no wonder Jack's Daphne had to shake those maraccas in the "why would a guy want to marry a guy?" - "Security!" scene (to give the audience time to recover from the last zinger), or the boys having lost their coats to a horse out in the blizzard, or the girls on the train to Florida with that joke about the one-legged jockey, or Sweet Sue's "I want to remind all your daddies out there that every girl in my band is a virtuoso and I want to keep it that way" or the eager bellhop with a pass-key and the hots for Josephine, or Sugar's comment that the diamonds must be worth their weight in gold (she always gets the fuzzy end of the lollipop), and her father being a conductor - on the Baltimore-Ohio! And those delicious musical numbers. Then the older guys guying themselves: George Raft, Pat O'Brien, Mike Mazurki, and Nehemiah Persoff !
SLIH used to be a constant television staple here, always screened over Christmas. Curtis and Lemmon in their later years dragged up again too of course for one of the "Vanity Fair" Hollywood issues . Right: Monty Clift visits the set. The young Jane Fonda did as well and remembers (as per her memoirs) seeing M.M. being prepared for a scene and isolated in her stardom.
Of course 1959 (one of my favourite years) was a great year for movies with lots of classics but BEN HUR swept the board, so Wilder got his Awards next year for THE APARTMENT (which I don't rave about that much, I preferred his next: that zany, madcap ONE TWO THREE! ). SLIH will always be in my Top Ten, but a lot of the later Wilders I just had no interest in seeing - see Wilder label.
Its on television again here tomorrow, I will be looking in again of course. It is forever a gleaming Rolls Royce of a film where every component works perfectly.
More on it at Monroe, Lemmon, Curtis and Wilder labels.