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Some Like It Hot: The Criterion Collection
[Blu-ray 4K]
Blu-ray ALL - America - Criterion Collection Review written by and copyright: Noor Razzak (15th April 2025). |
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The Film
 Billy Wilder’s "Some Like It Hot" remains a landmark in American cinema, deftly combining screwball comedy, gender-bending farce, and social satire in a way that feels astonishingly fresh, even decades after its release. The film isn’t just a comedy classic—it’s a sharp commentary on identity, desire, and the absurdity of gender expectations. Set in Prohibition-era Chicago, the story follows two struggling musicians, Joe (Tony Curtis) and Jerry (Jack Lemmon), who witness a mob hit and flee town by disguising themselves as women. They join an all-female band on its way to Florida, where they meet the stunning and troubled Sugar Kane (Marilyn Monroe), the band’s ukulele-playing singer with dreams of marrying a millionaire. As Joe woos Sugar while posing as a millionaire himself, and Jerry finds himself the object of affection from an actual rich suitor, the narrative spirals into a delightful tangle of deception and comic chaos. The brilliance of "Some Like It Hot" lies in its script, co-written by Billy Wilder and I.A.L. Diamond. The dialogue is fast-paced and razor-sharp, filled with witty repartee and iconic one-liners that reward multiple viewings. But beneath the humor, there’s an undercurrent of complexity. Wilder uses farce to expose the arbitrary nature of gender roles and the performative aspects of identity. Joe and Jerry’s time in drag isn’t just played for laughs it subtly critiques how women are treated and seen by men. Tony Curtis delivers a charming dual performance, switching between his female persona and a fake Cary Grant-style accent as a bogus millionaire. Jack Lemmon, however, steals the show. His exuberance as “Daphne” and his increasingly serious consideration of marrying a man (with a memorable tango scene to boot) are not only hilarious but surprisingly progressive for their time. His final line—“Well, nobody’s perfect”—has become one of the most iconic endings in film history, both for its wit and its radical ambiguity. And then there’s Marilyn Monroe. Her performance as Sugar is both luminous and melancholic. While often typecast as the ditzy blonde, Monroe imbues Sugar with vulnerability, heartache, and a desperate hopefulness that lingers long after the film ends. Her rendition of “I Wanna Be Loved By You” is sultry and aching, revealing more about her character than any monologue could. Monroe’s performance also solidified her status as not just a Hollywood sex symbol, but a cultural icon with enduring resonance. While she had already been a major star by the late 1950's, her portrayal of Sugar Kane demonstrated a depth of comedic timing and emotional vulnerability that elevated her critical reputation. The role distilled her screen persona—glamorous, fragile, and endearingly self-aware—into something that transcended mere stereotype. Monroe’s image in the film, especially the slinky dresses and sultry musical numbers, became instantly iconic and has since been endlessly referenced, parodied, and celebrated in pop culture. More importantly, this film marked one of her last great performances before her untimely death, and it contributed significantly to the mythology that surrounds her to this day: a symbol of both shimmering allure and quiet sadness, whose impact on cinema and gender representation continues to be dissected and admired. Technically, Wilder’s direction is precise yet playful. The black-and-white cinematography by Charles Lang by then a multiple Oscar nominee and winner for Best Cinematography for 1934's "A Farewell to Arms" (necessitated by the difficulty of filming Curtis and Lemmon’s makeup in color) adds a nostalgic charm and prevents the comedy from veering into cartoonishness. Adolph Deutsch’s score underscores the zany energy while evoking the spirit of the Roaring Twenties. What makes "Some Like It Hot" endure isn't just its gags or iconic performances, it’s the film’s willingness to challenge conventions, delivered with a smile. It flirts with taboo, bends gender norms, and plays with sexual politics at a time when such themes were often brushed under the rug. That it does so with such joy and intelligence is a testament to Wilder’s genius.
Video
Presented in the film's original widescreen ratio of 1.85:1 mastered in 4K 2160p 24/fps and enhanced with HDR10 and Dolby Vision, this is a wonderful black & white image that preserves this classic for future generations. For a film that's now 66 years-old it looks remarkably crisp, film grain is retained and looks natural, the black levels and bold and deep, white levels are balanced, greys look solid. The image features some wonderful detail, it's clean and features no dirt, specks, or any print damage. Another top notch effort. It's worth noting that this is the same transfer that was released by Kino in 2022, just now it's licensed to Criterion.
Audio
The disc features several audio tracks, the 4K version features audio in English DTS-HD Master Audio 5.1 surround or the original English LPCM 1.0 mono, the Blu-ray only features the English LPCM 1.0 mono track. These tracks are also the same that was previously released by Kino in 2022, the 5.1 track is rich and detailed, immersive, clean and clear dialogue. There is no evidence of audio issues that generally occur on films of this age, no crackle, no hiss, no audio drop outs of pops. It's pretty much perfect. For purists the original mono track is included and also sounds good despite it's sonic range, after all this is a film from 1959. Optional subtitles are included in English for the hearing impaired only.
Extras
Criterion has included an incredible collection of supplements, below is a closer look. DISC ONE: 4K UHD This disc includes the film in 4k and is accompanied by a screen-specific audio commentary with film scholar Howard Suber, recorded in 1989 for the original LaserDisc release, Suber offers a great analysis of the film, it's cultural impact and offers a lot of detail on the making of the film. DISC TWO: Blu-ray This disc features the film in standard HD 1080p and also features the same audio commentary with film scholar Howard Suber. There are a collection of three "Behind-the-Scenes" programs that include: - "The Making of Some Like It Hot" 2006 documentary (25:45) takes a closer look at the making of the film. - "The Legacy of Some Like It Hot" 2006 featurette (20:21) features filmmaker Curtis Hanson as he discusses how the film took on the censor, and takes a look at the critical and audience reaction to the film and it's cultural impact. - "Memories from the Sweet Sues" 2001 featurette (12:02) actresses Marian Collier, Laurie Mitchell, Sandra Warner, and Joan Nicholas comment on their roles in the film. "Costumes by Orry-Kelly" 2018 featurette (18:57) that takes a look at the iconic gowns made for Monroe to wear in the film. Director Billy Wilder on "The Dick Cavett Show" from 1982 (55:36) this episode of the show features the director as he's doing the press rounds for the promotion of the film. "Nostalgic Look Back" 2001 conversation with actor Tony Curtis and film critic Leonard Maltin (31:12), Maltin interviews the actor about this classic film and on his career. 1988 French television interview with actor Jack Lemmon (9:49), Lemmon talks about his involvement in the film in this short clip. 1955 radio interview with actress Marilyn Monroe (8:44), Dave Garroway interviews the star as she talks about living in New York and on adding to her acting range among other things. Rounding out the extras is the film's original theatrical trailer (2:18). Packaged in the case is a booklet that features an essay by author Sam Wasson.
Packaging
Packaged in a plastic keep case.
Overall
"Some Like It Hot" is one of the most iconic Hollywood films of all time and deserve a prescience on any film fan's shelf.
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