Some Like it Hot (1959) / Maker's Mark 46 Bourbon

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In 1959, director Billy Wilder
and star Marilyn Monroe gave the

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world a cross dressing comedy
that hits all the right notes.

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In 2023, Maker's Mark proves
that the 46th time is the charm

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the.
Film is some like it hot.

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The whiskey is Maker's Mark 46.
And we'll review them both.

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This is the.
Film and whiskey.

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Podcast.
Welcome to the Film and Whiskey

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podcast, where each week we
review a classic movie and a

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glass of whiskey.
I'm Bob Book.

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I'm Brad G.
And this week we are revisiting

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one of our favorite movies from
Season 1, Billy Wilder's Some

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Like It Hot.
Bob I was thinking about this

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movie it like before we we
watched it again and I was like,

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I think I could watch this movie
just the soundtrack, like I

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could blindfold myself, listen
to the movie and it still might

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be one of the funniest comedies
I've ever heard.

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Do you know what's hilarious
about you saying that is?

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I took a note as I was watching
this because the movie is set in

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1929, so right after the advent
of sound in movies.

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And it's really apparent that
Billy Wilder is doing a lot to

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honor the early 30s screwball
comedies, but he's also doing a

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lot to honor like the late
silent era comedies.

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There's a lot of really physical
comedy in this and the note that

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I took was I could watch this
movie with the sound off and

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still understand what's going
on.

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So you'll.
Watch it with the sound off.

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Yeah, I'll watch it with my
monitor turned off and we'll

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report back on what the
experience exactly.

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That's hilarious.
Man.

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All right, so if you are not
familiar, what we're doing this

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season on film and whiskey is
we're going back and revisiting

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all of our movies from Season 1.
Brad, we're doing it mostly,

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yeah.
Those episodes a real bad.

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I would say that the sound
quality gets marginally better

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in the latter half of Season 1.
But I was listening to some of

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these episodes back and it is
like unbearably harsh sounding.

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Yeah.
And we just didn't have our, we

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didn't have our feet wet yet in
the podcasting arena.

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So I think we've got a little
bit more seasoned since then.

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A little bit.
I mean, I mean, at this point

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we're talking about watching
movies without actually watching

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the movie, so.
We're so good at it, we don't

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even need the pictures anymore.
We're pretty avant-garde about

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our movie watching nowadays.
All right, so as I remember from

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Season 1 and Brad, I don't
currently have our final scores

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from our first watch through
pulled up.

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I think I gave this movie like I
either A9 or a nine and a half,

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and I had talked even at that
point about how it was not my

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favorite Billy Wilder movie and
it wasn't as good as the

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apartment and blah, blah, blah.
And you know what?

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I still stand by a lot of what I
remember saying about this

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movie, which is it's really hard
to give a really dumb, stupid,

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silly comedy a 10 out of 10.
But damn it if this movie isn't

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just perfect Brad.
It it is perfectly written,

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perfectly acted perfectly like
the sound design is perfect.

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I I love this movie Bob.
I think I gave it A10 it it

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might have been one of my first
10s that I ever handed out.

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Bob I This is a 10 out of 10
movie.

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I laughed out loud at so many
parts of this movie.

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And you know, I remember when we
were watching through Sabrina,

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which is another Billy Wilder
movie that I talked about how in

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Sabrina you can go into that
wanting any kind of comedy and

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you will get it from that movie.
There's really dark humor,

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there's sarcasm, there's
slapstick.

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That's all here as well.
And I feel like it is.

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It reaches like it's pinnacle
with this movie.

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I like, I couldn't believe the
amount of silent era slapstick

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comedy.
And then, you know, you

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juxtapose that with the really
fast kind of ratatat of

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screwball comedies from the 30s.
And then you get your like,

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really racy, boundary pushing
comedy that reminds you that

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this movie is made in the late
1950s.

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It's just like it.
It's the platonic ideal of a

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silly comedy, and it works so
well.

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Yeah, and at the top you have
Jack Lemmon and Tony Curtis.

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Jack Lemmon, one of the best
comedic actors of all time.

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I mean, for my money, one of the
best dramatic actors of all time

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too.
He's just fantastic.

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Yeah, no, he's absolutely
incredible.

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Now you tell me.
I don't know as much about Mr.

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Curtis on the other half there.
Was he a comedic actor?

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Was he more of a dramatic actor?
He was more of a dramatic actor

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that dabbled in comedies.
So the year before this was

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made, he made a movie called The
Defiant Ones with Sidney

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Poitier.
And that movie was like a

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straight drama, and it was
about, you know, race relations

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and really great movie.
But Tony Curtis was kind of

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always going for his Oscar.
And I feel like every once in a

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while he'd make a movie like
this.

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And it's just hilarious that now
this is the movie that he's best

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remembered for.
You know, if if you know

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anything about Tony Curtis, it's
probably because either you've

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seen this movie or you are
familiar with his daughter Jamie

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Lee Curtis.
That's that's pretty much the

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only things that I feel like
people talk about Tony Curtis

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for anymore.
But man, is he good in this

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movie or what?
He, he is so incredible.

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I'll, I'll just remind everybody
of the fun fact that when he

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plays the shell junior, you
know, billionaire, he's, he's

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trying to be Cary Grant or, you
know, use his accent to make fun

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of Cary Grant.
And when he asked Cary Grant how

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what he thought of the accent
because he sounded like Cary

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Grant, Cary Grant's response was
I do not sound like that.

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You know, The funny thing, and
I, I don't think we mentioned

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this the first go round with
this movie, but as I'm listening

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to him do the Cary Grant thing,
it's such a funny little joke.

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It's like a running bit
obviously in the movie.

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But Cary Grant was not famous in
Hollywood at the time that this

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movie is set.
And so then you get that great

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little line from Jack Lemmon
where he goes, nobody sounds

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like that.
And of course, it's it's the

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voice that belongs to the most
famous person in Hollywood by

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1959.
When when did Cary like break

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into Hollywood?
Was it early 40s?

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You know, it was like early 30s,
like he was one of his first big

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movies was I think it's called
She Done Him Wrong.

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It's a Mae West movie.
But I mean, like, you know,

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somewhere between 31 and 33, I
think, is when Cary Grant really

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started to get introduced to
American audiences.

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OK, yeah, IA Cary Grant's
incredible.

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We need to watch more Cary Grant
movies.

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But B Lemon and Curtis are
great.

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I think we talked about it.
Monroe in this movie is just

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electric.
Yeah, honestly, Brad, I think we

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need to like introduce some
structure into our episode here

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or we're just going to gush over
people for 50 something minutes

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and then call it a day.
If you have not seen some Like

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It Hot, first of all, you got to
watch it.

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It's just it's a hilarious
movie.

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But I have to say, Brad, you
know, we've watched at least 6

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or 7 Billy Wilder movies at this
point for the podcast, including

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this one the first time.
I think I have more of an

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appreciation for it now on the
other side of all those Billy

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Wilder movies than I did when we
first watched it in Season 1.

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Yeah, 100% that we dabbled in
in, it feels like we've dabbled

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in him, but now that we've
gotten 6 movies under our belt,

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coming back to this was a bit of
a revelation.

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A We've talked about his
obsession with suicide and when

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we were in back in season seven,
right?

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And, fascinatingly enough, Tony
Curtis making jokes about

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killing himself in this movie.
You got to have at least one.

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It's an obligatory thing with
Billy Wilder.

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It's.
It's an obligatory Wilder trip,

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I suppose.
Yeah, coming back to this after

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watching, you know, six of his
films now, this feels like the

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height of his comedic writing.
I think that The Apartment does

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strike the perfect balance
between drama and comedy that

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not a lot of movies are able to
do.

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But this one doesn't attempt to
be a drama in any way at all.

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Like, I guess it it tries to be
a ROM com a little bit, but even

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there I'm like, yeah, sure, you
know, there's there's sugar and

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and Joe kind of falling in love.
But this is this is one of the

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best comedies ever written, Bob.
All right, so like I said, if

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you have not seen some Like It
Hot, you got to go watch this

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movie.
But we say that especially

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because we're going to move into
our first segment of the day,

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which we call Brad explains.
Brad's going to give us the

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movie plots with only 60 seconds
sticking on the clock, so let's

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go ahead and do your take with
this little segment that we

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call, Brad explains.
Brad Explains is the part of the

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podcast where Brad breaks down
the plot of the movie that he

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has just seen, often for the
first time.

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This is obviously not Brad's
first time seeing Some Like It

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Hot Brad, how do you watch this
movie in the interim between the

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first time we watched it and
now?

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I don't believe I had.
I haven't either, and it's

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hilarious because I I didn't
watch it because I had been kind

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of let down by it in Season 1
and I was like, man, that

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movie's not as good as I
remembered it being.

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And I'm so glad I waited until
now to watch it again because I

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was an idiot.
This movie's.

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Incredible yeah, dude, I, I
well, and we'll keep talking

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about how incredible it is.
Let let's do some, Brad

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explains.
All right, Brad, you have. 60

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seconds on the clock to break
down the plot of this movie.

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Once again, this is a spoiler
filled discussion of Some Like

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It Hot, so if you don't want it
spoiled for you, go watch the

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movie and come back to listen to
Brad break it all down now Brad,

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one minute and go.
Joe and Jerry are out of luck

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musicians who are completely out
of a job, out of clothes, out of

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an apartment and in looking for
a job.

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The only thing they're able to
get is to cross dress as women

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and join a women's band going
down to Florida.

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The reason they go on this is
because they witnessed the Saint

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Valentine's Day massacre by
spats A stand in for Al Capone

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who's out looking to kill them
because he doesn't want to leave

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any witnesses.
They make their way down to

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Florida, fall in love with
Marilyn Monroe and find the

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trouble hot on their tails.
As it comes down to Florida, the

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the mobsters come down to
Florida for a mobsters

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gathering.
Hi Jinx ensue.

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I I don't even know if that was
the end or not.

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I was like and.
That that's about it, man.

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Hi, Jinx, do ensue.
All right, man, where would you

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like to start today?
Do you want to start with the

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Billy Wilder of it all or do you
want to start with the

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performances?
I want to start with the Billy

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Wilder of it all, but before
that I want to hear just one of

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your favorite lines from the
film.

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One of my favorite lines from
the film.

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And and if you if you need a
second to think of 1 I I can go

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first.
Oh, please go ahead.

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When Sugar is talking to the oil
Baron Shell Junior, he's talking

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about water polo.
And Sugar says water polo isn't

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that terribly dangerous.
And he goes, I'll say I had two

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ponies drowned under me.
I don't know, man, that whole

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scene is hilarious.
I just love the first time, you

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know, because he, he has that
basket of shells at his feet and

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he has to improvise with it.
And then he's like, after all,

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that's why we named the oil
company.

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The way he just reaches in and
pulls the shell up.

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But when the shell like is a
perfect.

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Shell Oil, Yeah, I think any
line that Jack Lemmon has, and

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like the ones you know, the
obvious one is the last line of

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the film.
But everything from the time

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they first start cross dressing
until the end of the movie, the

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one that I keep thinking of,
this is the recurring bit of you

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tore off one of my chests.
Like, Yep, it's a great little

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bit that they have.
We're going to get into all

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these lines.
I've got a ton of them

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highlighted here, Brad.
Yeah, I was just saying I love

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when they're at Polikoff,
Polikoff's office trying to get

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a job.
And he's like, what do you mean

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00:12:39,600 --> 00:12:41,040
you need to be a hunchback or
something?

