Some Like it Hot analysis

The film is a romantic screwball comedy set in America, made in 1958 and released in 1959. Billy Wilder not only wrote the screenplay, but also directed the film. Some Like It Hot stars Marilyn Monroe, Tony Curtis, Jack Lemmon and George Raft.

The film is about two struggling male musicians who witness the St. Valentine's Day Massacre. Realising that their lives are forfeit, they escape the city by dressing as women. The all girl band they join is heading to Florida, but unbeknownst to the men, they are booked to play in the hotel where the mobs are massing. Masquerading as women brings problems: one falls for a girl in the band (Monroe) but cannot reveal his true identity, and the other has a rich suitor who will not take "No," for an answer. The film ends with the four escaping on Osgood’s yacht.

The main protagonist is Joe, a saxophonist, caught up with his friend Jerry in the conflict between the Chicago mobs of the 1920’s. Their lives have been intertwined with the gangsters because they play in bands in the speakeasies, but when they accidently bear witness to the St Valentine’s Day Massacre, they are drawn into the violence. This is the inciting incident which sets up the rest of the plot. It is also the first part of act 1 “In this unit of dramatic action you set up your story- introduce the main character, establish the dramatic premise (what the story is about), and sketch in the dramatic situation, either visually or dramatically. “ Field, Syd (1982), Screenplay, New York: Dell Publishing. The end of act 1 comes when the men are committed to living their lives as women in order to escape to a better life. Even as this act comes to a close, the two main characters, Joe and Jerry, are already facing complications in their crossing dressing existence. Act 2 takes place in the Florida hotel. At this stage the subplot developing the main characters’ relationships takes comic precedence. Just as Joe starts to make head way in his relationship with Sugar (disguised as a millionaire) there the midpoint reversal as the gangsters converge on the hotel for their annual party. The climax comes as the two main characters are recognized despite their disguises. The resolution comes in the last few seconds of the film as Joe, Jerry, Sugar and Osgood escape together on the yacht.

There are two main characters, Joe and Jerry, but the audience is lead to see Joe as the protagonist from the first moment that they appear. His interaction with the chorus girl, and the way in which he manipulates his slower-witted friend causes the audience to focus more on Joe. Immediately, he makes Jerry feel guilty for using their first pay for months on a filling. “Dentist? We been out of work for four months- and you want to blow your first week’s pay on your teeth?” The audience knows at once that he is a womanizer and a manipulator. The same conversation begins to indicate to the audience that Jerry is shallow, vain and prefers to leave the thinking to his friend. Throughout act 2, their characters are fleshed out, much of it through the actions rather than dialogue. A good example of this comes when Joe is first alone with Sugar. Thinking he is Josephine, she confides her disastrous attraction to tenor sax players. Apart from his exclamation “You know- I play tenor sax”, it is predominately his actions which indicate his lecherous reaction to her poignant confidences. His character reaches new levels of despicability when he dresses up as a millionaire to trick her into falling for him. Just after the end of act 2, fearing that their relationship will endanger Sugar, Joe at last becomes the hero that the audience long him to be and breaks up with her, putting her safety before his feelings. Meanwhile, Jerry has given up his contest for Sugar, knowing that Joe’s feelings are more genuine than his own, and has settled on wooing Osgood, despite the fact that he is not gay. For him, riches are more important than a relationship with anybody.

The principal antagonist is Spats Colombo, the mob boss, who wants to see both the main characters dead. His character is never more than two dimensional, representing the violent threat from which Joe and Jerry are running. Despite the fact that he has very little screen time, the threat of Spats is ever present, and in the scenes that he does appear, his characterization is extremely menacing through facial expressions and tone of voice.

This a feel-good plot which starts in optimistic mood with the two men in work after four months of unemployment and ends with the fairytale escape to riches and love. With the ever present threat of violence and possible death which has surrounded the main characters despite the interludes of comedy, this escape to a boat on the ocean is the only outcome which could have left the audience assured of a happy ending. The male world of the 1920’s gangster was so dangerous that the main characters could only avoid it by becoming women. Having explored the complications that lead to comical confusion, the film never questions the masculinity of Jerry and Joe. Even as the film ends, with all four of the sympathetic characters going off to an idyllic lifestyle, the audience is fully aware that Jerry is not gay but is quite happy to live with a millionaire man.

I think this is a very good screenplay and a brilliant film. However, without the directors input, skillful acting and inspired casting, this screenplay would not have led to the classic that this film has become. The sweet vulnerability portrayed by Marilyn Monroe contrasts superbly with the shallow, flippant attitude of Tony Curtis’s womanizer. From the moment the audience meets her they want her to not get the “fuzzy lollipop” again. 

