Review: Weezer (Black Album)

California kings Weezer return this week with their thirteenth and eagerly awaited new release Weezer (Black Album).

This is the sixth self titled/coloured album released by Rivers and the gang. Blue, Green, Red, White and most recently Teal have all come before. Teal in particular had the music world talking: dropped from out of nowhere with zero hype back in January, an album of retro covers to keep fans content whilst they wait for new music, and a friendly reminder that Weezer have always been good to their fans.

 It can’t be helped but to compare all of these colours, and in doing so the listener can really hear the evolution of a band 23 years into their career. 2019’s Black is worlds apart from 1995’s Blue, as even the idea of drum samples and trumpets would make a mid 90s Weezer fan shudder. This latest album features all of the above, a comfortable next step on the Weezer journey, but also another step toward the mainstream that the band were once so shunned from.

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(Credit: Atlantic Records)

 Songs like Can’t Knock the Hustle and Byzantine wouldn’t sound out of place on a mainstream radio show, but certainly wouldn’t belong on a classic Weezer playlist. However, it has to be said that the Rivers Cuomo of old shines through in tunes like High as a Kite, and particularly The Prince who Wanted Everything. It’s songs like these that remind fans why they’ve remained with the band through the good times (Pinkerton) and bad times (Raditude)

 It seems that more and more with each release, Weezer divide their fans: the purists who claim they lost it years ago, and the die-hards who stick with them through every track (Saturday Night Live even referenced this in a sketch featuring Matt Damon). But Weezer (Black Album) is a comfortable reminder that the LA band have still got it, and there is enough material here to keep both sides of the argument happy.

 

 

Review: Derry Girls

The girls from Derry are back, and they might be even better than the first time around.

This week, over a year from when it first appeared on our screens, saw Lisa McGee‘s Derry Girls return to Channel 4.

Set in 1995, the Troubles serve as a grim background to the girls’ – and James’ – antics as they navigate their teenage years. Reintroducing Erin (Saoirse-Monica Jackson), our narrator, as she lies in the bathtub revives the comedic value these characters created in the previous season. Orla (Louisa Harland) walking in, and interrupting Erin’s imaginary interview with Terry Wogan, mirrors the first glimpse we had of Derry Girls – Orla reading Erin’s diary.

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The girls and James set off on an outward-bound weekend with the Londonderry Boys Academy (Credit: Channel 4)

The rest of the group – Clare (Nicola Coughlan), Michelle (Jamie-Lee O’Donnell), and their wee English fella, James (Dylan Llewellyn) – turn up before they all head out on their trip to “make friends across the barricade” with the Londonderry Boys Academy. Despite claims that the weekend away is all about “doing it for peace”, they all have their own motivations for bonding with the Protestant boys. Erin and Michelle want to experience the “moves” of boys who aren’t James – and James just wants friends who aren’t girls.

The outward-bound weekend gets off to a rocky start with the return of Father Peter (and his beautiful hair) who’s all too keen to lead a few workshops. He asks the group, “What do Protestants and Catholics have in common?” Obviously, he isn’t expecting differences – and only differences – to be shouted by the teens.

“Protestants keep toasters in cupboards.” “Protestants are taller.” “Catholics have more freckles.” And of course, Orla’s contribution into the chaos: “Protestants hate Abba.”

It’s not long before the Differences board is crammed full with many more of these quirky accusations. This scene is a hilarious. It’s absurd and witty, but there’s a few true issues hiding in there. McGee does something amazing with the humour of Derry Girls – she shows the Troubles through the lighter, and almost naive, perspective of teenagers.

Of course, it is only when darkness falls that the true motivation behind the girls’ decision to “make friends across the barricade” comes out in full force. They, and James, ambush the dormitory of a Londonderry group with music, drinks and that keen teenager’s belief that an epic party is about to take place.

