One, Two, Three (1961)

Our setting is West Berlin, Germany, just after the Second World War where James Cagney plays C.R. MacNamara, a Coca-Cola executive assigned to look after his boss's daughter Scarlett Hazeltine (Pamela Tiffin) while her parents are away vacationing in Europe. As the story progresses Scarlett falls in love with an East German Communist named Otto Piffl, played by Horst Buchholz. When MacNamara finds out that the underaged Scarlett is engaged to be married all hell breaks loose as he (with the help of his assistant Schlemmer) hastly undertakes the task of transforming Piffl into a respectable, presentable, and noble husband when Mr. and Mrs. Hazeltine arrive back to greet their daughter.

MacNamara's trouble doesn't end there, however. Phyllis MacNamara (Arlene Francis) is unhappy with her life in Berlin, and for the sake of their children she pleads with her husband to take back his old position in Atlanta and return to live in the United States. He refuses and she threatens to leave him.

Billy Wilder directs this fast-paced comedy with sheer brilliance it will leave your head spinning. The cast here is top-notch and James Cagney is non-stop hilarious. For a film that has at least a chuckle a minute it is nowhere to be found on AFI's Top 100 Laughs. Fans of Howard Hawks' "His Girl Friday" should enjoy and appreciate this highly underrated farcical gem. ***1/2 out of ****

Shane (1953)

Alan Ladd portrays Shane, a retired gunslinger who wanders onto the Starrett ranch and befriends the family, eventually working for them. Right from the beginning the character of Shane comes across as a little strange and mysterious, and not much information is given as to his background or past affairs. The cast includes Van Heflin as Joe Starrett, Jean Arthur (in what is to be her final film appearance) plays his wife Marian and Brandon De Wilde as their little boy, Joey. The Starrett family alongside many others are living in the vicinity of a small community with no established law. In other words, trouble flows frequently and the peacemakers of the bunch find themselves and their property threatened by wild and stubborn cowboys, who harbor an intent to drive the settlers out of town.

Meanwhile, a cattleman named Ryker (Emile Meyer) wants to buy the Starrett property, but Joe is adamant in his decision and refuses. Leaving him with no alternative Ryker sends for an infamous gunslinger named Wilson to take care of Starrett, but Shane ultimately intervenes and saves the town from overpowering corruption.

"Shane" is a movie about conflict; about how one man, a stranger, can put a troubled town back on its feet and, at the same time, change the standing of one family. The showdown between Shane and Wilson, played by Jack Palance, is short, quick and to the point. Palance has such a strong presence as Wilson, yet all it takes is a single bullet. That scene looked and felt like a real showdown. It is a beautiful looking movie with wonderful cinematography, not to mention a story that really gets into your heart. Its classic ending really is what everyone says it is. Very few westerns get any better than this. **** out of ****