Short Screenplay- Game of Chance

Game of Chance

Sc1  INT BOSS’S LIBRARY

Adam (19), is sitting nervously in a big library in an old house he once played in as a child. He is sitting with his brother Joe (15). A tall skinny man with a moustache and cane (Ray) walks in. A short fat balding man (Alfonso) scuttles in after him carrying a tray of glasses. Ray sits authoritatively behind his desk, whilst Alfonso is left to perch on an uncomfortable chaise-longue. 

RAY ‘RAZORS’ AGOSTINO: So Adam, you want to make a deal with me I hear.

ALFONSO (sniggering): Yeah right.

ADAM (Gesturing to the boy beside him): My brother, Joe…

(Joe nods)

ADAM: Is very sick. I need your help.

RAY ‘RAZORS’ AGOSTINO: And what exactly do you need my help with?

ADAM: I need money.

RAY ‘RAZORS AGNOSTINO (Grinning, he opens a bottle of gin and pours some into a glass): How much money?

ADAM: 15000 dollars Sir.

RAY ‘RAZORS’ AGOSTINO (Raising an eyebrow and spluttering into his gin): You understand that is a lot of money. What on earth do you want that for, kid? What’s your brother got then?

ADAM (glancing at Joe’s skeletal face): A brain tumour.

RAY ‘RAZORS’ AGOSTINO (smiling like a shark who has seen his prey): You’ll have to work for me for a long time to raise that sort of cash boy. I’m not sure you have got the courage for it. So I will have to think of a little errand for you to run to test your metal.

ADAM (wiping sweat off his top lip): Anything ,sir.

RAY ‘RAZORS’ AGNOSTINO: I need you to take this package. (He takes a small box out of his pocket). Here you go (He passes it to him carefully, watching Adam’s reaction as he does so).

ADAM: Where do I take it?

RAY ‘RAZORS’ AGNOSTINO:  Go to platform 10; catch the 9.45 train to Atlanta tomorrow and on arrival you will see a well-dressed man, standing at the cigarette booth, smoking a Cuban cigar with a red band. Drop the package in the trash can next to him and walk away. That is all you have to do. Do not open the package; do not speak to the man; in fact, do not even make eye contact.

ADAM (sighing with relief): Okay, I can do that. Thank-you sir.  

ALFONSO (leaning menacingly close to Adam, so that the boy wrinkles his nose at the stench of mingled sweat, expensive aftershave and booze): Listen boy! You fuck this up and we are screwed with the Atlanta mob! That package doesn’t reach its destination, and the trust between us and those Irish scum goes out the window. I don’t care that you love your brother, I reckon you won’t have the polpettas to do it. If I was ever listened to….

RAY ‘RAZORS’ AGNOSTINO (smashing his fist onto the desk and for a second there is a horrified silence): Don’t question me Al! The boy will do it. Can’t you see that he loves his brother just as much as I care for you? (Alfonso stays silent as a look passes between him and his brother, the irony not lost on either of them). In fact, I am counting on that love to ensure that the job gets done. Joe stays with me.

Adam and Joe cling to one another, so Ray walks around the desk and lays his hands firmly on Joe’s shoulders, keeping him on the seat as Alfonso grabs Adam’s arm roughly and hustles him out of the door.

Sc2 EXT TRAIN STATION

Adam is jostled through the gate and onto the platform, dropping his ticket and having to push against the busy crowd as he tries to reach down and pick it up. As he fumbles nervously to put it back in his breast pocket, he notices the guard eying him suspiciously. He hurries down the platform, looking for his carriage, holding his package tightly. He is shaking with nerves and looking around to check his surroundings and see whether the guard is still following him. He realises with relief that he is helping an elderly lady load her luggage onto the train. He sighs and wipes his sweaty palms on his trousers, trying to calm his nerves.

TRAIN ANNOUNCER (voiceover): Platform 10 for the 9.45 Atlanta train.

The train appears and he scrambles on. As he does so, a large man rushes for the same door and pushes him out of the way, just as the whistle blows. Adam staggers back unbalanced, grabs for the rail as the train moves off, and loses hold of the package in his other hand. It bounces off his leg and ricochets off the edge of the platform and under the train. As the train gathers speed, Adam looks back desperately out of the door, tears streaming down his cheeks. He can see a white splash of powder staining the tracks.

Sc3 INT RAY’S HOUSE

Joe is tied up on a chair. He looks terrified. His eye is swollen and his lip is cut. This, combined with the blinding headache which has come back, means that it is only the ropes which are holding him upright. He seems completely spent and bewildered.

A tapping noise causes him to try to raise his head. Alfonso is sitting at a table opposite him, spot lit in the light of an old desk lamp, playing five finger fillet with a vicious looking stiletto.  

ALFONSO: What’s wrong ragazzino? Can’t take a bit of pain? You better get used to it. How many jobs do you think your brother will have to do for Ray to earn enough to pay for your treatment, hey? He will be at it for years. We Agostinos are not known for charitable works. Your brother is a fool.