It’s predictable that things do not go to plan. Orla and James end up overly latching on to their buddy, Clare tries to one-up goody-goody Jenny Joyce by going from workshop buddy to fully fledged Catholic-Protestant friends, Michelle finds out what her Londonderry boy’s bracelet means, and Erin…

Well, Erin fails at flirting with Dee, her Londonderry buddy – so much so that he thinks she was having a breakdown. It’s clear Erin still has a lot to learn.

The morning after the night before sees Clare dangling off a cliff edge, screaming that her buddy is “a fenian-hating madman”. As it turns out, the boy is deaf in one ear – and it isn’t Catholics he hates, it’s athletes. This causes a full-on fist fight between the boys and the girls, with Our Lady’s Sister Michael and Londonderry Academy’s Ms Taylor watching on as Father Peter tries to break the fight up. Only when the parents are called does Erin finally realise what they all have in common, and adds it to the Similarities board – they all have interfering parents.

And this is only the comeback from our favourite girls (and James – is it wrong if I just group him in with the girls?). Season two, if episode one is anything to go by, will be the craic.

Episode two will be aired on Channel 4 Tuesday at 21:15, and you can catch up on season one and the first episode of season two here.

Film Review: Fighting with my Family

 

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Saraya Knight (Florence Pugh) fights to become a wrestler in Fighting with my Family (Credit: IMDb)

It’s not surprising that this underdog story is a bit wobbly on the ropes, but the cast of Fighting with my Family pack a mean punch.

Straight off the bat, or should it be “straight after the bell”, wrestling is centre stage. The pros – The Rock, Hulk Hogan and John Cena – are seen in action on a TV screen. A young boy replicates their moves until the channel is suddenly changed by his younger sister.

In retaliation, the boy attempts to get his sister in a headlock. His actions are fumbled, but he is quickly corrected when his dad enters the living room. The girl is then challenged to get out of her brother’s hold when their mum follows through the door.

This is the Knight family.

Saraya Knight, played by Outlaw King’s Florence Pugh, is the only daughter of a wrestling-obsessed family from Norwich, England. The movie follows Saraya through her fight to become a wrestler for the WWE, where she becomes ‘Paige’ in the ring (spoiler: she’s a massive fan of the programme Charmed).

The film passes as a sports movie, but the quirky theatrics that come with professional wrestling – otherwise referred to as “soap opera in spandex” – puts a new spin on the somewhat overplayed underdog plot.

Throughout the film, the audience constantly question whether Saraya truly does want to become a wrestler, or if she is just following the dreams of her parents (played by Nick Frost and Lena Headey) and brother (Jack Lowden). Her training is definitely tough – 4,000 miles from home in America, with no friends and no family around – but the Knight’s close-knit bond puts up a fight to see Saraya through.

The heartwarming family-feel to the film is even more apparent in the closing credits featuring home videos of the Knight family. It becomes clear that Stephen Merchant, who wrote and directed the movie, did not create this energetic ensemble in his mind and that it is reflective of a true story.

Fighting with my Family is in cinemas now – find a showing near you here.

 

Film Review: Paddleton

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Mark Duplass and Ray Romano bond over a game of ‘paddleton’ in new Netflix drama (Credit: Patrick Wymore/Netflix)

Netflix’s new bromance drama, Paddleton, will have you chuckling and reaching for the tissues at the same time.

Recently released on Netflix following its world premiere at the Sundance Film Festival at the beginning of the month, Paddleton follows best friends Michael (Mark Duplass) and Andy (Ray Romano). The two face significant changes in their lives when they find out Michael has been diagnosed with terminal cancer.

The two embark on a journey together after Michael decides he wants to take life-ending drugs before his illness becomes too painful, and asks Andy to join him on a ‘road trip’ to purchase the medication to help him end his life. Although Andy is hesitant at first and continues to struggle to come to terms with Michael’s decision throughout the film, he accepts his friend’s choice and the two go on a strange, yet sort of beautiful journey.

