“SOME LIKE IT HOT” (1959) Review

475857_800

“SOME LIKE IT” (1959) Review

It has been called one of the greatest film comedies of all time . . . and possibly the greatest. Billy Wilder’s 1959 comedy, “SOME LIKE IT HOT” has been the topic of many books and documentaries on both Hollywood and the director’s career. I have seen the movie more times than I can remember. And for the first time, I have decided to publicize my feelings on it.

Directed by Billy Wilder and co-written by him and I.A.L. Diamond, “SOME LIKE IT HOT” is a remake of a 1935 French film called “FANFARE D’AMOUR”, which was based upon a story by Robert Thoeren and Michael Logan. “FANFARE D’AMOUR” was first remade in 1951 by director Kurt Hoffmann as “FANFAREN DER LIEBE”. However, the French and German versions did not feature gangsters as an integral part of their plots. “SOME LIKE IT HOT” told the story of a pair of struggling jazz musicians who end up witnessing the Saint Valentine Day Massacre – at least a fictionalized account of it. When the Chicago gangsters, led by “Spats” Columbo see them, the two flee Chicago for their lives by taking a job as members of an all-girl band heading for Florida . . . disguised as women. The musicians, Joe and Jerry, become enamored of a “Sugar” Kane Kowalczyk, the band’s vocalist and ukulele player. And both struggle for her affection, while maintaining their disguises. In order to win Sugar’s affection, Joe assume a second disguise as a millionaire named “Junior”, the heir to Shell Oil. As for Joe, he has attracted the attention of a real millionaire named Osgood Fielding III. But when “Spats” Columbo and his men make an unexpected appearance at a gangster’s convention at their hotel, all hell breaks loose.

Does “SOME LIKE IT HOT” deserve its reputation as one of the greatest film comedies of all time? I believe it does. In fact, it happens to be my personal favorite comedy of all time. Fifty-nine years have passed since it was first released and it is just as fresh and hilarious as ever. More importantly, “SOME LIKE IT HOT” features some twisted humor that does not seem dated at all. Mind you, there have been other movies and television series (think “BOSOM BUDDIES” of the early 1980s) with a gender bender theme. But not one of them have been as funny as “SOME LIKE IT HOT”. Not even 1982’s “VICTOR/VICTORIA” – which is a close second for me – is not as funny. Both movies featured the insidious possibilities of cross-dressing. But whereas the 1982 movie is a bit more obvious and a little preachy in its attempt to convince moviegoers to accept what is presented on the screen, “SOME LIKE IT HOT” is a lot more subtle and funny, thanks to Wilder and Diamond’s script. In fact, the movie’s last line said a lot more about the consequences of cross dressing than any other movie ever had. I only have one complaint about Wilder and Diamond’s script. From the moment “Spats” Columbo and his men arrived in Florida, I found the movie’s plot and pacing somewhat rushed. Only Marilyn Monroe’s poignant rendition of “I’m Through With Love”, Pat O’Brien, Nehemiah Persoff and the last scene saved the movie’s final fifteen to twenty minutes.

Production-wise, “SOME LIKE IT HOT” seemed pretty top-notch. Production manager Allen K. Wood did his best to re-create the late 1920s for the film. I certainly had nothing to complain about Edward G. Boyle’s sets and Ted Haworth’s art direction, both earning Academy Award nominations. Although a part of me find the idea of “SOME LIKE IT HOT” shot in color somewhat appealing (see the photograph above), I must admit that Charles Lang’s black-and-white photography (also an Oscar nominee) looked very attractive – especially his photography of San Diego’s famous Hotel Del Coronado standing in as the Florida hotel where Sweet Sue’s band performed. Legendary Hollywood veteran Orry-Kelly won the film’s only Academy Award for his costume designs. I must admit that I found them very impressive and captured the late 1920s beautifully. I only wish that the women’s shoes worn with the costumes had been just as accurate. Looking at Marilyn Monroe’s famous walk along the train station platform, I could easily tell that her shoes were circa 1958-59. And I could say the same for the hairstyles worn by the female cast members.

Speaking of the cast,they were superb . . . every last member. The supporting cast provided brief, but memorable moments from the likes of Billy Gray as a young hotel bellhop lusting after Joe (as Josephine), Nehemiah Persoff as the colorful crime boss Little Bonaparte, Beverly Willis as band member and lover of raunchy jokes Dolores, Dave Barry as the band’s “dignified” manager Beinstock and a delicious Pat O’Brien as the sardonic police detective Mulligan. The movie also featured a funny performance from Joan Shawnlee as the band’s tough talking leader, Sweet Sue. And George Raft was effectively menacing as bootlegger/gangster “Spats” Columbo. I have only seen Joe E. Brown in perhaps two roles . . . and one of them was Osgood Fielding III, the sweet and hilarious millionaire whose heart is captured by Jerry aka “Daphne”. I have a deep suspicion that Osgood may have been one of Brown’s best movie roles ever. And he also had the good luck to utter one of the funniest and memorable last lines in Hollywood history.