JOE: My brother is no fool! The whole town knows what you are famous for. (spits in Alfonso’s direction).

ALFONSO: You got  a smart mouth boy. I have a better use for it.

He sneers unpleasantly, stabs the knife into the table, and waddles over to untie Joe and lead him to the dirty mattress in the corner of the room.

As the ropes loosen around his wrists, Joe eases out the fork that he concealed up his sleeve after dinner. Alfonso grabs his shoulder, and as he does so, Joe lunges up at his neck with the tines of the fork. By complete luck he has managed to hit Alfonso’s carotid artery. Alfonso falls to the floor in a pool of his own blood. Realisation dawns on Joe’s face. He starts to cry, understanding that he is a murderer, and that Ray will soon begin to wonder what has happened to his brother and there is no way out. Suddenly there is a scraping noise from behind him. Joe shuts his eyes and squeezes them shut knowing that his end has come.

Instead of the cellar door opening, Adam emerges from behind the wine rack revealing a tunnel behind him.

ADAM: Joe, Joe where are you? Are you in here? (he stumbles forward, sightless in the gloom of the cellar, and catches his toe on Alfonso’s prone body. He gasps in shock, but realises that he does not have time to ask questions.) Joe lets go!  Come on quickly!

JOE: How did you get in?

ADAM: When old Mamma Agnostino was alive, she used to let us play out back. This was a confederate household: there are tunnels and hideouts everywhere. Can you stand? We need to move fast. (He braves the blood surrounding Alfonso, rifles through his pockets to find his keys and then slides quietly to the door to the cellar, locking it to give them more time to escape. Considering the keys, he decides not to drop them, but pockets them for later.)

Sc4 EXT GARDEN/STREET

The two boys run out of the tunnel, only to realise that Ray’s gang are patrolling the grounds, so they are not safe yet. Adam signals to his brother to stay quiet and keep low as they skirt the lawn, heading for the tunnel under the wall that Adam came in by. A gang member up on the terrace strains to see what he glimpsed moving in the dark, before turning and heading back towards the library doors. The boys squeeze out from under the wall and head down the street until they reach the train tracks.

JOE (looking white as a sheet): My legs are tired Adam

ADAM: It really isn’t far now and I know we are going to make it.

JOE: You know what? You really are the best brother in the world. I knew you would save me.

They continue running. It is not long before they are in sight of the bridge that divides the states and offers possible safety. At that moment, all hell breaks out back at the house, and Ray and his gang pour out onto the street, shouting and waving automatic rifles. A shot rings out and bullet ricochets off the bridge as the boys run onto it. Headlights shine into their eyes from the other end of the bridge, and panic spreads across the boys’ faces. They hear sirens and realise that cop lights are flashing. Adam turns to look at Joe who is covered in blood. Joe’s big brown eyes well up. He looks down to the floor.

ADAM: Jesus Christ!

Ray emerges from the house and walks towards them with a look of hatred on his face. He has a gun in his right hand and is swinging it. He glares and spits on the floor as he walks, clearly unphased by the presence of the cops, many of whom are in his pay. Adam looks at him, at the cops, and over the bridge and turns to look at Joe.

ADAM: Jump!

The two boys leap over the edge.

BLACKOUT 

analysing sound and editing in parts of my fav film apocalypse now!

“Apocalypse Now” was directed and produced by Francis Ford Coppola, who also directed “The Godfather”, another film full of violence and menace. The film is based on the book “Heart of Darkness” by Joseph Conrad.  It is a 1979 American War film set during Vietnam War.  The film stars many famous faces, such as Martin Sheen and Marlon Brando.  The scene I am going to be concentrating on is the first. It is common in Vietnam War films to concentrate on mental deterioration.

The purpose of this opening scene is to draw the viewer into the realisation that War is devastating, changing people and leaving them mentally disturbed. It also establishes the main character in the film.

