Some Like It Hot – Station Sequence

In the past arrangement, Joe imitated a ladylike voice to find a new line of work with Jerry in a gathering of female performers. Be that as it may, an ellipsis manages their camouflage, clouded by a coherence shot. Hence it is a way two new female characters who show up on the stage. This arrangement likewise denotes the presence of Sugar/Marilyn and the showdown of the single men with ‘a totally extraordinary sex'. 1. Following in with a foundation of anxious jazz : a nearby shot shows the rear of the two artists, from midsection to heels.We remember them because of their instruments : on the left, with the bent-legs which barely hang on the high heels have a place with the player of twofold bass, Jerry. On the right, Joe strolls all the more straight ahead, however the muscles of his calves are not less swelling. The additional items who overwhelm them are largely men, what significantly more face up their gentility. 2. From that point now, the following out shows us the â⠂¬Å"result† of the mask in the face.Joe, made up elegantly, makes a possible and exquisite lady, his white hide neckline appearing differently in relation to his dim dresses; Jerry, with his increasingly extreme leopardskin neckline upgraded by a stir and by a twofold plume on his cloche cap, blends in his garments hairs, quills and petals. His lipstick expands broadly past his upper lip, we surmise he is stress on account of a mope. In voice-more than, a declaration of the station tells that the train which Joe and Jerry prepare to take is the â€Å"Florida Limited†, that goes to Miami.The artists along these lines land the position in the young ladies' symphony, yet will they experience the trial of the camouflage? 3. 4. Close shots on Joe, at that point on Jerry, every one of them appears to take a disconnected articulation in a frail willed way. They permit to see nearer how every demonstration like a lady : Joe, giggling, looking aside, is in the register of enchan tment. Jerry, in interminable modification, wavers between the young lady (when he opens wide eyes) and the woman 5. 6. 7. Follow-up of the following in the back.First reel of Jerry, who bends his lower leg on account of his high heels. It isn't the first occasion when he protests since Joe, down to business (their point is to get in the train to get away from the criminals) is aggravated by his groans. Tony Curtis, with his pale and powdered appearance, his half-shut eyelids as though he was at that point exhausted to be veiled as a lady, lets to Jack Lemmon an amazing and over the top palette of face demeanors. (6). Bowed advances, Jerry continues rehashing the sex change, unfit to be utilized to the shows which administer the female attire. How might they stroll on these things? † Joe's exceptionally coarse and anatomical answer (â€Å"Must be the manner in which their weight is distributed†) legitimately envisions the presence of Sugar, diversely â€Å"distributedà ¢â‚¬  without a doubt. After there is an opposite shot on the line of performers who jumps on the train (7) supplies a lot of examples who adds to Jerry's frenzy (â€Å"It's no utilization. We'll never pull off it†. Not generally come to know each detail of his character, he turns his look to a perfect model. 8. 9.Catching, off screen, the eyes of the two entertainers assuming a female job, Sugar additionally shows up, â€Å"cut in two† at the belt-level. The music topic totally changes for a more slow yet hotter jazz (the quieted trumpet replaces the saxophone). As Jerry, she is wearing a plume on her cap, and her ukulele, she is holding like a ladylike frill, appears to be a scaled down bass. These are the initial two normal focuses, still careful, of a connection in reflect among Daphne and Sugar who will go on all through the film.When she passes by close Joe and Jerry, the looks center around the base of her body in so fixing a route like in an animation (the loo k of the obscene wolf of Tex Avery) 10. a. Front/behind : as opposed to Joe and Jerry, Sugar is recorded from the start by face at the top, at that point by back, at the base. In point 2, the tension centered the desire for the observer on the change (what will Curtis and Lemmon resemble in lady? ); here, the tension is in a way suggestive : once Marilyn is recognized by face, the inquiry concerns her garments, how her figure is emphasized.We likewise notice that Marilyn's acting is as rich as that of her two accomplices : shuddering her lashes, moving her lips, moving walk, she exaggerates gentility nearly as much as Lemmon and Curtis 10. b. The reverberation of point 9 with point 1 is hindered by the fume shoot which, from the train, shocks Sugar. The objective is to point Marilyn's base. In point 6, Jerry grumbled about drafts under his dress, suggesting the anatomical distinction among man and lady yet in addition to the way that the camouflage shows him : it is an exposure.More than the draft, the white fume impact emerges the craving which has quite recently sprung from this first gathering : Sugar is actually â€Å"whistled† by the train. He additionally places Sugar in exploratory ladylike subject : how can she respond? How can she move? How can she continue strolling after this hitch? 11. † it resembles jello on springs! †. As a kid who brought a toy into pieces to perceive how it functions, Jerry addresses the anatomical contrast, ponders about ladylike mechanics and as of now finds in Sugar a model to be imitated, while Joe, completely overwhelmed, is brought somewhere near affection from the outset sight.The left and the privilege of the shot are isolated by an imperceptible fringe among dramatization and comic. 12. At the point when the newsy shows up, the title texts of the paper (the criminals are searching for the observers of the slaughter) unquestionably position the camouflage. In spite of what Joe guarantees, Jerry and hi m won't stop this disguise. In the event that they need to live, they need to reawakened in ladies, run over the shot and mix in the converse shot, join the line of light ladies with cap and instrument. 13. It is a triumph. Them two are credible.Nevertheless Jerry, who isn't totally changed at this point, experiences issues in talking all the more piercing. â€Å"You two from the Poliakoff Agency? † â€Å"Yes, we're the new young ladies. † â€Å"Brand new†. This first play on words of a long arrangement done by Jerry double-crosses his celebration to be between two genders. 14. 15. 16. 17. This arrangement of shots and opposite shots sets up, between the two men, a sort of â€Å"every man for himself† : Jerry shocks Josephine by renaming Daphne, Josephine concocts a tale about the Sheboygan Conservatory of Music (This city truly exists in Wisconsin).Their first discussion with â€Å"Sweet† Sue presents an intersection of fringe from a sex to the ne xt one, yet additionally a time travel. On board this train, the transvestites travel with twenty-year-old young ladies, in an air of day camp bossed around by an iron woman. 18. First ladylike misfortune of Jerry (Bienstock squeezes his base). However, both are perceived as â€Å"real ladies† : this comment of the main man of the troop seems like a birth authentication.