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Marilyn Monroe, Bernard Herschel Schwartz, Jack Lemmon, George Raft, Pat O'Brien, Joe E. Brown, Nehemiah Persoff, Joan Shawlee, Billy Gray (mehr)Streaming (3)
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Chicago 1929: Zwei arbeitslose Musiker werden unfreiwillig Zeugen eines Mordes. Um sich der Verfolgung durch die Gangster zu entziehen, suchen sie Anschluss bei einer Damenkapelle. Notgedrungen werden aus den beiden zwei adrette Musikerinnen. Umringt von attraktiven Frauen fällt es ihnen schwer, sich nicht als Männer zu outen. Zumal sich Joe schon auf den ersten Blick in die bezaubernde Sängerin Sugar verliebt. (ORF 2)
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Meine dritte Filmbegegnung mit Billy Wilder und meine nächste Filmbegegnung mit Marilyn Monroe haben sich leider überschnitten. Marilyn Monroe werde ich wahrscheinlich nie so richtig mögen. Einerseits gefällt sie mir nicht, andererseits habe ich sie immer für sehr einfach gehalten… Und diesmal war es wegen der Rolle der naiven jungen Frau wirklich schlimm. Das gibt’s doch nicht – eine Komödie, die seit der Razzia am Anfang so vielversprechend ausgesehen hat, derart zu verderben… Jack Lemmon und Tony Curtis sind gut. Sobald aber die Annäherung von Curtis und der "göttlichen“ MM angefangen hat, ist der Humor verschwunden und es hat nur wenige Szenen gegeben, bei denen ich gelacht habe. Dreieinhalb.
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I’m not too big on crossdressing, but I do understand that when someone’s life is at stake (especially your own), you need to do whatever it takes. Sax and Bass sold me their fight for their lives really well. The film is professionally made, yet there was a good dose of naivety, which was something I had to appreciate. And most importantly - it was hilarious.
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Legendary comedy, which does not need further introduction because it represents one of the cornerstones of pop culture. An exemplary combination of quality screenplay, cast, and experienced direction. Overall impression: 90%. My favorite scenes are related to the arrival of gangsters at the hotel and the boss's speech to his henchmen, where he emphasizes that it has been exactly ten years since he was elected to lead this gathering.
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The ravages of time have chewed the humorous aspects out of the film quite sharply, but the spirit of the original spectacle still lingers after more than 40 years. The central duo of Lemmon and Curtis act as if their lives depended on it, and their mutual chemistry works absolutely perfectly. Marilyn Monroe may no longer qualify as a "sex-appeal commercial" today, but it must be admitted that the woman had something going for her. The greatest thanks, however, must be directed towards director Billy Wilder, who maintains a consistent pace throughout, combining humorous elements with romantic ones very sparingly. The overall feeling of the film is then, thanks to perfectly chosen exteriors, excellently fitting costumes, and, not least, the work with camera, editing, and lighting, a timeless affair for which it is enough not to be a cynical opponent of "everything old." That final "Nobody's perfect!" contains something more than just a brilliant line written by screenwriters who, while coming up with a "more original" ending, smoked tons of cigarettes and drank liters of whiskey.
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I don't know why I avoided this movie for so long, when I've already seen the story as a theatrical adaptation. It's a great comedy that just doesn't stop and keeps going. Tony Curtis and Jack Lemmon are excellent, but Marilyn is truly the beautiful decoration that suits her immensely. A gorgeous woman and perhaps the most beautiful here.
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