Directed by Alex Lehmann (Blue Jay), Paddleton provides us with a refreshing take on ‘bromances’. We are often led to believe in film and television there is something funny or amusing about two men having a bromance. That there is something weird or abnormal about grown men having close platonic friendships. But Paddleton debunks this idea and shows us it is completely normal and healthy for two grown men to have a close, meaningful friendship with one another.

In Paddleton, Michael and Andy are essentially the most important people in each other’s lives. They’re neighbours, they eat together, they talk about work, they bond over watching kung fu movies every night and they play ‘paddleton’ with together. (Paddleton is similar to squash, but the ball has to bounce off the wall and land in a barrel).

But despite the pleasing friendship between the two leads, there is no escaping the serious subject matter explored in the film. The concept of ‘assisted dying’ has been examined a number of times in film and television over the years; perhaps most recently in Louis Theroux’s Altered States documentary, Choosing Death which sparked a lot of conversations online. It’s not an easy topic to digest and many people have conflicted feelings about the matter, but Paddleton manages to tackle the upsetting elements of the film in a sensitive manner and the interjections of comedy between Duplass and Romano ensure the narrative isn’t too heavy.

Ray Romano and Mark Duplass complement each other perfectly. Although neither character is particularly talkative, the dialogue is engaging and their conversations are amusing and believable. The level of comedy fades appropriately as the movie goes on, and towards the end of the film the interactions between Michael and Andy are raw and emotional.

The performances by both leads were exceptional but I was particularly impressed with Romano. We may perhaps be used to seeing Ray Romano in comedic roles. I for one remember watching Everybody Loves Raymond every morning before school. But Romano has shown more and more he is an actor with range. His performance in Michael Showalter’s Academy Award winning 2017 film, The Big Sickwas touching, memorable and entirely believable, so it’s exciting to see him take on a similar role in Paddleton.

This film is in no way revolutionary and it is not something I could watch again and again. The pacing is slow at times and nothing particularly special happens until the very end of the film. In fact, some may argue that the majority of the movie is largely insignificant. But Paddleton is a film I would recommend. It’s simple, but has a powerful message about the importance of friendship that we can all relate to.

You can watch the trailer for Paddleton below.

To read another of Olivia’s Netflix reviews, click here.

Series Review: Russian Doll

 

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Natasha Lyonne has to live the same day over and over in Netflix’s Russian Doll (Credit: imdb.com)

The Groundhog Day theme has been done way too many times in film and television right? Wrong. Netflix’s new binge-worthy series, Russian Doll, provides audiences with a brand new take on the concept.

Created and produced by Natasha Lyonne (American Pie, Orange Is the New Black), Amy Poehler (Saturday Night Live, Parks and Recreation) and Leslye Headland (Bachelorette), Russian Doll introduces us to Nadia (Natasha Lyonne) as she tries to escape from a 36th birthday party thrown for her by her friends in New York City.

Unfortunately, she doesn’t get very far. After running into the road to try to catch her missing cat, Oatmeal, Nadia is hit and killed by a taxi before finding herself back in the bathroom at her birthday party where she was at the beginning of the episode.

Throughout the following episodes, we see Nadia die in a variety of ways including falling down the stairs (multiple times), drowning and getting caught up in an elevator accident. Each time she returns to the same bathroom and the same song (you will either love or hate Gotta Get Up by Harry Nilsson by the end of the series) to repeat the same day over and over again.

As the show progresses, we see Nadia try to navigate her way through the situation and Natasha Lyonne is a joy to watch. Her character is quirky, she speaks her mind and she is incredibly funny. Even during her worst meltdowns, she manages to come out with some memorable one-liners. This makes her actions and interactions with other characters interesting yet Nadia is still level-headed enough that the audience can relate to her and care about her as she goes through this journey.