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And he's like, it's not your
backs I'm worried about.

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All right, yeah, Let's start
with the Billy Wilder of it all

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then, because like you said,
this is I think Wilder at his

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best with just straight comedy
and once again, really pushing

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the boundaries and really
pushing the envelope of what you

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00:13:00,960 --> 00:13:02,800
could get away with in movies
like this.

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There's a obviously, I mean,
it's a movie about cross

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dressing.
There's just so much sex in this

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movie, that is, that is implied
through the dialogue and.

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Quite, quite salacious.
Quite salacious, but it's

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hilarious and even like one of
the first scenes that Tony

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Curtis and Marilyn Monroe have
together when they're on the

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train and they go into like one
of the bathrooms with the block

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of ice.
And she's talking about like

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what the tenor sax does to her.
And she says, like, all you have

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to do is play 8 bars of Come to
me, my melancholy baby.

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And I come to them.
And then it cuts back to Tony

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00:13:40,000 --> 00:13:41,840
Curtis.
Like, like you do what?

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00:13:41,840 --> 00:13:46,520
No, it's just, I can't believe
they got away with some of it,

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00:13:46,520 --> 00:13:49,720
but it's so good.
The indie went in this movie are

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just like second to none man.
Yeah, they they are over the

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top.
And I mean, it did.

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Did Wilder have like 17 affairs?
Is that like where this movie

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sprung from?
I don't know man.

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'Cause I like, they're for a
movie in the 1950s and I know

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it's, you know, it's 1959, but
for a movie from the 50s, Bob,

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00:14:14,120 --> 00:14:17,520
this thing is raunchy.
Like, really?

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00:14:17,560 --> 00:14:22,800
Raunchy. 2020 standards, you
know, not not so much, but it

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00:14:23,080 --> 00:14:26,040
even watching it now you're
like, oh man, how did they get

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00:14:26,040 --> 00:14:29,120
away with this?
I don't know if I can go any

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00:14:29,120 --> 00:14:31,840
longer, and I know like we're
still in the Billy Wilder

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00:14:31,840 --> 00:14:34,080
discussion, but I don't know if
I can go any longer without

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talking about Jack Lemmon.
So Jack Lemmon gets nominated

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00:14:37,400 --> 00:14:39,760
for an Oscar for this movie and
it's well deserved.

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00:14:40,160 --> 00:14:43,360
And the thing about Lemmons
performance that I think is so

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revelatory is that it's the it's
the performance that calls the

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00:14:47,800 --> 00:14:52,240
most attention to itself.
And so you kind of expect to

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hold that against it.
Like, you know, Brad, you and I

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really like the show How I Met
Your Mother.

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00:14:57,840 --> 00:15:01,760
And I think that like it's, it's
amazing what Neil Patrick Harris

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00:15:01,760 --> 00:15:05,440
is able to do as Barney.
But there's also episodes where

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00:15:05,440 --> 00:15:07,160
it's like, this is too much
Barney.

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00:15:07,280 --> 00:15:11,120
This is like, it's a character
that is a caricature, and I

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00:15:11,120 --> 00:15:14,800
think that Lemon's character is
always running the risk of

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becoming that.
But there were entire scenes

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00:15:17,760 --> 00:15:19,400
last night.
Because I've seen this movie so

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00:15:19,400 --> 00:15:23,320
many Times Now I know what's
coming that I just watched Jack

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00:15:23,320 --> 00:15:27,200
Lemmon in the background of a
scene or like in a scene where

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00:15:27,200 --> 00:15:29,680
it's all three of the leads and
he's the one that's like kind of

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00:15:29,680 --> 00:15:32,680
in the back reacting to
everybody else.

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00:15:33,120 --> 00:15:38,760
That dude is on all the time.
It's like it's not just when

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00:15:38,760 --> 00:15:41,680
he's making goofy faces and
being like the prototype for

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00:15:41,680 --> 00:15:45,920
what Jim Carrey would become.
It's just that he is wholly

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00:15:45,920 --> 00:15:49,160
invested as an actor in
everything that's going on

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00:15:49,160 --> 00:15:52,360
around him.
And I say all that to say, there

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00:15:52,360 --> 00:15:55,680
are so many lines that I'm like,
literally, I have the Billy

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00:15:55,680 --> 00:15:58,720
Wilder script pulled up in front
of me and they're really funny

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00:15:58,720 --> 00:16:02,560
lines on the page, but only in
the mouth of Jack Lemmon do they

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00:16:02,560 --> 00:16:04,560
become classics.
Do you know what I mean?

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00:16:05,320 --> 00:16:09,520
No, 100%, dude, I honestly, I
never thought about the Jack

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00:16:09,520 --> 00:16:14,240
Lemmon leading into Jim Carrey.
Like all I can think about is

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00:16:14,240 --> 00:16:17,600
Jim Carrey and like liar, liar
or Bruce Almighty.

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00:16:17,600 --> 00:16:20,920
Like that's, that's incredible.
He.

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00:16:21,000 --> 00:16:22,880
Yeah.
But see, here's The thing is

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00:16:22,880 --> 00:16:26,240
like, if if you don't get, and I
know you hate Eternal Sunshine,

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00:16:26,240 --> 00:16:30,400
but like if you just tell Jim
Carrey to dress and drag and go

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00:16:30,400 --> 00:16:33,240
wild, then you get the moments
where Jack Lemmon's going over

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00:16:33,240 --> 00:16:35,080
the top.
But the great thing about this

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00:16:35,120 --> 00:16:38,680
Jack Lemmon performance is that
he also can be really subdued at

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00:16:38,680 --> 00:16:40,520
times.
And it's like, that's the

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00:16:40,520 --> 00:16:42,920
brilliance of this performance
is that it spans the entire

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00:16:42,920 --> 00:16:46,400
spectrum.
Yeah, 100% the the same way he

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00:16:46,400 --> 00:16:48,440
does in the apartment, right?
Exactly.

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00:16:48,440 --> 00:16:52,240
I, I think, I think here,
though, what I love about Jack

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00:16:52,240 --> 00:16:58,360
Lemmon is when, you know, the
production quandaries that

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00:16:58,360 --> 00:17:01,760
Wilder was facing working with
Marilyn Monroe.

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00:17:02,840 --> 00:17:06,760
Like that could have been the
37th take and Jack Lemmon is

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00:17:06,760 --> 00:17:09,720
still giving it his all. 100%.
You know what I mean?

303
00:17:09,720 --> 00:17:12,119
And I think that's what
impresses me so much about his

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00:17:12,119 --> 00:17:16,240
performance is that he was so
professional that he's like

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00:17:16,240 --> 00:17:20,200
going balls to the wall on every
single take.

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00:17:20,560 --> 00:17:23,319
That so there's a scene in
particular and we talked about

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00:17:23,319 --> 00:17:25,520
this in our season 1 review of
this movie.

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00:17:25,520 --> 00:17:28,359
We, I think we actually went a
little too heavy on like the

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00:17:28,359 --> 00:17:33,960
Marilyn Monroe troubled history
thing in Season 1, even though I

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00:17:33,960 --> 00:17:35,280
feel like we were very
sympathetic.

311
00:17:35,280 --> 00:17:37,880
But there's so much more to talk
about with this movie.

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00:17:37,880 --> 00:17:41,920
But the very famous scene that
was so complicated for them to

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00:17:41,920 --> 00:17:46,160
shoot was the one after Shell
Oil Junior breaks up with her

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00:17:46,160 --> 00:17:48,480
and she comes in the room and
just says, where's the bourbon?

315
00:17:49,000 --> 00:17:50,560
Where's that bourbon is the
line?

316
00:17:50,920 --> 00:17:53,400
She could not get the line.
Where's that bourbon correct?

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00:17:53,400 --> 00:17:54,840
They had to do like 100 takes of
it.

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00:17:54,920 --> 00:17:57,720
And you're absolutely right,
man.

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00:17:57,720 --> 00:18:02,320
Like the they cut back to Tony
Curtis and Jack Lemmon and

320
00:18:02,320 --> 00:18:06,160
watching him and if you know
what his character is going

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00:18:06,160 --> 00:18:09,560
through in the moment, he's mad
that Tony Curtis has just given

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00:18:09,560 --> 00:18:12,560
his diamond bracelet away to
Marilyn Monroe.

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00:18:12,880 --> 00:18:15,640
And so watching the frustration
on his face and whether the

324
00:18:15,640 --> 00:18:18,520
frustration that he had with the
scene is spilling into that, I

325
00:18:18,520 --> 00:18:21,320
have no idea.
But like, for him to be putting

326
00:18:21,320 --> 00:18:25,000
that much effort into basically
being set dressing in that

327
00:18:25,000 --> 00:18:28,960
scene, it's incredible.
Like I, I can't imagine how

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00:18:28,960 --> 00:18:33,520
physically exhausting the
performance had to be because

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00:18:33,680 --> 00:18:36,240
like we've been saying, he's
just on all the time.

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00:18:37,160 --> 00:18:41,160
Yeah, I, I feel like we need to
do just a series of Jack Lemmon

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00:18:41,160 --> 00:18:42,480
films.
Oh, I'd love that.

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00:18:42,800 --> 00:18:47,040
Like I I would so enjoy just
going through some of his work

333
00:18:47,520 --> 00:18:52,400
because we've only seen the
apartment and some like it hot.

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00:18:52,640 --> 00:18:54,760
I don't know if we've done
another Jack Lemmon movie, no.

335
00:18:55,040 --> 00:18:58,480
Yeah, we need to get on it,
absolutely.

336
00:18:58,960 --> 00:19:00,160
All right, man.
Well, let's talk about the other

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00:19:00,160 --> 00:19:01,840
two leads.
I mean, we've, we've dabbled in

338
00:19:01,840 --> 00:19:04,880
Billy Wilder a little bit.
Let's talk Tony Curtis.

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00:19:04,880 --> 00:19:07,440
I mean, what are your
impressions of him?

340
00:19:07,440 --> 00:19:10,880
Because if we've only ever done
2 Jack Lemmon movies, I hate to

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00:19:10,880 --> 00:19:13,320
say it, but we've only done this
one for Tony Curtis.

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00:19:13,800 --> 00:19:17,000
So having seen this same
performance 2 Times Now, what do

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00:19:17,000 --> 00:19:19,760
you make of it?
Yeah, I think that Tony Curtis

344
00:19:19,840 --> 00:19:23,280
is exactly what this movie
needs.

345
00:19:23,320 --> 00:19:27,800
Opposite Jack Lemmon.
Like he, like he plays that

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00:19:27,880 --> 00:19:33,760
perfect, powerful woman that we,
even though he's not a woman

347
00:19:34,200 --> 00:19:39,680
that like you need next to the
silliness of Daphne, you know,

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00:19:39,680 --> 00:19:42,240
played by Jack Lemmon.
And so I, I think that Tony

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00:19:42,240 --> 00:19:46,560
Curtis brings a lot to the role
and I think that he brings a, a

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00:19:46,560 --> 00:19:51,640
level of professionalism
alongside Jack Lemmon that I,

351
00:19:52,600 --> 00:19:58,080
he, I, I think he does a really
great job of corralling things

352
00:19:58,080 --> 00:20:01,200
and moving them along well.
I think one of the things that

353
00:20:01,200 --> 00:20:04,880
really struck me watching this
movie this time through is the

354
00:20:04,880 --> 00:20:08,280
physicality of both of these two
male leads.

