Some Like It Hot – Station Sequence

In the previous sequence, Joe imitated a fair(prenominal) voice to hold fast a job with Jerry in a group of female unisonians. scarce an ellipsis deals with their conceal, obscured by a continuity shot. Thus it is a way both new feminine characters who appear on the platform. This sequence also marks the appearance of refined sugar/Marilyn and the confrontation of the single custody with a only different sex. 1. Tracking in with a background of nervous jazz a close shot shows the back of the two musicians, from waist to heels.We recognize them thanks to their instruments on the left, with the bow legs which barely hold on the high heels belong to the player of double bass, Jerry. On the right, Joe take the airs more straight ahead, alone the muscles of his calves are not less bulging. The extras who overtake them are all men, what even more points up their femininity. 2. From and so now, the tracking out shows us the result of the disguise in the flavour.Joe, made up t astefully, makes a in all probability and elegant fair sex, his white fur strangler contrasting with his dark clothes Jerry, with his more extravagant leopardskin collar enhanced by a rustle and by a double feather on his cloche hat, mixes in his clothes hairs, feathers and petals. His lipstick extends widely beyond his upper lip, we guess he is worry thanks to a pout. In voice-over, an announcement of the station tells that the train which Joe and Jerry get ready to take is the Florida Limited, that goes to Miami.The musicians thus get the job in the girls orchestra, but will they go through the test of the disguise? 3. 4. Close shots on Joe, then on Jerry, each of them seems to take a detached expression in a weak-willed manner. They digest to see closer how each acts like a woman Joe, simpering, glancing aside, is in the register of seduction. Jerry, in unbroken adjustment, oscillates between the girl (when he opens wide eyes) and the lady 5. 6. 7. Follow-up of the tracking in in the back.First stagger of Jerry, who twists his ankle because of his high heels. It is not the head start time he grumbles since Joe, pragmatic (their aim is to get in the train to escape the gangsters) is irritated by his lamentations. Tony Curtis, with his pale and powdered complexion, his half-closed eyelids as if he was already world-weary to be disguised as a woman, lets to Jack Lemmon a surprising and excessive palette of face expressions. (6). Bent forwards, Jerry keeps repeating the sex change, unable to be used to the conventions which govern the feminine clothing. How can they walk on these things? Joes very coarse and anatomical answer (Must be the way their weight is distributed) now anticipates the appearance of Sugar, differently distributed indeed. After there is a reverse shot on the line of musicians who gets on the train (7) supplies a set of specimens who adds to Jerrys panic (Its no use. Well never get away with it. Not endlessly come to know every de tails of his character, he turns his glance to an ideal model. 8. 9.Catching, off screen, the eyes of some(prenominal) actors playing a female role, Sugar also appears, cut in two at the belt-level. The music theme completely changes for a slower but warmer jazz (the muted trumpet replaces the saxophone). As Jerry, she is wearing a feather on her hat, and her ukulele, she is holding like a feminine accessory, seems like a miniature bass. These are the commencement exercise two common points, still discreet, of a relation in reverberate between Daphne and Sugar who will go on throughout the film.When she passes by near Joe and Jerry, the glances focus on the bottom of her body in so fixing a way like in a cartoon (the glance of the lustful wolf of Tex Avery) 10. a. Front/behind contrary to Joe and Jerry, Sugar is filmed at first by face at the top, then by back, at the bottom. In point 2, the doubt focused the expectation of the spectator on the transformation (what will Curtis a nd Lemmon look like in woman? ) here, the suspense is in a way erotic once Marilyn is identified by face, the question concerns her clothes, how her depend is emphasized.We also notice that Marilyns acting is as exuberant as that of her two partners fluttering her lashes, moving her lips, involute gait, she overplays femininity almost as much as Lemmon and Curtis 10. b. The echo of point 9 with point 1 is interrupted by the vapour blast which, from the train, surprises Sugar. The goal is to aim Marilyns bottom. In point 6, Jerry complained about plan under his dress, alluding to the anatomical difference between man and woman but also to the fact that the disguise displays him it is an exposure.More than the draught, the white vapour blast materializes the desire which has just sprung from this first meeting Sugar is literally whistled by the train. He also puts Sugar in experimental feminine subject how does she react? How does she move? How does she go on walking after thi s hitch? 11. its like jello on springs . As a son who took a toy into pieces to see how it works, Jerry questions the anatomical difference, wonders about feminine mechanics and already sees in Sugar a model to be imitated, whereas Joe, totally blown away, is brought down by love at first sight.The left and the right of the shot are separated by an invisible border between maneuver and comic. 12. When the newsboy arrives, the headlines of the newspaper (the gangsters are looking for the witnesses of the massacre) definitely position the disguise. Contrary to what Joe promises, Jerry and him are not passing play to stop this masquerade. If they want to live, they have to reborn in women, come across the shot and blend in the reverse shot, join the line of blond women with hat and instrument. 13. It is a success. Both of them are credible.Nevertheless Jerry, who is not completely transformed yet, has difficulties in speaking more high-pitched. You two from the Poliakoff Agency? Ye s, were the new girls. Brand new. This first pun of a long series done by Jerry betrays his jubilation to be between two sexes. 14. 15. 16. 17. This series of shots and reverse shots sets up, between the two men, a kind of every man for himself Jerry surprises Josephine by renaming Daphne, Josephine invents a story about the Sheboygan Conservatory of Music (This city really exists in Wisconsin).Their first conversation with sugariness Sue introduces a crossing of border from a sex to the other one, but also a time travel. Aboard this train, the transvestites travel with twenty-year-old girls, in an atmosphere of summer camp bossed around by an contract lady. 18. First feminine misadventure of Jerry (Bienstock pinches his bottom). But both are recognised as real ladies this watch of the only man of the troop sounds like a birth certificate.