Although Natasha Lyonee’s performance as Nadia is engaging enough on its own to keep you interested, the show’s storyline takes an unexpected twist several episodes in, which totally changes the way you believe things might go, in fact, it changes the whole structure of the show. It becomes much more complex than someone just repeating the same day over and over and I guarantee you won’t be able to stop watching at this point.

Yes, Natasha Lyonne is fantastic and the twists and turns in the narrative do well at keeping the audience enagaged, but the best thing about Russian Doll is that the show doesn’t just focus on the groundhog day element, it explores the traumas haunting the main character and how she deals with this throughout the whole experience. The looping of each death could be a symbol of the fact that Nadia must learn that she has to face her demons, or she will keep facing the same issues over and over again, just like she keeps having to face the same day.

Natasha Lyonne has described the show as a “bizarre version of an autobiography” as the series touches on some issues she has faced throughout her life. This makes sense as her performance and the lines she delivers are entirely believable. You can tell this is a series that means something to her and that she and the other creators have tried hard to ensure the show has heart and will draw people in.

There are so many layers to Russian Doll and it’s a pleasure to watch as they are peeled back as the show progresses. Each episode is only 24 to 30 minutes long, which you wouldn’t think was long enough to become so engaged with characters in a show. But the perfect combination of clever writing and sharp, interesting dialogue, as well as the unique interactions between the characters, makes it possible.

You can watch the trailer for Russian Doll below.

WARNING: This trailer contains bad language which may be unsuitable for younger viewers.

 

 

Review: Can You Ever Forgive Me?

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Melissa McCarthy & Richard E. Grant. (Credit: Fox Searchlight Pictures)

As the snow falls heavily on the skyscrapers and streets of New York City, writer Lee Israel suddenly finds herself without any financial security when she is fired from her job. Israel has talent but finds it impossible to make money from it, which pushes her towards the criminal activity of fabricating celebrity letters. The film is based on Israel’s 2008 memoir with the same name, in which she explained more about her path towards literary forgery.

Israel’s arrogance is palpable from the very start of the film, something actress Melissa McCarthy portrays genuinely. She doesn’t like anyone except her cat, who she seems to have great affection for. The love of her life. Although she appears in almost every scene of the film, it never gets boring. Her character is fascinating, even more so as it is based on a real writer. Israel doesn’t care about what others think of her, not in the slightest. She is fully herself. As she meets her extravagant drinking partner Jack Hock, played by Richard E. Grant, they explore the world of fabrication together. Grant is very convincing and entertaining and I specifically like their growing friendship that seems to make Israel find a little bit of joy in a world that she normally despises.

The director, Marielle Heller, managed to demonstrate Israel’s journey well – from the moment the downward spiral began with her money issues, all the way to her criminal career’s downfall. Despite its sadness, the film has many humorous moments. I found myself laughing out loud together with other viewers at the cinema at several parts. It was a very enjoyable watch and made me interested in reading the book. I think I will.

Watch the trailer below.

‘The sun will come up’: words of wisdom from Nina Nesbitt.

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Singer-songwriter Nina Nesbitt. (Credit: Justin Higuchi)

Scottish singer-songwriter Nina Nesbitt is back with her new album The sun will come up, the seasons will change. And it’s exactly what some of us need to hear right now. 

As well as being talented in the love and heartbreak department, Nina Nesbitt’s new album has a few other golden threads running through it. Post-adolescent confusion, disappointments and a mighty dose of girl power also lie within the lyrics of many of her songs. At her acoustic set in Edinburgh this week, the 24-year-old met with fans and spoke of the personal struggles that influenced her album.

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Track number four on the album Chloe is about the hard realisation that childhood friendships inevitably begin to change. Many of us have the felt the pang of sadness when we realise our closest friends will not be five minutes down the road forever. At age 22 one of her friends fell pregnant, a moment she still remembers today. Nina told the audience:

“And I realised that we were moving on from being kids and becoming adults, which was terrifying. It’s a song about that sort of transition and as women all going down different paths and that being okay.”