355
00:20:08,760 --> 00:20:11,800
Because Jack Lemmon is very much
doing it almost kind of reminds

356
00:20:11,800 --> 00:20:15,040
me of Singing in the Rain.
And you've got Gene Kelly doing

357
00:20:15,040 --> 00:20:17,280
his thing, and then you've got
Donald O'Connor who's doing like

358
00:20:17,280 --> 00:20:19,520
the the pratfalls and make him
laugh.

359
00:20:19,520 --> 00:20:22,760
And they're both these very
fluid dancers.

360
00:20:22,960 --> 00:20:26,920
And I feel like Jack Lemmon and
Tony Curtis are pretty much like

361
00:20:26,920 --> 00:20:30,360
spot on replicas of that because
Jack Lemmon is doing a lot of

362
00:20:30,360 --> 00:20:34,920
the hilarious, you know,
vaudevillian kind of physicality

363
00:20:34,920 --> 00:20:36,680
with the tangos and everything
else.

364
00:20:36,960 --> 00:20:39,880
But then you watch Tony Curtis
and he's like scaling a building

365
00:20:39,880 --> 00:20:42,720
and sliding down banisters.
And it's almost not.

366
00:20:42,720 --> 00:20:45,240
You don't even really think
about how athletic the guy is,

367
00:20:45,240 --> 00:20:49,320
but he uses it so fluidly to his
advantage in this movie.

368
00:20:49,800 --> 00:20:52,280
And it really helps because he's
the character that's having to

369
00:20:52,280 --> 00:20:54,240
do more quick changes than
anybody else.

370
00:20:54,240 --> 00:20:57,480
Like he's dressed as a woman and
then he has to be dressed as

371
00:20:57,480 --> 00:21:00,040
Shell Oil Junior.
And you get the little gag where

372
00:21:00,040 --> 00:21:04,120
he's still wearing the earrings
and it he's so perfectly flows

373
00:21:04,120 --> 00:21:06,680
in and out of all of the three
different characters he's

374
00:21:06,680 --> 00:21:09,560
playing in this movie, I was
really impressed with his

375
00:21:09,560 --> 00:21:11,960
performance.
And can we talk about for a

376
00:21:11,960 --> 00:21:16,520
second how beautifully Wilder
sets up the geography of the

377
00:21:16,520 --> 00:21:19,840
hotel?
Like the way he uses them

378
00:21:19,840 --> 00:21:23,080
climbing out of the window and
going in front of other, you

379
00:21:23,080 --> 00:21:25,200
know, rooms.
And the gangsters are in the one

380
00:21:25,200 --> 00:21:27,440
room.
And it's like they do it enough

381
00:21:27,440 --> 00:21:31,120
times that you, the viewer, feel
like you could climb the roof

382
00:21:31,120 --> 00:21:35,480
and get up to Daphne and.
And Geraldine.

383
00:21:35,480 --> 00:21:37,240
Geraldine.
No, that's what he's supposed

384
00:21:37,480 --> 00:21:39,160
to.
Josephine, thank you.

385
00:21:39,800 --> 00:21:43,560
And Josephine's room, Wilder
just does such a beautiful job

386
00:21:43,560 --> 00:21:46,240
there, and it's something that
you don't really think about as

387
00:21:46,240 --> 00:21:49,000
you're watching it.
Yeah, I think Wilder at this

388
00:21:49,000 --> 00:21:54,160
point of his career really knows
how to milk the the shot

389
00:21:54,160 --> 00:21:56,840
selection and and the way the
camera moves and the editing of

390
00:21:56,840 --> 00:21:58,840
this movie.
I'm thinking all the way back to

391
00:21:58,840 --> 00:22:01,640
the first scene of the movie,
like the the establishing

392
00:22:01,640 --> 00:22:05,280
moments of the movie are a
hearse driving through Chicago

393
00:22:05,520 --> 00:22:07,840
that begins getting chased by a
cop car.

394
00:22:08,200 --> 00:22:11,080
And then you find out that the
hearse is being driven by some

395
00:22:11,080 --> 00:22:14,360
CD characters because out of
nowhere, they pull some Tommy

396
00:22:14,360 --> 00:22:16,600
guns out and they're, you know,
shooting machine guns at the

397
00:22:16,600 --> 00:22:18,640
cops.
And it's this shootout in the

398
00:22:18,640 --> 00:22:21,840
streets and they cut back to the
hearse and the coffin in the

399
00:22:21,840 --> 00:22:24,520
hearse is just like leaking
liquid.

400
00:22:24,960 --> 00:22:26,520
And you're like, oh, that's
gross.

401
00:22:26,520 --> 00:22:28,560
Because at that point, as an
audience member, you're still

402
00:22:28,560 --> 00:22:30,800
thinking this is an embalmed
body.

403
00:22:31,040 --> 00:22:35,120
And the, the great visual gag is
they lift the lid up off of the,

404
00:22:35,320 --> 00:22:38,880
the coffin, the casket, and it's
smuggling a whole bunch of

405
00:22:38,880 --> 00:22:40,480
booze.
And that's when you get the

406
00:22:40,480 --> 00:22:43,440
title card that says Chicago
1929.

407
00:22:43,440 --> 00:22:45,800
And you understand, like, oh,
it's the end of prohibition.

408
00:22:46,360 --> 00:22:49,040
It is.
It's such a great reveal because

409
00:22:49,040 --> 00:22:52,280
until that point, like I'm sure,
yes, these vehicles looked old

410
00:22:52,480 --> 00:22:55,360
to people in 1959.
But you know, you don't

411
00:22:55,360 --> 00:22:58,200
necessarily know exactly when
the movie set until that big

412
00:22:58,200 --> 00:23:00,640
reveal and he reveals it on a
gag.

413
00:23:00,840 --> 00:23:04,240
Every single thing that he does
in this movie is a fantastic

414
00:23:04,240 --> 00:23:06,320
punchline.
It's all billed and then the

415
00:23:06,320 --> 00:23:08,240
relief, the release of a
punchline.

416
00:23:09,240 --> 00:23:13,200
Yeah, and even the, the opening,
I don't know, 10 minutes of the

417
00:23:13,200 --> 00:23:17,960
movie don't really have much of
Curtis and Lemon, but the the

418
00:23:17,960 --> 00:23:21,160
whole scene of the police chief,
you know, being briefed on how

419
00:23:21,160 --> 00:23:24,200
to get in and ordering, you
know, liquor.

420
00:23:24,200 --> 00:23:26,520
And they're like, we only sell
coffee here.

421
00:23:26,840 --> 00:23:31,560
We got we have 80 proof coffee
and and gin coffee.

422
00:23:31,560 --> 00:23:38,000
It's just every little piece of
this movie is funny and, and,

423
00:23:38,040 --> 00:23:42,920
and not just a little bit funny.
Like I'm laughing every two or

424
00:23:42,920 --> 00:23:45,840
three minutes in this film.
I was shocked at how much I

425
00:23:45,840 --> 00:23:49,040
laughed out loud at this movie
because again, I've seen it so

426
00:23:49,040 --> 00:23:50,920
many times that I know all the
lines now.

427
00:23:51,280 --> 00:23:54,440
And so for this time around, it
was more like the line readings.

428
00:23:54,680 --> 00:23:56,840
And then it was the little
physical moments in between

429
00:23:56,840 --> 00:23:58,400
lines.
It was like, you know when

430
00:23:58,720 --> 00:24:01,640
they're on the train and they're
first practicing as a band?

431
00:24:02,480 --> 00:24:05,480
Yes.
And Sweet Sue, the conductor,

432
00:24:05,480 --> 00:24:08,240
tells the two of them to, like,
pick it up and spice it up a

433
00:24:08,240 --> 00:24:10,120
little bit.
And they cut back.

434
00:24:10,120 --> 00:24:12,880
And Jack Lemmon on that stupid
bull fiddled.

435
00:24:13,200 --> 00:24:17,920
He's just going.
It is the funniest.

436
00:24:17,920 --> 00:24:21,920
It's such a stupid movie, Brad.
Like nothing about this should

437
00:24:21,920 --> 00:24:25,160
work.
It is an absolutely ridiculous

438
00:24:25,160 --> 00:24:29,120
premise that Billy Wilder and
everyone involved knows is

439
00:24:29,120 --> 00:24:31,320
ridiculous.
And that's why it's funny.

440
00:24:32,040 --> 00:24:36,000
Yeah, no, they, I mean to, to
quote one of the best comedies

441
00:24:36,000 --> 00:24:39,480
of all time, they easily just
everybody turns it up to 11,

442
00:24:40,600 --> 00:24:45,400
like every performance, every
bit of cinematography, every bit

443
00:24:45,400 --> 00:24:48,800
of sound design.
I man, we let's, let's treat

444
00:24:48,800 --> 00:24:52,360
this makers 46 Bob and then
we'll come back to just spouting

445
00:24:52,360 --> 00:24:55,560
its praise even more effusively.
All right, let's do it, Brad.

446
00:25:01,480 --> 00:25:03,400
All right, everybody.
So today we are checking out

447
00:25:03,400 --> 00:25:07,000
Maker's Mark 46.
This is a bourbon, Brad, that I

448
00:25:07,000 --> 00:25:11,600
did not realize when we first
drank it back in 2019 that had

449
00:25:11,600 --> 00:25:15,040
only been released in 2010.
So like, you know, obviously it

450
00:25:15,040 --> 00:25:17,120
had been around for almost a
decade by the time we tried it.

451
00:25:17,120 --> 00:25:19,920
But I just, I guess I just
assumed that this brand was

452
00:25:19,920 --> 00:25:22,720
much, much older than that, you
know, or this label in

453
00:25:22,720 --> 00:25:25,280
particular.
So this is Maker's Mark bourbon,

454
00:25:25,280 --> 00:25:29,120
which is one of the, you know,
if not the world's best selling

455
00:25:29,120 --> 00:25:31,800
weeded bourbon.
And when we talk about weeded

456
00:25:31,800 --> 00:25:34,680
bourbon, what that means is that
after corn, which is the

457
00:25:34,680 --> 00:25:38,480
dominant grain in bourbon, the
next most used grain is wheat.

458
00:25:38,880 --> 00:25:41,360
And typically this gives it a
softer nose.

459
00:25:41,360 --> 00:25:45,040
It's not as spicy or aggressive
as rye tends to be.

460
00:25:45,400 --> 00:25:49,200
Brad and I will always get notes
like cherry on weeded bourbons.

461
00:25:49,280 --> 00:25:52,400
And honestly, Brad, I think if
I'm being frank, you know, even

462
00:25:52,400 --> 00:25:55,200
after drinking as many whiskeys
as we have, I think weeded

463
00:25:55,200 --> 00:25:57,680
bourbon is probably still my
favorite kind of bourbon.

464
00:25:57,880 --> 00:26:01,280
Yeah, weeded bourbon
consistently has just such a

465
00:26:01,280 --> 00:26:05,840
nice flavor profile.
And I'll be honest with you, Man

466
00:26:05,840 --> 00:26:08,560
Makers 46 is falling right in
line with that.

