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Curtis has the upper hand because he can change back and forth from his femme role to that of a fake ‘millionaire’ who woos Miss Monroe. It’s a tossup whether Curtis beats out Lemmon or whether it goes the other way ’round. This gal can take it, and so can the audience. If, at the time of the filming she was pregnant, and the tight dresses she’s asked to wear just don’t fit very well, never mind. She’s a comedienne with that combination of sex appeal and timing that just can’t be beat. Her performance as “Sugar,” the fuzzy blonde who likes saxophone players “and men with glasses” has a deliciously naive quality. To coin a phrase, Marilyn has never looked better. And the alternating shots of Miss Monroe trying to stimulate Curtis on a couch, while Lemmon and Brown live it up on the dance floor, rate as a classic sequence. Shot of Curtis and Lemmon walking down the station platform dressed as girls, swinging their hips with the anxious look of one who has yet to learn to walk on high heels, brings the house down.Īgain, the scene on the train, where the ‘private’ pullman berth party of Lemmon and Miss Monroe in her nightie is invaded by guzzling dames, represents humor of Lubitsch proportions.
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It’s that sort of thing all the way through.
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Bullets rip through hearse and the coffin starts spouting liquid. In the coffin repose dozens of bottles of bootleg gin. Picture opens with a hearse being chased by police. He has done this so deftly that the ridiculous somehow appears possible, and the shocking turns into laughter. On this plot skeleton, Wilder has put the flesh of farce. Curtis and Lemmon can then reveal their identity. While romance blossoms in Miami, gangsters led by George Raft come on the scene for a convention and Curtis and Lemmon are recognized. Lemmon, in turn, is propositioned by an addle-brained millionaire (Joe E. This leads to the obvious complications, particularly since Curtis meets Miss Monroe (ukulele player, vocalist and gin addict) and falls for her. Valentine’s Day massacre and ‘escape’ into the anonymity of a girl band by dressing up as femme musicians. Tony Curtis and Jack Lemmon escape from a Chicago nightclub that’s being raided, witness the St. Story revolves around the age-old theme of men masquerading as women. It’s too long, for one, being a small joke milked like a dairy one or two scenes skirt the limits of good taste.