These are the moments I’m missing is another poignant one, highlighting the bittersweet feeling of nostalgia. Knowing that childhood is something that passes us by like the flick of a switch, and that we should have spent more time relishing the freedoms childhood brings. Instead many of us spend this time in our lives wishing we could grow up.

“These are the moments I never took in when, I was just standing there wishing, that I could grow up and my life would be different.”

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The best you had, perhaps one of the most moving tracks on the album, tells the story of a love that has moved on quickly and the hurt that follows. It’s about hanging onto the memories of a love that once was and that it’s ok that someone has moved on, because you both know that what you both once had was special.

Loyal to me – May the meetings of a female’s pack of FBI agents commence. Independent woman is written all over this track. When a man’s reluctance to let the rest of the world know you exist begins to show, there is only one thing to do.

“If you start to question is he loyal to me? Well then he’s probably not and you should probably leave.”

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“The sun will come up, the seasons will change.”

When uncertainty comes our way, or tempestuous emotions get the better of us know that “The sun will come up, the seasons will change.” It can be a lesson we are not even aware that we are learning, the title track talks about a subtle realisation that at the end of any dark day, the sun will rise the next. No matter the disappointments, the changes we’re not ready for or the heartbreak we endure, the world spins continuously on. It’s the last song on the album, tying all the other lyrics we have heard into a perfect bow.

You can buy tickets for Nina’s upcoming tour here.

Film Review: Vice

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Christian Bale was completely transformed for his role as Dick Cheney (Photo credit: TheStranger.com)

Going to the cinema to see Vice? Prepare yourself for a rollercoaster ride of anger, confusion, laughter and pure brilliance, as you dive into the world of former Vice President Dick Cheney.

The brainchild of Adam McKay, known by most for directing comedies including the Anchorman movies and Step-Brothers, Vice is an informative yet bizarre alternative take on the events that took place leading up to and during Dick Cheney’s time in the White House as George W. Bush’s Vice President. Bush’s presidency has been analysed and speculated over time and time again, but Vice provides viewers with a completely different take on the matter.

We see a transformed Christian Bale as Dick Cheney and Amy Adams as his wife, Lynne Cheney, as they try to work their way up the political ladder. Although at the beginning of the film the audience sees Cheney at a low point in his life, working a low paid job and caught driving while drunk, he manages to make his way into positions of power, before Bush (Sam Rockwell) eventually approaches him and asks him to run as his Vice President.

The film is unapologetically anti-right wing and you can feel the anger from the filmmakers seeping through throughout. It is clear Adam McKay wants the audience to view Cheney as evil and thankfully Christian Bale does a fantastic job of communicating this, even though he is playing a character who on the surface is quiet and subdued. Through his physical language and delivery of the script, Bale manages to portray a character who is calculating and power-hungry.

The film has a non-linear structure with scenes frequently cutting away to flashbacks and original footage, which perfectly accompany specific plot points to give what is happening in the story more meaning. This extra information and the narration by Jesse Plemons, is also helpful for those of us who aren’t experts in American politics.

Vice is also full of cleverly executed symbolism. An excellent example of this is while Cheney is trying to persuade Bush to agree to certain terms before Cheney agrees to be his vice president. We see shots of a fishing rod spliced in, eventually reeling in a large fish, just like Cheney reels in Bush. Not only is this a wonderful example of creative editing and cinematography, the thoughtful symbolism throughout the film helps viewers to understand what is going on inside Cheney’s head as he manipulates other characters.

Despite the creative and captivating filmmaking techniques and fantastic performances from the cast, in some ways Vice is an uncomfortable movie watching experience. Seeing how the selfish actions of politicians has destroyed lives and continues to cause chaos worldwide is not pleasant. The film is also entirely one-sided and some may argue that it’s not an accurate representation of events. However, the comic relief throughout the film helps distinguish these potential drawbacks. Vice is not a documentary and it’s not a history lesson, but it does make you think.

