Most great movies are great, as their admirers show us, because they contain hidden multitudes. These great movies, they are palimpsests, rich in layered meaning and subtle complexity. “Look again,” we’re told (and tell each other). “There’s even more in there the second time around.” We revisit these great movies over and over, and each time we do, we are amazed to discover in them something new and marvelous, and just when we’re certain the great movie’s many marvels have all been discovered, we find ourselves older, our perspectives another year matured, and the great movie looks, incredibly, even wiser than before; it has actually gotten better. Criticism is to these movies what light is to a prism.
Some Like It Hot is not one of these movies.
Assuming the picture is clear, the volume is turned on, and you don’t hate film, the greatness of Billy Wilder’s Some Like It Hot (1959) will be obvious to you, completely and immediately. That’s it. Love at first sight. Because Some Like It Hot is manifestly wonderful, you will not love it more on a second viewing, and you will not love it more as you get older and wiser. It is the exact opposite of an acquired taste.
“Wilder’s famous last lines are legion, but what makes them so revelatory is what they imply about the characters’ unseen pasts and futures.”
The Trial: Crime of the Century
In the film he once called his best, Orson Welles found a cinematic language equal to Franz Kafka’s distinctive effects, creating a vertiginous experience that accentuates the writer’s subterranean perversity.
Drylongso: A Refuge of Their Own
Cauleen Smith’s debut feature celebrates the bond between two young Black women and the ways that they imaginatively, collaboratively choreograph their lives in the face of their common vulnerabilities.
Bo Widerberg’s New Swedish Cinema: Another Sweden
While frequently drawing from the depths of his private life, the writer-director also sought to shake Swedish cinema out of a state of complacency by engaging with the country’s turbulent social landscape.
Dim Sum: A Little Bit of Heart: Family Style
For the first of several domestic melodramas in his filmography, Wayne Wang drew on the influence of Yasujiro Ozu and the talent within his own San Francisco community to explore the relationship between a mother and her daughter.
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