467
00:26:09,440 --> 00:26:11,680
Yeah, I mean, before we dive
into the nose and everything

468
00:26:11,680 --> 00:26:14,920
else, I'm reading directly off
of the website of Breaking

469
00:26:14,920 --> 00:26:16,440
Bourbon.
We've plugged them before.

470
00:26:16,720 --> 00:26:19,360
But the thing I like to do with
some of these bourbon websites,

471
00:26:19,360 --> 00:26:22,160
Brad, is like, we're not
competing with Breaking Bourbon.

472
00:26:22,160 --> 00:26:23,880
They do a completely different
thing than we do.

473
00:26:24,240 --> 00:26:26,600
And it's super helpful because
we get a lot of our information

474
00:26:26,600 --> 00:26:30,160
about the process of how these
things are made from Breaking

475
00:26:30,160 --> 00:26:32,240
Bourbon.
And so in their review of Makers

476
00:26:32,240 --> 00:26:34,720
46, they break the process down
like this.

477
00:26:35,400 --> 00:26:38,960
Maker's 46 starts off as
standard Maker's Mark, which

478
00:26:38,960 --> 00:26:41,480
they say is a weeded bourbon
made in batches of less than

479
00:26:41,480 --> 00:26:45,560
1000 gallons.
And then 10 heavily seared

480
00:26:45,600 --> 00:26:50,080
French oak staves are placed
into the just emptied Maker's

481
00:26:50,080 --> 00:26:53,120
Mark barrels, which are then
refilled and returned to the

482
00:26:53,120 --> 00:26:56,600
warehouses to finish aging for
an undisclosed amount of time,

483
00:26:56,680 --> 00:26:59,040
estimated to be two to three
additional months.

484
00:26:59,880 --> 00:27:02,760
So they stick a bunch more wood
in there and it's super heavily

485
00:27:02,760 --> 00:27:04,440
charred to give it some more
flavor.

486
00:27:04,760 --> 00:27:07,480
And Brad, I got to be honest,
man, I think it just in terms of

487
00:27:07,480 --> 00:27:10,200
looking at the color of it, it
seems to be working.

488
00:27:11,000 --> 00:27:15,440
Are you trying to channel your
inner Billy Wilder and and use

489
00:27:15,440 --> 00:27:17,480
the most sexual innuendo you can
They.

490
00:27:17,480 --> 00:27:19,160
Stick a bunch more wood in
there.

491
00:27:19,480 --> 00:27:25,280
Just stick it right in.
The color.

492
00:27:25,280 --> 00:27:26,480
I'm talking about the color,
Brad.

493
00:27:26,480 --> 00:27:28,360
Come on.
Oh, I'm, I'm so sorry.

494
00:27:28,360 --> 00:27:31,640
So sorry.
Yeah, the color is gorgeous.

495
00:27:31,760 --> 00:27:37,560
Like it's, it's just this really
like nice ambery walnut looking.

496
00:27:38,240 --> 00:27:40,520
It's beautiful, Bob.
Big fan of this whiskey.

497
00:27:40,800 --> 00:27:42,920
I like that you just use like 8
different shades.

498
00:27:43,800 --> 00:27:45,240
Yeah, you know, it's it's.
Oak.

499
00:27:45,240 --> 00:27:47,960
And it's mahogany and it's
walnut and it's Maple and you

500
00:27:47,960 --> 00:27:49,360
know.
All that it's Cherry.

501
00:27:51,880 --> 00:27:54,440
All right, Brad, I am trying
this live on air.

502
00:27:54,520 --> 00:27:58,440
I will be frank with you when I
say I have not tried Makers 46

503
00:27:58,440 --> 00:28:01,280
since our first recording of
Some Like It Hot.

504
00:28:01,760 --> 00:28:04,240
Like 17 years ago.
A million years ago.

505
00:28:04,440 --> 00:28:06,640
I know you've tried it again
already, so I'm going to let you

506
00:28:06,640 --> 00:28:08,520
give your nosing notes first
while I take mine.

507
00:28:09,440 --> 00:28:14,600
Yeah, Bob, this is genuinely an
incredible nose for me.

508
00:28:14,600 --> 00:28:19,160
I got like the first note I took
and it it morphed after a little

509
00:28:19,160 --> 00:28:21,040
bit.
But the first thing I said was

510
00:28:21,360 --> 00:28:25,840
grape drink like that.
Like this is not grape juice.

511
00:28:26,120 --> 00:28:30,360
It is grape drink.
From there, I got some amaretto.

512
00:28:30,600 --> 00:28:32,600
There's vanilla coming through
it.

513
00:28:32,600 --> 00:28:35,760
It almost turned into like like
one of those fudge bars you eat

514
00:28:35,760 --> 00:28:39,200
as a kid.
And then after I let it sit in

515
00:28:39,200 --> 00:28:42,960
the glass for a while, some
brown sugar notes really started

516
00:28:42,960 --> 00:28:46,800
coming through with a a decent
amount of like a nutmeg spice.

517
00:28:47,760 --> 00:28:52,160
I think this is an incredible,
really nice, sweet and yet a

518
00:28:52,160 --> 00:28:55,480
little bit complex nose that I
gave a nine out of 10 to.

519
00:28:55,880 --> 00:28:57,480
Wow.
All right.

520
00:28:57,480 --> 00:29:01,120
So I will say this, I'm slightly
lower than you on the nose and

521
00:29:01,120 --> 00:29:03,280
it's because I poured this out
right when we started this

522
00:29:03,280 --> 00:29:04,960
segment that we're recording
right now.

523
00:29:05,040 --> 00:29:06,840
And so it's been between 5 and
10 minutes.

524
00:29:07,160 --> 00:29:10,000
It is just now starting to
settle down in the glass.

525
00:29:10,000 --> 00:29:13,280
And what I noticed as I look at
breaking bourbons, you know,

526
00:29:13,720 --> 00:29:20,240
data about this is that the mash
bill is 70% corn, 16% wheat, 14%

527
00:29:20,240 --> 00:29:23,000
barley.
And so the barley is almost, as,

528
00:29:23,080 --> 00:29:25,640
you know, equivalent to the
wheat in this.

529
00:29:26,160 --> 00:29:28,560
And at first I was like, this
smells a little bit more

530
00:29:28,560 --> 00:29:30,000
aggressive than I thought it
would be.

531
00:29:30,000 --> 00:29:32,280
And it had a a very distinct
scent to it.

532
00:29:32,280 --> 00:29:35,720
And I think the barley made
itself known right off the bat,

533
00:29:36,720 --> 00:29:40,640
but as it settles down, it is
settling into that nice weeded

534
00:29:40,640 --> 00:29:42,560
bourbon.
This one almost has like a

535
00:29:42,560 --> 00:29:45,240
chocolatey kind of smell to me,
which is not something I'm

536
00:29:45,240 --> 00:29:47,200
typically used to getting on
weeded bourbon.

537
00:29:47,560 --> 00:29:52,120
But then it settles down into
like this beautiful Coca-Cola

538
00:29:52,120 --> 00:29:56,560
effervescence with a ton of
caramel and cherry underneath

539
00:29:56,560 --> 00:29:58,160
it.
It's it's almost like a sundae,

540
00:29:58,160 --> 00:30:00,400
Brad.
I just imagine like a caramel

541
00:30:00,400 --> 00:30:05,240
sundae with a big fake ass red
maraschino cherry on top of it.

542
00:30:05,360 --> 00:30:09,640
It it's just beautiful.
As the I don't remember if it's

543
00:30:09,640 --> 00:30:11,960
Marilyn or just one of the other
girls in the band.

544
00:30:12,240 --> 00:30:14,760
They wake up Tony Curtis ago.
Maraschino.

545
00:30:14,760 --> 00:30:16,920
You got a Maraschino cherry on
you.

546
00:30:18,800 --> 00:30:21,080
So yeah, I'm going to give it an
8 out of 10 on the nose.

547
00:30:21,080 --> 00:30:22,480
I'm excited to see where this
goes.

548
00:30:23,080 --> 00:30:28,000
Yeah, on the palate, I got a a
nice bit of cherry cola that

549
00:30:28,000 --> 00:30:30,040
came through like you said,
you're talking about those cola

550
00:30:30,040 --> 00:30:34,680
notes on the nose, a ton of
caramel on the palate.

551
00:30:35,000 --> 00:30:38,520
And then the longer I drank it,
the more I got like a really

552
00:30:38,560 --> 00:30:44,560
flaky buttered croissant and I
absolutely loved it.

553
00:30:44,560 --> 00:30:47,600
I ended up giving it an 8 1/2
out of 10 on the palate.

554
00:30:47,600 --> 00:30:49,360
I'm.
Going to tell you right up

555
00:30:49,360 --> 00:30:51,320
front, I'm going to give it an 8
out of 10 on the palate.

556
00:30:52,200 --> 00:30:56,360
And I think Brad, that if I can
knock this on anything, I don't

557
00:30:56,360 --> 00:30:58,600
think they should use this much
barley in the mash bill.

558
00:30:59,320 --> 00:31:05,320
Like I am getting some really
heavily ashy notes on this that

559
00:31:05,320 --> 00:31:10,440
I get from especially from
American made malt whiskey.

560
00:31:10,880 --> 00:31:14,480
Like, you know, we've, we've had
some Kraft whiskeys that are

561
00:31:14,480 --> 00:31:16,560
like American single malt that
they have that almost like

562
00:31:16,560 --> 00:31:20,560
cigarette ash thing going on.
And I can't tell if it's the the

563
00:31:20,560 --> 00:31:23,360
influence of these French oak
staves or if it's the barley in

564
00:31:23,360 --> 00:31:26,480
the mash bill.
But I really do think at 14%,

565
00:31:27,400 --> 00:31:29,480
this has a little bit more
barley in it that I would like

566
00:31:29,480 --> 00:31:32,840
to see.
And it almost competes with the

567
00:31:32,840 --> 00:31:37,400
fantastic corn and wheat notes.
You know, we tried Maker's cask

568
00:31:37,400 --> 00:31:40,920
strength a couple seasons back,
Brad, and that was like one of

569
00:31:40,920 --> 00:31:42,760
my highest rated whiskey's I've
ever had.

570
00:31:42,760 --> 00:31:45,840
It is like for me, it's like the
platonic ideal of this.

571
00:31:45,840 --> 00:31:48,520
And I think that it, you know,
I'm assuming it has the same

572
00:31:48,520 --> 00:31:52,320
mash bill as this, but it
doesn't have that extra aged,

573
00:31:52,440 --> 00:31:55,240
you know, oak staves in it.
So I think the cavo of those

574
00:31:55,240 --> 00:31:58,560
staves with the barley is
tipping this just a little bit

575
00:31:58,560 --> 00:32:02,160
more bitter and ashy than I
would like, but I'm still going

576
00:32:02,160 --> 00:32:06,320
to give it an 8 out of 10.
Bob, you just spent 80% of the

577
00:32:06,320 --> 00:32:12,160
time talking about why you took
two points off versus the 20% of

578
00:32:12,160 --> 00:32:14,320
the time of why you gave it
eight points.

579
00:32:14,560 --> 00:32:18,560
Yep.
Welcome to the Film and Whiskey

580
00:32:18,560 --> 00:32:20,240
podcast.
Brad, where have you been for

581
00:32:20,240 --> 00:32:24,200
ten seasons?
I don't know man, the finish

582
00:32:24,200 --> 00:32:28,560
here has a lot of charred oak,
which is unsurprising for the

583
00:32:28,560 --> 00:32:31,440
amount of wood that they just
shoved into this barrel.