You can check out the trailer for Vice here.

Zoe Graham at Celtic Connections (supported by John Edge & The Kings of Nowhere)

Zoe Graham played at King Tut’s Wah Wah Hut’s intimate venue space in front of an adoring crowd on January 24. Its stage has hosted many massive acts, like Snow Patrol and Radiohead, but Zoe has lived up to the pedigree.

The concert was part of the Celtic Connections festival, Scotland’s wintertime festival which celebrates Scottish music & musicians.

Spread across Scotland’s largest city, Glasgow, it invites musicians from around the globe and attracts thousands of visitors which pack the city’s most spectacular venues, attending concerts, ceilidhs, art exhibitions and much more.

It can occasionally tend towards the old-fashioned, but Thursday night’s show was evidence that Celtic Connections is very much moving with the times.

John Edge & The Kings Of Nowhere opened for Zoe Graham and their genre-defying melodies are a perfect example of Celtic Connection’s modernisation.

The band self-describes its music as “folk musings” but that doesn’t really scratch the surface. The Scottish highlands musicians manage to be multi-layered yet superbly smooth, bringing to life their Celtic roots.

John Edge as a band could be compared to Scottish synthpop band Prides, except they’ve torn out all the keyboard and autotune and fired about three acoustic guitars in its place — that’s John Edge’s sound.

However, at times they over-relied on this sound. It’s good, but they may have gotten in the habit of repeating themselves, and end up sounding a little repetitive on occasion.

The music somehow manages to roll over the crowd like a physical thing — this is maybe where the patriotic vibe comes from, with their tunes emulating the landscape.

But that’s a deeply pretentious description of a deeply unpretentious band. The five musicians on stage have obviously known each other a while, and if not, they get on well enough that they enjoy the mere act of playing alongside each other. The jokes between songs, the natural smiles and banter, all point to the bond these five artists share — something which is invaluable to smaller artists trying to make their reputation. John Edge & the Kings of Nowhere have the advantage being a five-piece band. When you are a solo artist, however you have to work a little harder to create a atmosphere around you.

Zoe Graham does this with ease.

Zoe — a fairly short 21-year-old Weegie gal with a great big guitar — shows appearances are deceiving and easily fills the rooms with her presence.

As well as a great big guitar, she brought with her a great big voice: clear, slightly accented, somewhat ethereal. It’s a voice that makes her recorded singles sound personal and emotional (they’re available on Spotify in case you don’t believe me) but her live performances change the nature of her music, becoming a bit less emotional and even more powerful. It’s definitely music that makes you will make you sit up and listen.

I’ve reviewed Zoe before, when she was performing solo. It’s all very slow, very moving, and a little melancholic. This time, backed by several musicians, the difference is startling. Personally, I’d call it an improvement.

The emotion that disappears from the softer songs changes them into these big powerful room-filling anthems — Industrial Strength, which on record is a quirky little tune, got completely turned on its head. The core of the songs remains the same though — Zoe’s songs all have a synthy soul, all very indie.

She returned to her solo portfolio for a few last songs — and for an artist of her size, getting called on for an encore is pretty nuts — for which she played Anniesland Lights. This last moment reflected the girl’s range — her last song, a track called Know By Now, had this big rock-on drum-solo finish. But for the encore, she returned to break hearts with her soft little ballad.

I have big hopes for Zoe Graham. Her music, her lyrics, her chat on-stage are all so refined and full of personality. If nothing else, she’s a unique character. Definitely one to keep an eye on.

John Edge & The Kings of Nowhere have plenty songs on their Youtube and a few on Spotify, and you can keep an eye on their Facebook and Instagram (@johnedge_thekings) for news of their forthcoming album. You can find a link Zoe Graham’s Spotify in the article, her Youtube is here, and check out her Facebook and Instagram (@iamzoegraham) to keep up with her gigs and future releases.