The film begins with the submerged sound of one helicopter whilst the screen is still grey and then this sound continues as it is shown flying at half speed over the still jungle. The use of submerged sound in this way ensures the viewer aware that we are seeing Sheen’s memories. This is disturbing to the viewer because we know from the film title that the memories cannot be good ones, but the trees appear to be growing in an unspoilt paradise.  “Cultivate the garden within. What was Paradise? but a garden, an orchard of trees and herbs, full of pleasure and nothing there but delights.” William Lawson, explorer.  This quote by Lawson is suggestive of the Garden Of Eden, untouched and unspoilt, parallel to the initial part of the scene. It soon becomes apparent that there is a War going on and just like the Garden of Eden everything unspoilt is turned to devastation. At this point the audience is left bewildered.  The non-diegetic sound of “The End” by The Doors, is layered onto the scene. The song begins parallel with the images, mirroring the apparently serene landscape, and then gradually becomes contrapuntal as the gentle singing slowly becomes at odds at what is emerging as a theatre of War. This makes the audience uncomfortable because there is the gradual realisation that this idyllic situation is going to be destroyed and that there will be pain and death. The music volume (which is non-diegetic) and tone increases with time and the audience hear the sound of the helicopter again superimposed. The rhythm of the song is at odds with the sounds of the rotor blades which are fragmented. As The Doors sing “this is the end” bright explosions flare onto the screen but no sound accompanies them. The use of nondiegetic music getting louder instead of the noise of bombing, raising a feeling of anticipation in the audience as the destruction they are seeing maintains an unreal quality.  The director has purposely chosen a disturbing song which has a lilting melody but morbid lyrics.  This is confusing and worrying for the spectator because the soundtrack is both parallel and contrapuntal simultaneously, throwing him or her into the same waking nightmare that the main character is experiencing.

The editing in this scene is also interesting and echoes the sound nicely. The idyllic palm trees are a long take which is then broken by the devastating explosions.  The use of continuity editing builds up anticipation and tension for the audience. It also provides a back drop for the audience’s introduction to modern warfare. The first helicopter is filmed in slow motion and out of focus so that the audience hardly notices it, whilst still focusing on the trees. So the wafting yellow gas appears beautiful rather than deadly. Again when the next helicopter appears the audience only sees its runners, so the sudden bright explosions amongst the same trees come as a complete shock. Coppola has used the long take to great effect to impress upon the viewer the lack of culpability that comes with modern long range fighting.

As Martin Sheen’s face becomes superimposed on the landscape, the music becomes louder. The nondiegetic sound of the song brings the audience into the consciousness of the main character. As he drifts in and out of sleep the rotor blades become fragmented. The sound is disorientating because whilst it synchronises with the helicopter pictures, it also synchronises with the ceiling fan which the audience can see but not hear, whilst knowing that the fan is what the main character can hear. This serves to reinforce the half waking state of Sheen, and the confusion between memories and reality.

Sheen narrates his feelings in a nondiegetic voiceover, his slow smokey voice making him sound uneasy. This is accompanied by  one minute of conventional filming where the audience is able to focus on a single edit. The voiceover is clear and the audience is aware that at this point the character is lucid.  This makes the audience feel un-comfortable, the character is disturbed yet retains his brains and intellect. The audience does not quite know what to make of Sheen.   The diegetic sounds of the passing helicopter and street noises are the only soundtrack. But discontinuity editing is used instead of tracking the actor around the room. This implies to the observer that Sheen’s thoughts are dotting around and time is passing without him being conscious of it. The audience are made aware that he has been through a lot and has been left desensitised and damaged.

As Sheen sits musing in his room, nondiegetic jungle sounds fade in and out of the monologue. This reinforces to the audience what the character is saying – that he may be sitting in Saigon, but his heart and head are still in the jungle. As he says, “I’ve been here a week now, getting softer” his face fades into a shot of the fan which then fades into a shot from the ceiling down onto Sheen. The viewer knows that the longer Sheen stays, waiting for the next mission, the further his break down will progress.    

Then more parallel non-diegetic sound fades in. It is still the same Doors track. The sequence begins with more dual images cut together. Initially, the images are of Sheen practicing martial arts in the room and of the fan, but these then fade to more disturbing shots of the character at war in the jungle. This reveals how emotional the main character is as Sheen is faded back in looking unstable and drunk. The situation seems and strange and surreal as the cross cutting and discontinuity editing used have a nightmarish quailty to them and make the spectator feel nervous. The nondiegetic percussion and strange spitting and vocals in the background are used to add confusion for the main character and show madness.  The climax of the end of the Doors track parallels the actor’s increased agitation and drunkenness as he thrashes around, breaks a mirror and collapses in a bloody drunken heap at the side of his bed. This makes me the audience worried and scared for Sheen. As the actor gets drunker everything seems to move faster and the audience gets more anxious.

In this first sequence from “Apocalypse Now” the use of sound helps to create meaning and generate a response from the audience. It makes the audience feel anxious and excited.  Coppola uses both parallel and contrapuntal sound as well as simultaneous images to imply confusion and mental instability. Much of the time, it is not clear whether sound is diegetic or nondiegetic, adding to the audience’s bewilderment.  The editing is also vital to the film as it shows the spectator how the main character is feeling, and they begin to sympathise with him. By the end of this sequence it has been made clear to the viewer that the confusion and anguish that the character is experiencing is going to set the mood for the rest of the film. Nightmare and death are all that Sheen knows, and the story will continue until he kills or is killed. This man is going to face the apocalypse.  “...the idolaters and all liars- their place will be in the fiery lake of sulphur.” The Bible, Revelation 21.