But the movie truly belonged to Marilyn Monroe, Tony Curtis and Jack Lemmon. Monroe won a Golden Globe award for her performance as the love-sick chartreuse, “Sugar” Kane Kowalczyk. She may or may not have been difficult during the movie’s production, but she more than earned that Golden Globe award. She was funny, poignant, sweet . . . and slightly mercenary – especially in her character’s pursuit of the fictional Shell Oil heir, “Junior”. It is heartening to see that so many have finally learned to appreciate Tony Curtis’ talents as an actor. While co-stars Monroe earned a Golden Globe and Jack Lemmon earned an Oscar nomination, Curtis ended up with the “short end of the lollipop”. Pity, because he was just as funny as the seductive trombone player Joe. But I found his portrayal of the fictional “Junior” even funnier and he managed to utter the second funniest line in the movie. Bull fiddler Jerry aka “Daphne” led to a second Academy Award nomination for Jack Lemmon . . . and he deserved it. One, he formed a great comedy team with Curtis (with whom he would reunite six years later in “THE GREAT RACE”). Two, watching him assume the airs of woman had me rolling on the floor. But what really cracked me up were his acceptance of the possibility of becoming Osgood’s next bride, while basking in the throes of their night together at a Cuban restaurant. It was a superb comedic moment for Lemmon and I would not be surprised if it was the very one that led to his nomination.

What else can I say about “SOME LIKE IT HOT”? Okay, it is not perfect. I was able to spot a few flaws in the costumes and one in the plot. But it is the closest to a perfect film comedy I have seen so far. And remember . . . this movie had been made fifty-nine years ago. William Wyler’s remake, “BEN-HUR” ended up sweeping the Oscars for that year. Pity. I have never been a fan of that movie. And if it had been up to me, I would have given the top awards to “SOME LIKE IT HOT”.

some-like-it-hot-1959-walking-gif

 

 

Advertisements

Steak Diane

Steak-Diane

Below is an article that features the history and a recipe for a dish called “Steak Diane”: 

STEAK DIANE

Tracing the history of the culinary dish, Steak Diane, proved to be a complicated affair. From some of the articles I have read, the dish’s history could be traced back to the late 19th century and early 20th century, when European chefs rediscovered the recipe for an ancient dish that required sauce served over venison. Its sharp sauce was intended to complement the sweet flavor of deer meet. It was named after the Roman goddess of the hunt and the moon, Diana.

But the actual Steak Diane evolved from Steak au Poivre, which was coated with cracked peppercorn before cooked and smothered with sauce. But Steak au Poivre did not include flambéing with brandy in its recipe. Steak Diane did. Sometime during the 1950s, Steak Diane made its first appearance either at the The Drake Hotel, the Sherry-Netherland Hotel or the Colony Restaurant in New York City. Beniamino “Nino” Schiavon, an Italian-born chef who worked at the Drake Hotel. I do know that Steak Diane became a very popular dish for those who hobnobbed within New York’s high society during the 1950s and 1960s.

The following is a recipe for the dish from celebrity chef, Emeril Lagassee:

Steak Diane

Ingredients
4 (3-ounce) filet mignon medallions
1/2 teaspoon salt
1/4 teaspoon freshly ground black pepper
1 tablespoon unsalted butter
4 teaspoons minced shallots
1 teaspoon minced garlic
1 cup sliced white mushroom caps
1/4 cup Cognac or brandy
2 teaspoons Dijon mustard
1/4 cup heavy cream
1/4 cup reduced veal stock, recipe follows
2 teaspoons Worcestershire sauce
2 drops hot red pepper sauce
1 tablespoon finely chopped green onions
1 teaspoon minced parsley leaves

Preparations

Season the beef medallions on both sides with the salt and pepper. Melt the butter in a large skillet over medium-high heat. Add the meat and cook for 45 seconds on the first side. Turn and cook for 30 seconds on the second side. Add the shallots and garlic to the side of the pan and cook, stirring, for 20 seconds. Add the mushrooms and cook, stirring, until soft, 2 minutes. Place the meat on a plate and cover to keep warm.

Tilt the pan towards you and add the brandy. Tip the pan away from yourself and ignite the brandy with a match. (Alternatively, remove the pan from the heat to ignite, and then return to the heat.) When the flame has burned out, add the mustard and cream, mix thoroughly and cook, stirring, for 1 minute. Add the veal stock and simmer for 1 minute. Add the Worcestershire and hot sauce and stir to combine. Return the meat and any accumulated juices to the pan and turn the meat to coat with the sauce.