 

Why Some Like It Hot hasn’t gone lukewarm

In a time where movies are disposable and often formulaic, how is one of the greatest movies of all time fairing in the cut throat world of Netflix and binge watching?

“Story of my life. I always get the fuzzy end of the lollipop.”

That’s how it all started for Sugar Kane Kowalczyk, and how one of the greatest comedies of all time began, but the audience certainly does not get the fuzzy end of the theatrical lollipop. The picture follows two musicians who witness a Mafia murder and flee town disguised as women so that they can join a band travelling to Florida.

However, Joe (Tony Curtis) falls in love with Marilyn Monroe’s Sugar Kane and Jerry (Jack Lemmon) acquires a male admirer too. Their days in paradise are numbered though, as the Mafia comes to Florida to attend a conference and they see right through their disguises.

Some Like It Hot captured the hearts of film lovers the world over and continues to do so to this day. In fact, the film is celebrating a milestone birthday – 60 years old – and it’s still going strong, featuring on some of the biggest streaming sites including Netflix.

But how has it aged in a world that doesn’t necessarily ‘get’ the movie? Although it features on all the online viewing platforms, do younger viewers want to watch a movie that’s shot in black and white and features three leading ladies who have since passed away?

Well they should, and here’s why – because those three leading ladies are legends, even if the average 15-year-old can’t name them. They were Marilyn Monroe, who died only a few years after the film was released, Tony Curtis, who appeared in over 100 films and had a career spanning six decades (he was also the father of actress Jamie Lee Curtis) and Jack Lemmon, who won two Oscars from eight nominations over his career.

 

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Infographic by Jade du Preez for EN4News

 

But for their performances alone, they each shine in what was one of their best works. Witty and charming, Some Like It Hot has everything a good comedy should have and holds them dear, almost like it could foresee the formulaic production-line comedies of the 2000s and how they would mostly end up devoid of true, thought out humour.

Jack Lemmon sparkles in the film, often the butt of the joke but he always has a brilliant one-liner to show up Tony Curtis – like when he asks him why he’d consider marrying his admirer (another man), a thinly veiled homophobic sign of the times for the movie, snatched away when Jack Lemmon answers with ‘security!’

His attempts to dodge his admirer (who has no idea he is a man in disguise) is a highlight, which ends with the pair dancing the night away as he continues to lead and not dance like a woman. Jack Lemmon takes the challenge of playing a woman and gets lost in it over the duration of the film, and it is magical.

However, Tony Curtis seems like the leading man, the guy with all the charm and dashing good looks, but his venture into the female psyche is short lived when he also fronts as a very rich man so that he can win over Miss Monroe (when he’s actually pretending to be Jack Lemmon’s rich admirer).

Over the course of the picture, he plays three characters – Joe, Josephine (his female alter ego) and his millionaire trying to sweep Sugar Kane off her feet. And boy does he do them justice – you don’t really like any of his characters, to be honest, they’re all dimwitted and arrogant, but at the same time, you want him to get the girl and save the day. He somehow doesn’t let you dislike him enough to make you wish ill of him, and that might be because of his friendship with Jack Lemmon’s character.

But the absolute star of the show was Marilyn Monroe, she dazzled in her naïve showgirl character – but she knew so much more than she let on. Her line, “I don’t care how rich he is, as long as he has a yacht, his own private railroad car, and his own toothpaste” is what every girl is thinking.

So witty, yet so demure, you can see where the sex symbol comes out in her, but you can see this smart side to her. She’s clearly been cast as the dumb blonde, but she is so much more than that – she’s every beautifully flawed woman in film and literature, a real Rose Buchanan from The Great Gatsby. Don’t take this character at face value, dig deeper and remember the time.

A film like this one doesn’t just disappear, it’s remembered for all it’s smart one-liners and zest for comedy. It doesn’t fall flat, but maybe you should actually watch this one and not stare at your iPhone instead.

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