Some Like It Hot is a movie reflecting the moral and social lifestyle in the early 1950s where the society was not as open mi

Introduction

Generally, ‘Some Like It Hot’ is a movie reflecting the moral and social lifestyle in the early 1950s where the society was not as open minded as it is today. Undoubtedly, the director, Wilder, (1959) uses literature styles and concepts in the movie’s content to bring out the social disparities and perspectives of different people. ‘Were the characters justified in cross-dressing in order to protect themselves unforeseen danger?’ ‘Was it necessary to use disguise to reach their goals and get what they desired so much to have?’ These are among the questions that audiences tend to raise while watching the movie in a bid to analyze and understand it better. It is subject discussion as to what the actual responses to these questions are. For better understanding, this paper is aimed at discussing the journey format as used in the film together with the evident traits of temporary transvestite genre. This is clearly seen throughout the film where some of the male characters cross dress and pose as women and the journey/experiences they have to undergo as (Wilder, 1959) attempts to realize the generally accepted sexuality in the society. Using different literary skills and styles, the film achieves the sole purpose of creating mixed feelings among its audience which are later on clarified and justified due to the unavoidable circumstances which in this case is the characters’ security which was at risk.

As earlier on discussed, the journey format reflects the transition observed from the time the three main characters fled from the dangerous mob to where they attained different personalities incomparable to the beginning. It is worth noting that the film brings forth three protagonists taking up the leading role regarding the main subject and clearly depicting the conversion. These characters were Sugar, Joe and Jerry. The three cross paths with the deliberate assistance of other characters in different circumstances without much knowledge of it. Initially, the director introduces Joe and Jerry to the scenes with their names and personalities as mentioned where they are attacked by a mob they consider to be very dangerous. This is followed by a change in personality and disguise where they pose as other people in different clothing (Wilder, 1959). This begins their transition which began as a serious case of security which anyone could understand. This is until it takes a different turn when the two use their disguise to get closer to the women they like. This is clear form the film where after they join the girls’ music group; they tend to fight for one of them which risks their blowing of their cover.

The disguise of the two characters was accompanied by change of names as well such that Joe would be Josephine as Jerry played Geraldine which he later on changed to Daphne. In emphasis of the journey format, the change in character is also much empirical where the two become more sensitive and caring men who were initially less caring and sensitive to women. We realize that the liking of Sugar, the lead singer in the group leads Joe, now Josephine to further disguise himself as a rich heir in an attempt to attract Sugar. It would be generally expected that Joe being the carefree character as depicted in the beginning would carry on with the disguise for as long as he could get Sugar to like him back. However, the transition in character is undisputable as he willingly discloses his actual persona to Sugar at the risk of losing everything and her. This shows how much more sensitive he has become to women. The director exhibits the same concept in Jerry, now Daphne when he tells Osgood the truth of him being male rather than a woman as he had previously intended for his own selfish reasons (Wilder, 1959). Thus, the change in the characters which includes the female disguise is elaborate in bringing out the journey format as used by the director.

Straayer, (2003) argues/states that, “Their visual play simultaneously challenges and supports traditional gender codes. And their paradoxical kisses-whether mistakes, jokes or excuses- can go either way” (Pg 417). Basically, the author of this reading suggests that the director intended to balance on different sexualities to appear fair on both sides. Despite the society’s perception especially at the time of the production, gaysim was less popular and not as openly discussed or accepted. Straayer, (2003) further states that, “Films in which characters cross-dress for sexual disguise are consistently popular with gay and lesbian characters, despite requisite romantic endings with heterosexual coupling” (Pg 417). Similarly, this could have been used to enable the audience critically assess and analyze the film and its intended purpose. This is because (Wilder, 1959) does not selectively state that heterosexual or gay relationships is the most preferred, but rather, brings out a bit of both which makes him neutral. We see in the movie that Osgood realizes Jerry’s sexuality when he insists on marriage. Deception by disguise and posing as female is also evident here. Osgood believed that Jerry was female because of the dressing, though this changes. The reaction by Osgood leaves the audience puzzled since besides being comical, it does not discriminate in anyway. From the film, Osgood comments that, Wilder, (1959), “Well, nobody’s perfect” upon realization of the truth.