Remove from the heat and stir in the green onions and parsley. Divide the medallions and sauce between 2 large plates and serve immediately.

Here is the recipe for the Reduced Veal Stock:

Preparation

4 pounds veal bones with some meat attached, sawed into 2-inch pieces (have the butcher do this)
2 tablespoons olive oil
2 cups coarsely chopped yellow onions
1 cup coarsely chopped carrots
1 cup coarsely chopped celery
5 garlic cloves, peeled and smashed
1/4 cup tomato paste
6 quarts water
4 bay leaves
1 teaspoon dried thyme
1 teaspoon whole black peppercorns
1 teaspoon salt
2 cups dry red wine

Preparation

Preheat the oven to 375 degrees F.

Place the bones in a large roasting pan and toss with the oil. Roast, turning occasionally, until golden brown, about 1 hour. Remove from the oven and spread the onions, carrots, celery, and garlic over the bones. Smear the tomato paste over the vegetables and return the pan to the oven. Roast for another 45 minutes. Remove from the oven and pour off the fat from the pan.

Transfer the bones and vegetables to a large stockpot. Do not discard the juices in the roasting pan. Add the water, bay leaves, thyme, salt, and peppercorns to the stockpot and bring to a boil. Meanwhile, place the roasting pan over two burners on medium-high heat. Add the wine and stir with a heavy wooden spoon to deglaze and dislodge any browned bits clinging to the bottom of the pan. Add the contents to the stockpot. When the liquid returns to a boil, reduce the heat to low and simmer, uncovered, for 8 hours, skimming occasionally to remove any foam that rises to the surface.

Ladle through a fine-mesh strainer into a large clean pot. Bring to a boil, reduce to a gentle boil, and cook, uncovered, until reduced to 6 cups in volume, about 1 hour. Let cool, then cover and refrigerate overnight. Remove any congealed fat from the surface of the stock. The stock can be stored, covered, in the refrigerator for up to 3 days, or frozen in airtight containers for up to 2 months.

1700-1749 Costumes in Movies and Television

Samuel Richardson, the Novelist (1684-1761), Seated, Surrounded by his Second Family 1740-41 1708-1776 by Francis Hayman 1708-1776

Below are images of 1700-1749 fashion found in movies and television productions over the years:

 

1700-1749 COSTUMES IN MOVIES AND TELEVISION

Tom Jones 1963

“Tom Jones” (1963)

 

 

The First Churchills 1969

“The First Churchills” (1969)

 

 

 

Young Catherine 1991

“Young Catherine” (1991)

 

 

 

Rob Roy 1995

“Rob Roy” (1995)

 

 

 

Catherine the Great 1996

“Catherine the Great” (1996)

 

 

 

The History of Tom Jones 1997

“The History of Tom Jones” (1997)

 

 

 

Pirates of the Caribbean - Curse of the Black Pearl 2003

“Pirates of the Caribbean:  Curse of the Black Pearl” (2003)

 

 

 

Perfume - The Story of a Murderer 2005

“Perfume:  The Story of a Murderer” (2005)

 

 

 

Black Sails 2014-2017

“Black Sails” (2014-2017)

 

 

 

Outlander 2015-Present

“Outlander” (2015-Present)

 

 

 

 

 

 

 

 

 

 

1500s Costumes in Movies and Television

untitled-1

Below are images of 16th century fashion found in movies and television productions over the years:

 

1500s COSTUMES IN MOVIES AND TELEVISION

image

“The Private Lives of Elizabeth and Essex” (1939)

 

 

image

“The Sea Hawk” (1940)

 

 

image

“The Adventures of Don Juan” (1949)

 

 

image

“Elizabeth R” (1971)

 

 

image

“The Prince and the Pauper” (1977)

 

 

image

“Orlando” (1992)

 

 

image

“Shakespeare in Love” (1998)

 

 

image

“The Tudors” (2007-2010)

 

 

image

“Wolf Hall” (2015)

1600s Costumes in Movies and Television

800px-gillis_van_tilborgh_-_family_portrait_detail_-_wga22404

Below are images of 17th century fashion found in movies and television productions over the years:

 

1600s COSTUMES IN MOVIES AND TELEVISION

“Queen Christina” (1933)

 

 

“Forever Amber” (1947)

 

 

“The Three Musketeers” (1973)

 

 

“The Man in the Iron Mask” (1977)

 

 

“The Crucible” (1996)

 

 

“The Fortunes and Misfortunes of Moll Flanders” (1996)

 

 

“The New World” (2005)

 

 

“The Devil’s Whore” (2008)

 

 

“The Musketeers” (2014-2016)

Plum Pudding

christmas_pudding_2000

Below is a brief look at the traditional Christmas dish known as Plum Pudding:

PLUM PUDDING

Many people tend to associate the dish known as Plum Pudding (aka Christmas Pudding or Plum Duff) with the Christmas holiday, Victorian Britain, and especially Charles Dickens. I know I certainly did for a good number of years. But I was surprised to discover that Plum Pudding’s association with the Christmas holiday in Britain went back as far as the medieval period. During that particular period, it was the custom for pudding to be prepared on the 25th Sunday after Trinity. It was also customary for the pudding to be prepared with thirteen ingredients to represent Christ and the twelve apostles. Also, every family member was required to stir the pudding in turn from east to west in honor of the Magi and their alleged journey in that direction.