584
00:32:32,240 --> 00:32:34,240
I was going to say, you don't
say.

585
00:32:37,280 --> 00:32:40,600
But it's also got some nice
butter toffee, some nice cherry

586
00:32:40,600 --> 00:32:44,040
cola that sticks around.
And then for me, I honestly, the

587
00:32:44,040 --> 00:32:47,520
the note that lingered longest
was just a really nice simple

588
00:32:47,520 --> 00:32:50,240
vanilla.
So I give it an 8 out of 10 on

589
00:32:50,240 --> 00:32:52,560
the finish.
You know, I kind of came down

590
00:32:52,560 --> 00:32:55,800
from the nose to the taste of
the finish, but coming down from

591
00:32:55,800 --> 00:32:59,440
a nine to an 8.
This is a daggone good whiskey,

592
00:32:59,440 --> 00:33:00,960
Bob.
Yeah, I'm really struggling,

593
00:33:00,960 --> 00:33:02,920
Brad, because I don't think this
is a bad finish.

594
00:33:02,920 --> 00:33:06,760
I just don't think that it's
like for me, and I want to give

595
00:33:06,760 --> 00:33:09,000
it a 6 1/2.
I think it's better than a 6

596
00:33:09,000 --> 00:33:11,120
1/2.
But all of those things I said

597
00:33:11,120 --> 00:33:14,160
about the taste carry through to
the finish that the the

598
00:33:14,160 --> 00:33:18,760
influence of the barley and of
that heavily charred oak is

599
00:33:18,760 --> 00:33:21,920
really taking this in a almost
bitter place for me on the

600
00:33:21,920 --> 00:33:23,840
finish.
I'm going to give it a 7 out of

601
00:33:23,840 --> 00:33:28,600
10, but I think you have to have
a very specific kind of flavor

602
00:33:28,600 --> 00:33:32,120
wheelhouse that you like to
operate in to dig this finish.

603
00:33:32,960 --> 00:33:34,840
Oh yeah, like like a good
palette.

604
00:33:35,760 --> 00:33:37,280
That's what it is.
Yeah, yeah, yeah.

605
00:33:37,400 --> 00:33:39,240
OK, Good, Good, good, good,
good.

606
00:33:39,920 --> 00:33:43,240
The balance here is incredible.
I I think that there's really

607
00:33:43,240 --> 00:33:45,280
nice flavors throughout the
experience.

608
00:33:45,560 --> 00:33:47,960
There's just enough spiciness to
give it a little bit of

609
00:33:47,960 --> 00:33:50,640
complexity.
I gave it a nine out of 10 on

610
00:33:50,640 --> 00:33:52,280
balance, Bob.
Wow.

611
00:33:52,320 --> 00:33:53,800
Yeah, I am definitely not that
high.

612
00:33:54,760 --> 00:33:56,920
I don't like this nearly as much
as you do, Brad.

613
00:33:56,920 --> 00:33:59,640
And if our scores so far don't
indicate it, I think this one

614
00:33:59,640 --> 00:34:01,560
will.
This is a pretty well balanced

615
00:34:01,560 --> 00:34:03,560
whiskey.
I just think that I like the

616
00:34:03,560 --> 00:34:06,600
regular Makers a little bit
better than this and especially

617
00:34:06,600 --> 00:34:09,920
the cask strength version.
I'll give this a 7 out of 10 on

618
00:34:09,920 --> 00:34:11,760
balance.
Yeah.

619
00:34:11,760 --> 00:34:15,159
And at the time of recording,
this is costing you in this, the

620
00:34:15,159 --> 00:34:21,560
beautiful state of Ohio, $37.
37, OK, that's an interesting

621
00:34:21,560 --> 00:34:27,000
Bryce point because you know at
like 35 and it's at 94 proof.

622
00:34:27,000 --> 00:34:29,560
And when I hear 94 proof, I
always think Elijah Craig,

623
00:34:29,560 --> 00:34:32,920
that's like that's the one I
know that's 94 proof and that's

624
00:34:32,920 --> 00:34:37,320
always been about $35 a bottle.
So I think it makes sense for it

625
00:34:37,320 --> 00:34:41,239
to be 37 because it has an extra
aging to go along with it.

626
00:34:41,440 --> 00:34:44,199
All that extra wood in there.
All that wood and those three

627
00:34:44,199 --> 00:34:49,360
extra months, man.
I don't think 37 is a bad value

628
00:34:50,080 --> 00:34:54,719
but I also don't love this
whiskey so like I'll give it a

629
00:34:55,159 --> 00:34:59,760
6.5 on value.
I think it's an 8 1/2, Bob.

630
00:35:00,720 --> 00:35:05,520
Like I think that this is a
really solid weeded whiskey that

631
00:35:05,520 --> 00:35:09,880
has a little bit of something
extra added in with the the

632
00:35:09,880 --> 00:35:13,200
French oak staves.
To me, you know, if you're

633
00:35:13,200 --> 00:35:16,760
getting this for under $40, I
think that that's kind of a

634
00:35:16,760 --> 00:35:19,680
steal.
So yeah, this is easily an 8 1/2

635
00:35:19,680 --> 00:35:21,600
for me.
What's that bringing her final

636
00:35:21,600 --> 00:35:26,000
score out to Brad?
Bob, I am at a 43 out of 50.

637
00:35:26,000 --> 00:35:28,640
Oh.
My gosh, a 43.

638
00:35:29,200 --> 00:35:30,720
I'm a big fan here.
Wow.

639
00:35:30,720 --> 00:35:32,440
Clearly.
And you're the you're the one

640
00:35:32,440 --> 00:35:35,520
who likes We did whiskeys.
Here's The funny thing, Like I

641
00:35:35,520 --> 00:35:38,040
don't feel like I like this
whiskey that much and I'm still

642
00:35:38,040 --> 00:35:41,920
coming out to a 36 1/2, which
says quite a bit, you know, like

643
00:35:42,920 --> 00:35:46,240
if you take the worst possible
conclusion on this and it's

644
00:35:46,240 --> 00:35:49,560
still in the range that we would
be recommending it, I think that

645
00:35:49,560 --> 00:35:51,040
says that this is a darn good
whiskey.

646
00:35:51,360 --> 00:35:54,800
It does not appeal to my palate
that much at all.

647
00:35:55,160 --> 00:35:57,320
And I'm still coming out to a 36
1/2.

648
00:35:57,520 --> 00:36:04,120
That's bringing us to a 79.5 out
of 100 or a 39.75 out of 50.

649
00:36:04,480 --> 00:36:07,360
It's very, very close to
breaking that 40 mark, which is

650
00:36:07,360 --> 00:36:09,800
rarefied air on the Film and
Whiskey podcast.

651
00:36:10,760 --> 00:36:12,680
Yeah.
Oh, actually I gave it a nine

652
00:36:12,680 --> 00:36:16,000
out of 10 on value, so that puts
me at a 43.5 I'm.

653
00:36:16,160 --> 00:36:18,520
Pretty sure we're at a 40 out.
We're at a 40.

654
00:36:19,000 --> 00:36:22,200
We were just talking about this
before we pressed record, but

655
00:36:22,200 --> 00:36:25,800
can you share the score that we
initially gave this way back in

656
00:36:25,800 --> 00:36:28,600
Season 1?
Bro we didn't.

657
00:36:28,880 --> 00:36:30,760
We were so harsh with the
whiskey.

658
00:36:31,400 --> 00:36:34,920
I gave it and and remember that
back in season 1 we didn't have

659
00:36:34,920 --> 00:36:38,080
the value category so we are
scoring them out of 40.

660
00:36:38,880 --> 00:36:44,920
I gave it a 17 out of 40 and you
gave it a 22 out of 40.

661
00:36:45,080 --> 00:36:47,640
Yeah, I feel like if we just
didn't love something, we were

662
00:36:47,640 --> 00:36:50,960
like, ah, yeah, this is a 5 or
below on each category.

663
00:36:51,840 --> 00:36:55,160
Yeah, which I'm looking forward
to our re review of Basil

664
00:36:55,160 --> 00:36:57,800
Hayden's one of these days
because I don't know where

665
00:36:57,800 --> 00:37:00,840
that's going to land, but.
It'll just be fun to trash that

666
00:37:00,840 --> 00:37:03,920
as well.
We trashed it then, we'll trash

667
00:37:03,920 --> 00:37:07,920
it now.
So fair to say Makers 46 has

668
00:37:07,920 --> 00:37:11,360
been redeemed in the eyes of the
Film and Whiskey podcast.

669
00:37:12,000 --> 00:37:14,080
Yeah, 100%.
All right, man, let's get back

670
00:37:14,080 --> 00:37:15,320
into talking about some Like It
Hot.

671
00:37:15,320 --> 00:37:17,520
What do you say?
Yeah, let's get to it.

672
00:37:21,560 --> 00:37:23,920
All right, everybody.
That was Makers 46.

673
00:37:23,920 --> 00:37:27,080
A whiskey that will easily go
down in the annals of film and

674
00:37:27,080 --> 00:37:28,800
whiskey.
Podcast is one of the best

675
00:37:28,800 --> 00:37:31,840
whiskey's ever made.
Yeah, Brad, it's certainly going

676
00:37:31,840 --> 00:37:34,600
down in your annals as one of
the best ever made.

677
00:37:34,600 --> 00:37:37,200
But honestly, a really good
whiskey.

678
00:37:37,280 --> 00:37:42,320
Like not many notes on that one.
Yeah, no, great whiskey and one

679
00:37:42,320 --> 00:37:46,200
that I'm once again, I am so
happy that we're revisiting

680
00:37:46,200 --> 00:37:47,560
Season 1, Bob.
Oh my gosh.

681
00:37:47,560 --> 00:37:50,960
For so many reasons.
Yeah, one of the reasons being

682
00:37:50,960 --> 00:37:53,440
which we never did. 2 facts and
a falsehood back then.

683
00:37:53,440 --> 00:37:56,040
We did not have two facts and a
falsehood.

684
00:37:56,040 --> 00:37:58,120
And so, Brad, you know what time
it is now.

685
00:37:59,960 --> 00:38:01,520
Time for canvas favorite
segment, Brad.

686
00:38:02,440 --> 00:38:08,080
Is going to try to stump you
Ball you are right and what is

687
00:38:08,200 --> 00:38:11,280
wrong?
2 facts and a falsehood.

688
00:38:11,960 --> 00:38:14,840
That's right, 2 facts and a
falsehood.

689
00:38:14,840 --> 00:38:18,880
This is the part of the podcast
where Brad presents three items

690
00:38:18,880 --> 00:38:23,200
to me as fact about the making
of this movie, one of which is a

691
00:38:23,200 --> 00:38:26,960
complete fabrication and lie.
And I have to decide which one

692
00:38:26,960 --> 00:38:30,640
is the falsehood.
Brad, it's been a long time

693
00:38:30,640 --> 00:38:33,400
since we've looked at any
research about sub like it hot.

