Some Like It Hot – Station Sequence

In the past succession, Joe imitated a ladylike voice to find a new line of work with Jerry in a gathering of female artists. Be that as it may, an ellipsis manages their camouflage, darkened by a progression shot. Along these lines it is a way two new ladylike characters who show up on the stage. This succession likewise denotes the presence of Sugar/Marilyn and the encounter 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 midriff to heels.We remember them on account of their instruments : on the left, with the bandylegs 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, yet the muscles of his calves are not less protruding. The additional items who overwhelm them are for the most part men, what significantly more face up their womanliness. 2. From that point now, the followi ng out shows us the â€Å"result† of the mask in the face.Joe, made up elegantly, makes a probable and rich lady, his white hide neckline appearing differently in relation to his dim dresses; Jerry, with his progressively unrestrained leopardskin neckline improved by a stir and by a twofold plume on his cloche cap, blends in his garments hairs, quills and petals. His lipstick broadens generally past his upper lip, we surmise he is stress on account of a frown. 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 performers along these lines land the position in the young ladies' ensemble, however will they experience the trial of the mask? 3. 4. Close shots on Joe, at that point on Jerry, every one of them appears to take a withdrew articulation in a feeble willed way. They permit to see nearer how every demonstration like a lady : Joe, snickering, looking aside, is in the register of enchantment. Jerry, in unending modification, sways between the young lady (when he opens wide eyes) and the woman 5. 6. 7. Follow-up of the following in the back.First stagger of Jerry, who curves his lower leg in light of his high heels. It isn't the first occasion when he protests since Joe, even minded (their point is to get in the train to get away from the hoodlums) is bothered by his languishments. Tony Curtis, with his pale and powdered composition, his half-shut eyelids as though he was at that point exhausted to be veiled as a lady, lets to Jack Lemmon an astounding and unnecessary palette of face appearances. (6). Bowed advances, Jerry continues rehashing the sex change, unfit to be utilized to the shows which administer the ladylike dress. How might they stroll on these things? † Joe's extremely coarse and anatomical answer (â€Å"Must be the manner in which their weight is distributed†) straightforwardly foresees the presence of Sugar, diversely â€Å"distributed† to be sure. After there is a converse shot on the line of artists 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 on-screen characters 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 however hotter jazz (the quieted trumpet replaces the saxophone). As Jerry, she is wearing a quill on her cap, and her ukulele, she is holding like a ladylike adornment, appears to be a smaller than normal bass. These are the initial two regular focuses, still prudent, 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 s o fixing a path like in an animation (the look of the lewd 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 sexual : once Marilyn is distinguished 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 : rippling her lashes, moving her lips, moving step, she exaggerates womanliness 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 whined about drafts under his dress, implying the anatomical distinction among man and lady yet in addition to the way that the camoufla ge shows him : it is an exposure.More than the draft, the white fume impact appears the craving which has recently sprung from this first gathering : Sugar is truly â€Å"whistled† by the train. He likewise places Sugar in trial female 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 distinction, ponders about female mechanics and as of now finds in Sugar a model to be imitated, while Joe, completely overwhelmed, is brought somewhere around adoration from the outset sight.The left and the privilege of the shot are isolated by an undetectable fringe among dramatization and comic. 12. At the point when the paperboy shows up, the title texts of the paper (the hoodlums are searching for the observers of the slaughter) unquestionably position the mask. In spite of what Joe guarantees , Jerry and him won't stop this disguise. On the off chance that they need to live, they need to renewed in ladies, go over the shot and mix in the opposite shot, join the line of fair 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 joke of a long arrangement done by Jerry sells out 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 develops 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 outskirt from a sex to the next one, yet in addition 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). Be that as it may, both are perceived as â€Å"real ladies† : this comment of the main man of the troop seems like a birth authentication.