(On DVD, January 2018) Curiously enough, it takes longer than expected for Some Like it Hot to warm up. The first act, in which two Chicago-based musicians witness a mob murder and decide to go on the run by cross-dressing and joining an all-female musical group to Florida, is occasionally a slog. Sure, Tony Curtis and Jack Lemmon are sympathetic enough, and Marilyn Monroe makes a striking entrance, but the film seems far too busy setting up its ridiculous situation to get many laughs. Things get much better once the story lands in a posh Florida resort, as the complications pile up and the film’s true nature starts coming out. By the time Lemmon’s character has to fake being uninterested in Monroe as she slinks all over him, or as Curtis rather likes the attention he’s getting as a woman, the film starts hitting its peak comic moments. It keeps going to a rather simple but effective final line. It helps, from an atmospheric perspective, that the Floridian passages spend quality time looking at a high-end lifestyle in which yachts are treated as mobile homes for the rich—there’s some wish-fulfillment right there. Thematically, the film has a few surprises in store: For a comedy dealing in cross-dressing and attraction based on misrepresented gender, Some Like it Hot has aged surprisingly well—it’s far less prone to gay panic than you’d expect from a movie from the fifties, and still feels almost progressive in the way it approaches same-sex attraction. As a result of its pro-love anti-hate agenda, it can be rewatched without too much trouble even today, while many (most!) movies of its era feel grossly dated. Much of this credit goes to director Billy Wilder as he allows Lemmon, Curtis and Monroe, to become a terrific comic trio and help the film get over its duller moments. The far more interesting last half makes up for an average beginning, and Some Like it Hot is still worth a look today.