694
00:38:33,520 --> 00:38:38,200
It's been 99 seasons, so you're
catching me in the midst of a

695
00:38:38,200 --> 00:38:41,120
cold streak here.
So go ahead and hit me with your

696
00:38:41,120 --> 00:38:45,480
two facts and a falsehood.
Fact #1 Jack Lemmon nearly broke

697
00:38:45,480 --> 00:38:49,280
his wrist during a take on the
train when he falls out of the

698
00:38:49,280 --> 00:38:52,640
bunk, but was told by Wilder
that Monroe had taken up enough

699
00:38:52,640 --> 00:38:56,000
of their time that he couldn't
afford to miss any time for

700
00:38:56,000 --> 00:39:00,000
Lemon.
Fact number Two years after the

701
00:39:00,000 --> 00:39:03,600
film's release, a movie reviewer
was talking to Tony Curtis about

702
00:39:03,600 --> 00:39:06,880
Josephine and that's why he was
so much more feminine than Jack

703
00:39:06,880 --> 00:39:09,480
Lemmon's Daphne.
Curtis explained that he was so

704
00:39:09,480 --> 00:39:13,760
scared to be playing a woman or
a man pretending to be one that

705
00:39:13,760 --> 00:39:17,080
is tightly wound body language
could be read as demure and shy,

706
00:39:17,080 --> 00:39:19,920
traditionally feminine traits.
Whereas Lemon, who was

707
00:39:19,920 --> 00:39:23,280
completely unbothered and quote,
ran out of his dressing room

708
00:39:23,280 --> 00:39:26,720
screaming like the Queen of May,
kept much more of his masculine

709
00:39:26,720 --> 00:39:32,360
body language.
Facts #3 A male cabaret dancer

710
00:39:32,360 --> 00:39:35,600
named Barbette tried to teach
Tony Curtis and Jack Lemmon to

711
00:39:35,600 --> 00:39:37,960
walk in heels.
After about a week, Lemmon

712
00:39:37,960 --> 00:39:40,640
declined his help, saying he
didn't want to walk like a

713
00:39:40,640 --> 00:39:43,760
woman, but like a man trying to
walk like a woman.

714
00:39:45,040 --> 00:39:52,280
I feel like I remember fact #3
from our first episode on this,

715
00:39:52,280 --> 00:39:54,320
Brad.
I like I, I feel like I remember

716
00:39:54,320 --> 00:39:59,960
that.
The other two, I have no idea #2

717
00:39:59,960 --> 00:40:03,120
sounds plausible and so does #1
I mean, Marilyn Monroe did eat

718
00:40:03,120 --> 00:40:04,720
up everyone's time on this
movie.

719
00:40:05,320 --> 00:40:12,280
I'm going to say that number one
is the falsehood.

720
00:40:13,480 --> 00:40:18,280
Bob, you are 100% correct.
Hey, number one was the

721
00:40:18,320 --> 00:40:19,920
falsehood.
Man, that was that was really a

722
00:40:19,920 --> 00:40:23,600
toss up I like.
I almost went with too, but but

723
00:40:23,600 --> 00:40:25,680
I really love that story about
Tony Curtis.

724
00:40:25,680 --> 00:40:28,160
That's that's pretty great
because I think part of the

725
00:40:28,160 --> 00:40:31,640
reason this movie works is that
they're not playing the same

726
00:40:31,640 --> 00:40:34,720
type of character.
Like, yes, even when they're in

727
00:40:34,720 --> 00:40:37,560
drag, one of them has to be a
little more composed.

728
00:40:37,800 --> 00:40:40,880
One of them, like Jack Lemmon is
clearly trying to sleep with

729
00:40:40,880 --> 00:40:43,800
Marilyn Monroe as a woman.
Like he doesn't even care at

730
00:40:43,800 --> 00:40:45,800
that point.
And I think that's the great

731
00:40:45,800 --> 00:40:49,640
thing about it is that he, like
his horniness, just overrides

732
00:40:49,640 --> 00:40:51,560
the fact that he's now supposed
to be a woman.

733
00:40:52,040 --> 00:40:54,720
And and Tony Curtis is the one
that's constantly having to rein

734
00:40:54,720 --> 00:40:57,840
him back in.
And it's only when Tony Curtis

735
00:40:57,840 --> 00:41:02,200
starts dressing like a different
kind of man that Jack Lemmon

736
00:41:02,200 --> 00:41:04,120
then has to try to rein him back
in.

737
00:41:04,560 --> 00:41:08,200
It's a great I just the dynamic
between those two guys is pitch

738
00:41:08,200 --> 00:41:09,920
perfect.
And that's the only reason this

739
00:41:09,920 --> 00:41:12,320
movie works.
Well, in the back and forth that

740
00:41:12,320 --> 00:41:16,080
they have, like from the very
start, they set up Jack Lemmon

741
00:41:16,080 --> 00:41:17,760
to be the responsible one,
right?

742
00:41:17,760 --> 00:41:21,920
Like he wants to fix his messed
up tooth and Tony Curtis wants

743
00:41:21,920 --> 00:41:26,080
to go spend it on the ponies.
And then they, they just slowly,

744
00:41:26,080 --> 00:41:29,320
like, vacillate back and forth
between who's the responsible

745
00:41:29,320 --> 00:41:31,720
one and who's being the
ridiculous one.

746
00:41:32,240 --> 00:41:35,720
And it, it just works.
Like, I don't know if there's

747
00:41:35,720 --> 00:41:39,600
any characters that could be
tossed to and fro this way and

748
00:41:39,600 --> 00:41:41,840
still be legible by the end of
the movie.

749
00:41:42,400 --> 00:41:45,560
And yet somehow these two actors
make it work.

750
00:41:46,080 --> 00:41:48,640
We have not really talked about
Marilyn Monroe's at this point.

751
00:41:49,080 --> 00:41:50,840
I think she's fantastic in this
movie.

752
00:41:51,360 --> 00:41:54,760
She's she's given kind of a
nothing character but the really

753
00:41:54,760 --> 00:41:57,080
great thing.
And I don't know if if she would

754
00:41:57,080 --> 00:41:58,520
have realized it.
I don't even know if Billy

755
00:41:58,520 --> 00:42:02,080
Wilder would have known it in
the moment, but he wrote her

756
00:42:02,080 --> 00:42:05,960
such a great tragic character.
And his tragic characters are

757
00:42:05,960 --> 00:42:09,040
his best characters.
Like you can see the direct

758
00:42:09,040 --> 00:42:14,760
through line from Sabrina to
this character to Fran Kubelik

759
00:42:14,760 --> 00:42:16,480
in the apartment the year after
this.

760
00:42:17,120 --> 00:42:19,640
And, and again, we kind of
touched on this with one of our

761
00:42:19,640 --> 00:42:22,840
other Wilder reviews.
I don't know if it was Stalik

762
00:42:22,840 --> 00:42:25,440
17.
I think it was Stalik 17 because

763
00:42:25,440 --> 00:42:28,560
I was talking about how there's
a, a, a scene in that movie

764
00:42:28,560 --> 00:42:33,160
where animal thinks that one of
his like bunk mates is a woman.

765
00:42:33,600 --> 00:42:35,920
And then and then when he gets
disappointed, he gets really

766
00:42:35,920 --> 00:42:38,120
sad.
And I felt like Wilder really

767
00:42:38,120 --> 00:42:39,680
should have played up that
moment more.

768
00:42:39,920 --> 00:42:42,520
And by the time you get to this
movie, Wilder is like leaning

769
00:42:42,520 --> 00:42:48,280
into that and the the tragedy
and the comedy coincide so well.

770
00:42:48,480 --> 00:42:51,520
I think part of the reason this
movie works on a level that's

771
00:42:51,520 --> 00:42:55,640
not just, you know, silly, goofy
comedy is that the last few

772
00:42:55,640 --> 00:43:00,160
minutes of the movie, Marilyn
Monroe is like, I, I don't want

773
00:43:00,160 --> 00:43:02,800
to say suicidal because she's
not threatening it in this

774
00:43:02,800 --> 00:43:06,160
movie, but like, heavily
drinking, super sad.

775
00:43:06,600 --> 00:43:09,840
And then you get the great shot
of Tony Curtis, who's trying to

776
00:43:09,840 --> 00:43:14,160
flee, wandering into, you know,
where the band is performing and

777
00:43:14,160 --> 00:43:16,240
she's singing the song I'm
through with love.

778
00:43:16,640 --> 00:43:20,760
And Wilder just puts the camera
on his face and it's a guy in

779
00:43:20,760 --> 00:43:25,960
drag unconvincingly.
And you are like, emotionally

780
00:43:25,960 --> 00:43:29,240
invested in this moment of him
having this heartbreaking

781
00:43:29,240 --> 00:43:32,400
realization about her.
After you've been laughing your

782
00:43:32,400 --> 00:43:33,920
butt off the entire movie.
Right.

783
00:43:33,920 --> 00:43:35,720
And I think like.
It comes out of nowhere.

784
00:43:35,920 --> 00:43:39,000
And to bring it all back to
Marilyn Monroe, I think the the

785
00:43:39,000 --> 00:43:43,800
beautiful and the tragic thing
about her is that she had such a

786
00:43:43,800 --> 00:43:48,560
troubled emotional life that I
think she can play that kind of

787
00:43:48,560 --> 00:43:52,400
character with so much ease.
And I, I almost hate to praise

788
00:43:52,400 --> 00:43:57,160
her for it because you can see
like the Marilyn Monroe persona

789
00:43:57,400 --> 00:44:00,760
and her fighting against it kind
of bleeding into this

790
00:44:00,760 --> 00:44:04,080
performance, but it makes the
performance work so well.

791
00:44:04,520 --> 00:44:10,040
Yeah, I mean, unfortunately it
without meaning to, I'm sure it

792
00:44:10,040 --> 00:44:12,680
feels like Marilyn Monroe was
method acting here.

793
00:44:13,760 --> 00:44:21,000
The the ability to take her off
stage, problems on stage and use

794
00:44:21,000 --> 00:44:25,200
them for the character.
You have to admire the

795
00:44:25,200 --> 00:44:29,160
performance that she gives
despite all the stuff that she

796
00:44:29,160 --> 00:44:31,680
was going through.
And it feels like she transforms

797
00:44:31,680 --> 00:44:36,760
a lot of that pain and uses it
on screen it when she feels like

798
00:44:36,760 --> 00:44:38,360
she has been spurned.
Yeah.

799
00:44:38,760 --> 00:44:41,600
Well, and I think you can also
see, you know, Wilder is giving

800
00:44:41,600 --> 00:44:45,000
those kind of winking moments
just like he does with the Cary

801
00:44:45,000 --> 00:44:47,360
Grant quote that I gave earlier.
Like when he's talking about no

802
00:44:47,360 --> 00:44:51,360
one talks like that, you can
tell that he's letting Marilyn

803
00:44:51,360 --> 00:44:54,480
Monroe play with the Marilyn
Monroe persona a little bit here

804
00:44:54,480 --> 00:44:57,480
that, like, everyone thinks
she's a dumb blonde, so we're

805
00:44:57,480 --> 00:44:59,880
going to pretend like she's a
dumb blonde, but she's way

806
00:44:59,880 --> 00:45:02,200
smarter than that.
But is she way smarter than

807
00:45:02,200 --> 00:45:04,120
that?
And you can kind of see Monroe,

808
00:45:04,440 --> 00:45:07,080
like, winking through that whole
thing throughout the movie.