(Straayer, 2003) from the reading “Redressing the ‘Natural’: The Temporary Transvestite Film” analyzes the film further to bring the concept of disguise and other traits of the temporary transvestite film. Some scholars argue that with this film, the temporary transvestite traits are not applicable since the dressing of the two characters as women was out of necessity rather than free will. They clearly had to protect themselves from any danger. Thus, this disqualifies the concept of malicious cross dressing which is arguably a form of questionable sexuality. However, the film also indicates that the disguise was carried on long overdue considering the fact that they used their cover to attract the women they fell in love with, where also they were loved in the pretense of being women. According to Straayer, (2003), “When contemplating the continuing popularity of films with temporary transvestism, one must consider mass audience-pleasure which I believe is grounded in the apparent of basic contradictions…” (Pg 418). This was well considered in the film where besides the cross dressing, the director ensured a comic effect which engaged the thoughts of the audiences as well. As earlier discussed, there is also no direct criticism whatsoever of the sexuality of different people which allows all kinds of audiences to be comfortable with the film.

Besides cross dressing, the director of the film, (Wilder, 1959)’s work is analyzed by (Straayer, 2003) as one that clearly brings out behaviors/character traits in relation to gender. It surely proves that in an ordinary environment, people of opposite sexes tend to react differently and express different emotions in different circumstances. In the reading, Straayer, (2003) states that, “The film offers spectators a momentary vicarious trespassing of society’s accepted boundaries for gender and sexual behavior” (Pg 417). It is without a doubt proved from the play of the adaptation to some female characteristics by the disguised characters following the need to cross dress. The two became more sensitive and understanding to women as they had a chance to act the role. Basically, the author’s argument is that their behavior at the time was more feminine due to the dressing, thus, distinguishing female and male related behavioral traits.

Straayer, (2003) commented that, “… viewer text interactions are themselves varied and contrary. I am particularly concerned with the convergences and divergences of heterosexual and homosexual viewing experience” (Pg 418). The author strongly believes that while watching the film, different audience will have varying conclusions as to the positivity or negativity of the sexuality brought forth. Agreeably, this is the case by anyone who watches the film, a fact that analysts still argue depending on their individual views. This is also based on the knowledge that the homosexual relationship was one sided since Osgood had no idea that the ‘lover’ was a man like him. Eventually he found out which also did not seem to bother him, only that it bothered his partner. Ironically, the roles switched in a comical way. Thus, the inadequacy of the disguise was quite exposed. To fully achieve the suspense and ambiguity intended, the author deliberately introduced disguise out of necessity and that of free will. This actually gets the audience thinking and critically analyzing the rationale behind the introduction of cross dressing.

Conclusion

There is empirical evidence of the director’s use of the discussed literature styles to describe the events in the film ‘Some Like it Hot.’ The transition of the musicians into gentlemen due to unexpected circumstances leads the audience to make many conclusions of the intention. However, the most agreeable reaction and perception of the movie is that the director did not discriminate of gender and sexuality. This is clearly depicted by the disguise of the two friends Joe and Jerry as Josephine and Geraldine/Daphne respectively. Further, their disguise led to mixed romantic relationships and sexualities since as they clothed as women, men – particularly Osgood – fell in love with them. The traits of the temporary transvestite genre as discussed above have therefore successfully expressed the themes such as gender and disguise. Matters such as sexuality and perception of the society towards them have also been clearly depicted following the conclusion in the movie when Jerry disgustingly tells off Osgood since he is a man, thus impossibility in their union. The climax is however reached at the end in a comical way where Osgood’s reaction surprises everyone since he takes it in more positively than expected, thus, not such a bad thing after all.

Works Cited:

Straayer, Chris. Redressing the ‘Natural’: The Temporary Transvestite Film. Film Genre Reader Iii. Ed. Grant, Barry Austin, Tex: Univ. of Texas Press, 2003. Print.

Wilder, Billy. Some Like It Hot. United Artists. 1959. Film.