The origin of the current Plum Pudding made popular during the Victorian Age could be traced back to the 1420s. The dish emerged not as a confection or a dessert, but as a means of preserving meat at the end of the harvest season. Because of shortages of fodder, all surplus livestock were slaughtered in the autumn. The meat was then kept in a pastry case along with dried fruits acting as a preservative, developing into large “mince pies”. These pies could then be used to feed hosts of people, particularly at the festive season. The chief ancestor of the modern pudding was a thick soup or stew made from vegetables, dried fruit, sugar, grain, spices and some form of meat (if available) called “pottage”; which originated in Roman times. , however, was the pottage, a meat and vegetable concoction originating in Roman times.

Then in 1714, King George I began to request that this particular kind of pottage, which became known as “Plum Pudding” be served as part of his royal feast every Christmas. But it was not until the 1830s in which the current Plum Pudding assumed its form – a round tower of flour, fruits, suet, sugar and spices, all topped with holly – and was served during the Christmas holiday. Below is a recipe for the tradition Plum (or Christmas) Pudding from the About.com website:

Plum Pudding

Ingredients

1lb /450g dried mixed fruit (use golden raisins/sultanas* , raisins, currants)
1 oz /25 g mixed candied peel, finely chopped
1 small cooking apple, peeled, cored and finely chopped Grated zest and juice
½ large orange and
½ lemon
4 tbsp brandy, plus a little extra for soaking at the end
2 oz /55 g self-raising flour, sifted
1 level tsp ground mixed spice
1 1/2 tsp ground cinnamon
4 oz /110 g shredded suet, beef or vegetarian
4oz /110g soft, dark brown sugar
4 oz /110 g white fresh bread crumbs
1 oz /25 g whole shelled almonds, roughly chopped
2 large, fresh eggs

Preparation

Lightly butter a 2½ pint/1.4 litre pudding basin.

Place the dried fruits, candied peel, apple, orange and lemon juice into a large mixing bowl. Add the brandy and stir well. Cover the bowl with a clean tea towel and leave to marinate for a couple of hours, preferably overnight.

Stir together the flour, mixed spice and cinnamon in a very large mixing bowl. Add the suet, sugar, lemon and orange zest, bread crumbs, nuts and stir again until all the ingredients are well mixed. Finally add the marinaded dried fruits and stir again.

Beat the eggs lightly in a small bowl then stir quickly into the dry ingredients. The mixture should have a fairly soft consistency.

Now is the time to gather the family for Christmas Pudding tradition of taking turns in stirring, making a wish and adding a few coins.

Spoon the mixture in to the greased pudding basin, gently pressing the mixture down with the back of a spoon. Cover with a double layer of greaseproof paper or baking parchment, then a layer of aluminum foil and tie securely with string.

Place the pudding in a steamer set over a saucepan of simmering water and steam the pudding for 7 hours.

Make sure you check the water level frequently so it never boils dry. The pudding should be a deep brown color when cooked. The pudding is not a light cake but instead is a dark, sticky and dense sponge.

Remove the pudding from the steamer, cool completely. Remove the paper, prick the pudding with a skewer and pour in a little extra brandy. Cover with fresh greaseproof paper and retie with string. Store in a cool dry place until Christmas day. Note: The pudding cannot be eaten immediately, it really does need to be stored and rested then reheated on Christmas Day. Eating the pudding immediately after cooking will cause it to collapse and the flavours will not have had time to mature.

On Christmas day reheat the pudding by steaming again for about an hour. Serve with Brandy or Rum Sauce, Brandy Butter or Custard.

1500s Costumes in Movies and Television

untitled-1

Below are images of 16th century fashion found in movies and television productions over the years:

 

1500s COSTUMES IN MOVIES AND TELEVISION

image

“The Private Lives of Elizabeth and Essex” (1939)

 

 

image

“The Sea Hawk” (1940)

 

 

image

“The Adventures of Don Juan” (1949)

 

 

image

“Elizabeth R” (1971)

 

 

image

“The Prince and the Pauper” (1977)

 

 

image

“Orlando” (1992)

 

 

image

“Shakespeare in Love” (1998)

 

 

image

“The Tudors” (2007-2010)

 

 

image

“Wolf Hall” (2015)