809
00:45:07,640 --> 00:45:11,960
But even as she's doing that,
she's convincingly playing this

810
00:45:11,960 --> 00:45:14,040
character I got.
I think it really is a great

811
00:45:14,040 --> 00:45:17,200
performance that kind of flies
under the radar a little bit.

812
00:45:17,880 --> 00:45:20,960
Yeah, no, it 100% does it.
And we talked about this in

813
00:45:20,960 --> 00:45:24,800
Season 1.
She's just a magnet for the

814
00:45:24,800 --> 00:45:28,080
camera.
Like her personality is so

815
00:45:28,080 --> 00:45:33,920
bright and so sincere and so
bubbly that you can't help but

816
00:45:33,920 --> 00:45:37,160
be attracted to her.
And, and not just like, like,

817
00:45:37,280 --> 00:45:39,480
like the traditional being
attracted to someone.

818
00:45:39,480 --> 00:45:42,600
Like your eyes are just drawn to
her.

819
00:45:42,600 --> 00:45:47,600
She just sucks every bit of air
out of the room into herself.

820
00:45:47,920 --> 00:45:52,640
And you can't help but watch her
and, and she and she is funny

821
00:45:52,640 --> 00:45:54,760
too.
Like the way she delivers some

822
00:45:54,760 --> 00:45:57,760
of her lines next to Jack
Lemmon.

823
00:45:59,720 --> 00:46:02,640
Like she is truly a great
actress in this film.

824
00:46:03,240 --> 00:46:06,560
I mean, and then you just have
like the obvious, this is for

825
00:46:06,560 --> 00:46:09,600
the fans, but it's also like
we're all in on the joke.

826
00:46:10,000 --> 00:46:14,400
Like the first time she climbs
up into Jack Lemmon's, what do

827
00:46:14,400 --> 00:46:16,520
you call it?
Not bunk, but it on the train.

828
00:46:17,040 --> 00:46:18,840
And she's like, let me rub your
feet.

829
00:46:18,840 --> 00:46:21,360
There you go.
And she's, like, bouncing up and

830
00:46:21,520 --> 00:46:23,920
down.
And you just see, like,

831
00:46:23,960 --> 00:46:26,920
everything's bouncing.
And then Jack Lemmon starts

832
00:46:26,920 --> 00:46:28,400
doing the I'm a girl.
I'm a girl.

833
00:46:28,400 --> 00:46:31,640
I'm a girl again.
It is like, of course they're

834
00:46:31,640 --> 00:46:33,920
going to make jokes about
Marilyn Monroe's boobs.

835
00:46:33,920 --> 00:46:37,800
But, like, I mean, why would you
not do that in a movie like

836
00:46:37,800 --> 00:46:39,520
this?
And the fact that everyone's in

837
00:46:39,520 --> 00:46:43,560
on the joke, like, it makes it
less, I hate to say it like

838
00:46:43,560 --> 00:46:45,040
this.
It makes it less creepy.

839
00:46:45,200 --> 00:46:50,040
It makes it less icky, you know,
70, almost 70 years on from the

840
00:46:50,040 --> 00:46:51,600
making of this movie.
Yeah.

841
00:46:52,480 --> 00:46:55,640
Yeah, Marilyn is is really
incredible in this film.

842
00:46:56,560 --> 00:46:58,240
We didn't.
We haven't talked about anybody

843
00:46:58,240 --> 00:46:59,800
else.
Is there anybody else on the

844
00:46:59,800 --> 00:47:01,320
acting roster that you were
impressed?

845
00:47:01,320 --> 00:47:04,360
With, I mean, the obvious one
here is Joey Brown, right?

846
00:47:04,760 --> 00:47:05,760
Like.
Oh yeah.

847
00:47:06,760 --> 00:47:08,520
You know The funny thing?
I'm looking at the cast of this

848
00:47:08,520 --> 00:47:12,240
movie last night as I'm watching
it, and I think it's really

849
00:47:12,240 --> 00:47:17,400
funny how Monroe and Tony Curtis
and Jack Lemmon are all

850
00:47:17,440 --> 00:47:19,320
essentially the same age when
they make this movie.

851
00:47:19,320 --> 00:47:23,200
They're all a 3334.
And I was really shocked to see

852
00:47:23,200 --> 00:47:26,080
that the actress that plays
Sweet Sue, her name is Joan

853
00:47:26,080 --> 00:47:30,040
Shawley, also 33 years old when
she made this movie.

854
00:47:30,120 --> 00:47:32,960
And I feel like they made her
look like she was 50.

855
00:47:33,400 --> 00:47:37,000
So like, you know, poor woman,
I'm really sorry for you, but I

856
00:47:37,000 --> 00:47:39,040
couldn't believe that she was
the same age as everybody else

857
00:47:39,040 --> 00:47:42,440
when they made this movie.
Yeah, 100%.

858
00:47:42,440 --> 00:47:48,920
She looks way, way way older.
Before we jump into talking

859
00:47:48,920 --> 00:47:53,160
about Joey Brown, who is just
incredible in this movie, I want

860
00:47:53,160 --> 00:47:56,080
to talk for a second about
George Raft, who plays spats,

861
00:47:56,080 --> 00:47:57,640
the, you know, the head
gangster.

862
00:47:58,280 --> 00:48:01,160
There's a ton of Indiana jokes
in this movie about George Raft,

863
00:48:01,160 --> 00:48:05,240
and he was a really famous actor
in the late 30s and 40s.

864
00:48:05,560 --> 00:48:11,040
And I guess kind of the legend
of George Raft is he's known for

865
00:48:11,040 --> 00:48:14,520
all of the roles that he turned
down in Hollywood.

866
00:48:14,880 --> 00:48:17,440
Like I think we mentioned it
when we did our Casablanca

867
00:48:17,440 --> 00:48:20,720
episode, but he turned down the
role that Bogart played in

868
00:48:20,720 --> 00:48:23,040
Casablanca.
And there's like other other

869
00:48:23,040 --> 00:48:26,600
really, I mean like in the five
year span, he turned down like 8

870
00:48:26,600 --> 00:48:30,320
classic movies in a row and he
just picked terrible.

871
00:48:30,320 --> 00:48:31,920
He made terrible choices with
that.

872
00:48:31,920 --> 00:48:34,920
And it's not like he was making
bad movies, but he just missed

873
00:48:34,920 --> 00:48:38,160
out on the opportunity to be the
guy we remember.

874
00:48:38,160 --> 00:48:41,000
And I feel like Bogart owes his
career to George Raft in a lot

875
00:48:41,000 --> 00:48:43,600
of ways.
But there are a ton of

876
00:48:43,600 --> 00:48:47,040
references to all of the
gangster movies that George Raft

877
00:48:47,040 --> 00:48:50,040
made throughout the years.
Like when they all sit down at

878
00:48:50,040 --> 00:48:53,640
the banquet at the end of the
movie and he calls one of his

879
00:48:53,640 --> 00:48:55,360
hench men an idiot.
He's got a grapefruit in his

880
00:48:55,360 --> 00:48:58,880
hand.
It's a reference to an early

881
00:48:58,880 --> 00:49:02,480
gangster movie called The Public
Enemy with Jimmy Cagney.

882
00:49:02,680 --> 00:49:04,560
And the famous scene in that
movie is that he takes a

883
00:49:04,560 --> 00:49:07,120
grapefruit and smashes it into
his girlfriend's face at at one

884
00:49:07,120 --> 00:49:09,760
point.
Like there's it's like, it's

885
00:49:09,760 --> 00:49:13,480
almost like Sunset Blvd. where
Wilder is using the person's

886
00:49:13,480 --> 00:49:16,720
career as a visual gag on
screen.

887
00:49:17,120 --> 00:49:19,440
But it doesn't seem as mean
spirited this time around,

888
00:49:19,480 --> 00:49:21,960
because again, everyone's in on
the joke in this movie.

889
00:49:22,840 --> 00:49:26,440
He has a great role in this
movie of being the most serious

890
00:49:26,440 --> 00:49:30,720
person in the movie, and it
allows the movie to have just

891
00:49:30,720 --> 00:49:35,080
enough movement to to keep
things flowing.

892
00:49:35,080 --> 00:49:38,720
I I think that they could get
lost in the comedy if not for

893
00:49:38,720 --> 00:49:41,640
the driving force of the plot.
And I, and I think this is an

894
00:49:41,640 --> 00:49:46,960
example of how a plot device can
can really help move a movie

895
00:49:46,960 --> 00:49:51,840
forward and and not let it just
languish in the comedy.

896
00:49:52,320 --> 00:49:53,760
I want to ask you about that a
little bit.

897
00:49:54,320 --> 00:49:57,280
Do you think that the movie is
successful in the way that it

898
00:49:57,280 --> 00:49:59,880
uses that?
I don't want to call it a

899
00:49:59,880 --> 00:50:03,120
framing device, but it's almost
like something has to get them

900
00:50:03,120 --> 00:50:04,960
in drag.
Something has to keep them in

901
00:50:04,960 --> 00:50:07,520
drag.
Something has to take them away

902
00:50:07,520 --> 00:50:10,680
from whatever the danger is.
And so they they concoct this

903
00:50:10,680 --> 00:50:15,240
whole story about, you know, the
Chicago mob and this guy

904
00:50:15,240 --> 00:50:19,160
standing in for Al Capone.
But it really kind of bookends

905
00:50:19,160 --> 00:50:22,360
the movie.
So they show up in drag for the

906
00:50:22,360 --> 00:50:27,880
first time at like the 25 minute
mark and then the gangsters

907
00:50:27,880 --> 00:50:31,600
don't show up until the final 25
to 30 minutes of the movie.

908
00:50:31,600 --> 00:50:35,920
And so you've got a solid hour
and 10 minutes or whatever in

909
00:50:35,920 --> 00:50:38,280
between where we, they, they
really don't talk about it at

910
00:50:38,280 --> 00:50:40,800
all.
It's just, you know, the, the

911
00:50:40,800 --> 00:50:43,680
situational comedy of them being
women.

912
00:50:44,240 --> 00:50:46,440
You're trying to be women, but
they're really men.

913
00:50:47,120 --> 00:50:50,320
Do you think that having the
gangster stuff bookending the

914
00:50:50,320 --> 00:50:54,200
movie works, or should they have
done something different with

915
00:50:54,200 --> 00:50:56,440
it?
No, I, I think it works

916
00:50:56,440 --> 00:50:59,200
perfectly because it gives you
enough time throughout the

917
00:50:59,200 --> 00:51:02,200
middle of the film to just
really have fun with the

918
00:51:02,200 --> 00:51:08,080
characters and get to see them
be idiots and be funny.

919
00:51:08,520 --> 00:51:11,600
And then at the end of the film,
it kind of draws things back

920
00:51:11,600 --> 00:51:15,000
forward and moves it to a nice
tidy conclusion.

921
00:51:15,080 --> 00:51:18,800
Like like this movie is like on
the .2 hours, you know, probably

922
00:51:18,800 --> 00:51:21,720
like an hour and 55 with, you
know, credits and stuff.

923
00:51:22,080 --> 00:51:24,400
And I think it's like just right
for this film.

924
00:51:24,400 --> 00:51:29,320
If it was any longer, it would
drag, but because it's a nice

925
00:51:29,320 --> 00:51:34,160
tight two hours and and the the
the gangster plot kind of keeps

926
00:51:34,160 --> 00:51:38,120
it that way, I I think it works.
All right, Brad, I think it is

927
00:51:38,120 --> 00:51:40,920
time for us to get to our final
segment of the day, which we

928
00:51:40,920 --> 00:51:44,000
call let's make it a double.
We're near the end of the

929
00:51:44,120 --> 00:51:47,400
episodes of Things, listening to
the film and Whiskey Show.

930
00:51:47,800 --> 00:51:49,360
Let's pair another film with
this one.

931
00:51:49,360 --> 00:51:51,640
Even if it's struggling.
It's the final segment of the

932
00:51:51,640 --> 00:51:53,040
day.
Now let's make it a double.

933
00:51:53,480 --> 00:51:55,960
Let's Make It a Double is the
part of the show where we pick a

934
00:51:55,960 --> 00:51:59,720
movie to pair up with this one
to make the perfect double

935
00:51:59,720 --> 00:52:02,200
feature?
Brad, what would you pair some

936
00:52:02,200 --> 00:52:05,160
Like It Hot with?
Man, I have not watched this

937
00:52:05,160 --> 00:52:09,480
movie in a very long time so I I
might I might be a little out of

938
00:52:09,480 --> 00:52:13,680
whack here.
It is an older comedy, not not

939
00:52:13,680 --> 00:52:17,400
nearly as old as Some Like It
Hot, but I remember it having

940
00:52:17,400 --> 00:52:23,240
really witty lines and a great
duo at the top like Lemon and

941
00:52:23,240 --> 00:52:25,000
Curtis.
Here I'm going to pair this with

942
00:52:25,000 --> 00:52:30,400
Dirty Rotten Scoundrels.
Oh wow, that's a great one man.

943
00:52:31,040 --> 00:52:33,760
Yeah, yeah.
I mean, it's Michael Caine and

944
00:52:33,760 --> 00:52:38,880
Steve Martin, and they are two
con men that are going after the

945
00:52:38,880 --> 00:52:42,040
same mark.
And the way that they interact

946
00:52:42,040 --> 00:52:44,840
with one another is just
brilliant.

947
00:52:44,840 --> 00:52:48,320
And it kind of reminded me of of
Jack Lemmon and Tony Curtis.

948
00:52:49,760 --> 00:52:53,640
I think as I watched this movie,
I was once again having an

949
00:52:53,640 --> 00:52:57,880
existential crisis about why
it's so hard for me to give a

950
00:52:57,880 --> 00:53:01,400
movie like this a 10 out of 10.
And I feel like the Snooty guy

951
00:53:01,400 --> 00:53:05,840
in me is always like, for a
movie to be a 10 out of 10, it

952
00:53:05,840 --> 00:53:10,080
has to get at something deeper
about the human experience and

953
00:53:10,080 --> 00:53:13,400
it can't just be silly.
But honestly, dude, like, this

954
00:53:13,400 --> 00:53:15,640
is as good as a movie like this
can get.

955
00:53:16,240 --> 00:53:20,280
And as I started thinking about
it, I was like, I am also too

956
00:53:20,280 --> 00:53:24,000
harsh on another movie that we
did way back at the beginning of

957
00:53:24,000 --> 00:53:27,040
this podcast.
And that movie is Anchorman.

958
00:53:27,920 --> 00:53:30,680
And I think Anchorman is an
almost perfect pairing with this

959
00:53:30,680 --> 00:53:35,720
movie because it is about a man
who acts like a child who is who

960
00:53:35,720 --> 00:53:39,080
is thrust into the world of
women that he doesn't know how

961
00:53:39,080 --> 00:53:42,120
to comprehend.
It plays up the ridiculousness

962
00:53:42,120 --> 00:53:45,520
of the costumes of those men.
And it allows you to laugh at,

963
00:53:45,800 --> 00:53:47,640
you know, a time that has gone
by.

964
00:53:48,000 --> 00:53:53,440
And I think like, honestly,
Anchorman is a spiritual sibling

965
00:53:53,440 --> 00:53:56,800
to some Like it Hot in a lot of
ways that I didn't really

966
00:53:56,800 --> 00:53:59,960
realize until last night.
But man oh man, if those aren't

967
00:53:59,960 --> 00:54:03,520
2 absolutely pitch perfect silly
comedies.

968
00:54:03,840 --> 00:54:07,160
Yeah, I mean, honestly, you
could watch Some Like It, Hot,

969
00:54:07,440 --> 00:54:11,400
Dirty Rotten Scoundrels,
Anchorman go from old to new and

970
00:54:11,400 --> 00:54:13,640
have an absolutely hilarious
evening.

971
00:54:13,840 --> 00:54:16,040
Our first triple feature
recommendation.

972
00:54:16,040 --> 00:54:16,760
I love it.
Yeah.

973
00:54:17,720 --> 00:54:19,840
Yeah, man.
All right, man, let's do final

974
00:54:19,840 --> 00:54:21,720
scores.
I've been talking about mine the

975
00:54:21,720 --> 00:54:23,680
entire podcast, so it will
surprise no one.

976
00:54:23,680 --> 00:54:27,600
But this is a 10 out of 10, and
I don't really know how else to

977
00:54:27,600 --> 00:54:29,400
say it, man.
Like, it just does not get

978
00:54:29,400 --> 00:54:31,480
better than this from a writing
standpoint.

979
00:54:31,760 --> 00:54:33,720
I mean, we've talked about the
lines, we've talked about the

980
00:54:33,720 --> 00:54:37,120
visual gags, but just
structurally, you know, I saw

981
00:54:37,120 --> 00:54:39,640
when this movie was two hours
long, I'm like, ah, this might

982
00:54:39,640 --> 00:54:42,960
drag a little bit.
No, every scene goes on exactly

983
00:54:42,960 --> 00:54:46,080
as long as it needs to go on.
And there was like no fad on

984
00:54:46,080 --> 00:54:47,720
this.
And it also didn't get

985
00:54:47,720 --> 00:54:50,200
repetitive, which was something
I was really worried about was

986
00:54:50,200 --> 00:54:52,760
that it was going to try to do
the same gag 15 times.

987
00:54:53,000 --> 00:54:55,560
It doesn't do that at all.
It keeps putting its characters

988
00:54:55,560 --> 00:54:57,840
in new situations that they have
to figure out.

989
00:54:58,080 --> 00:55:01,960
It's constantly introducing new
complications into the mix that

990
00:55:01,960 --> 00:55:05,680
they have to overcome.
It is just an absolutely perfect

991
00:55:05,680 --> 00:55:08,000
script and it makes for a
perfect movie.

992
00:55:08,520 --> 00:55:11,480
Yeah, the the same way the
mobsters bookended the movie.

993
00:55:11,800 --> 00:55:15,480
I'm going to bookend this
episode by saying this is a 10

994
00:55:15,480 --> 00:55:19,920
out of 10 movie.
Bob, like I, I, I can't tell you

995
00:55:20,480 --> 00:55:23,960
how badly you need to go watch
some like it hot like if you

996
00:55:23,960 --> 00:55:29,800
just need to sit down for two
hours and just laugh non-stop.

997
00:55:30,520 --> 00:55:32,920
I I can't tell you a better
movie to watch.

998
00:55:33,640 --> 00:55:36,320
Brad, as you think about all the
comedies that we've done on the

999
00:55:36,320 --> 00:55:40,720
show, so I mean When Harry Met
Sally and This Is Spinal Tap and

1000
00:55:40,720 --> 00:55:42,280
The Princess Bride.
Monty Python.

1001
00:55:42,280 --> 00:55:46,840
Monty Python on the Holy Grail
would this where would this rank

1002
00:55:46,840 --> 00:55:52,880
for you among them?
Oh wow, I love me someone.

1003
00:55:52,880 --> 00:55:56,600
Harry met Sally.
I think this is my favorite

1004
00:55:56,600 --> 00:55:58,640
comedy we've ever watched.
Wow.

1005
00:55:59,600 --> 00:56:02,800
I like, I'm trying to think of
any other ones I would have

1006
00:56:02,800 --> 00:56:06,400
given a 10 out of 10 to.
I know that we gave Spinal Tap

1007
00:56:06,400 --> 00:56:10,400
and Monty Python a 10 out of 10,
but I don't.

1008
00:56:10,440 --> 00:56:16,160
I don't know, man, those feel
like less of movies than this

1009
00:56:16,160 --> 00:56:18,160
does.
Does that make sense?

1010
00:56:18,160 --> 00:56:23,360
Like those are so far into I
don't know, man.

1011
00:56:23,360 --> 00:56:26,160
I mean, we would we would talk
about certain like dramatic

1012
00:56:26,160 --> 00:56:28,840
movies, like like let's talk
about tree of Life.

1013
00:56:29,240 --> 00:56:35,040
Like tree of life goes so deep
into form that you it feels like

1014
00:56:35,040 --> 00:56:37,120
a different movie than anything
else you'd watch.

1015
00:56:37,960 --> 00:56:41,960
And I feel similarly about Monty
Python and Spinal Tap.

1016
00:56:41,960 --> 00:56:47,360
Like, it goes so deep into the
form of weird, serious sketch

1017
00:56:47,360 --> 00:56:52,360
comedy in a movie that they they
they sit on a different realm

1018
00:56:52,360 --> 00:56:53,960
for me.
Where is like some like it Hot

1019
00:56:54,000 --> 00:56:55,640
is a movie.
It's cinematic.

1020
00:56:55,840 --> 00:56:57,600
Funny.
Yeah, it's cinematic.

1021
00:56:57,600 --> 00:56:59,560
It's one of the funniest movies
I've ever seen.

1022
00:57:00,080 --> 00:57:01,400
Yeah.
I think I would put it up there.

1023
00:57:01,680 --> 00:57:04,040
All right, so it's 10s across
the board from us, but we would

1024
00:57:04,040 --> 00:57:07,280
like to know what you think.
Have you seen some like it hot?

1025
00:57:07,360 --> 00:57:10,680
How does it hold up for you
after 6570 years?

1026
00:57:10,920 --> 00:57:13,920
You can let us know on our
social media accounts, Facebook,

1027
00:57:13,920 --> 00:57:17,080
Twitter, Instagram or TikTok at
Film Whiskey.

1028
00:57:17,640 --> 00:57:20,520
Or jump onto our Discord.
We are on there every single day

1029
00:57:20,520 --> 00:57:23,560
talking to you guys, the fans of
the Film and Whiskey podcast.

1030
00:57:24,200 --> 00:57:26,400
If you want to join the
conversation, there's a link to

1031
00:57:26,400 --> 00:57:29,120
the discord at the end of every
single one of our show notes.

1032
00:57:29,520 --> 00:57:32,200
Brad, you've just mentioned what
next week's movie is.

1033
00:57:32,200 --> 00:57:38,160
We are taking a very hard turn
into into the world of Terrence

1034
00:57:38,160 --> 00:57:42,160
Malick and we are checking out
the Tree of Life next week.

1035
00:57:42,160 --> 00:57:44,600
The only movie funnier than
some, like in Hot.

1036
00:57:45,640 --> 00:57:47,960
All right, so join us for that
existential crisis that we're

1037
00:57:47,960 --> 00:57:50,720
going to have next week.
Until then, I'm Bob Book.

1038
00:57:51,080 --> 00:57:53,480
I'm Brad G.
And we'll see you next time.