I often find myself captivated by the visual language of cinema, the subtle interplay of light, shadow, and movement that shapes a narrative. Some Like It Hot (1959), directed by Billy Wilder, stands as a classic example of this art. While its witty dialogue and legendary performances have cemented its place in cinematic history, it’s the cinematography, crafted by the exceptional Charles Lang, that truly brings the story to life. Through this analysis, I’ll share my personal perspective on Lang’s visual storytelling, blending insights from my experience with filmmaking and my research through various online discussions and retrospectives.
About the Cinematographer: Charles Lang
Charles Lang, the mastermind behind the cinematography of Some Like It Hot, was one of Hollywood’s most accomplished directors of photography. His career spanned several decades, marked by an adaptability that allowed him to excel across genres. Lang’s mastery of black-and-white cinematography is particularly evident in this film, where his technical precision and artistic vision bring out both the glamour and absurdity of the story.
Lang’s work earned him an Academy Award nomination for Some Like It Hot, a testament to his ability to balance comedic timing with the visual sophistication required to capture the film’s themes. His decision to forgo color, despite its rising popularity in 1959, was not just pragmatic but artistic, emphasizing the timeless quality of the film.
Inspiration for the Cinematography of Some Like It Hot
Lang’s approach to the film’s visuals seems rooted in a fusion of classical Hollywood aesthetics and the unique requirements of the story. The choice to shoot in black and white stemmed partly from technical challenges—the makeup used to transform Tony Curtis and Jack Lemmon into women looked unnatural in color tests—but it also reinforced the film’s homage to the 1920s and 1930s cinema.
Drawing inspiration from film noir and screwball comedies, Lang crafted a visual language that balanced the tension of the gangster subplot with the comedic and romantic elements. This interplay of moods, heightened by high-contrast lighting, mirrors the film’s exploration of identity and disguise, making the cinematography both functional and thematic.
Camera Movements Used in Some Like It Hot
One of the hallmarks of Lang’s cinematography in Some Like It Hot is the purposeful use of camera movement to enhance storytelling. As a filmmaker, I admire how Lang avoids flashy techniques, instead opting for subtle movements that serve the narrative:
- Tracking Shots: These are used sparingly but effectively, such as when the camera follows Sugar Kane (Marilyn Monroe) as she strides confidently along the train platform. The smooth motion mirrors her allure and captures the perspective of the two male protagonists, Joe and Jerry.
- Panning and Tilting: Dynamic movements, like an upward tilt to reveal the imposing figure of Spatz Colombo, add dramatic weight to pivotal scenes.
- Static Shots: Lang often relies on still frames during comedic exchanges, allowing the actors’ performances to shine without distraction.
These movements may seem understated, but they are meticulously planned, ensuring the audience’s focus remains on the characters and their relationships.
Compositions in Some Like It Hot
Lang’s compositions are a masterclass in balancing humor and tension, using framing to guide the audience’s attention.
- Rule of Thirds: Many shots position characters according to this principle, creating balanced and engaging visuals. For instance, the beach scene where Sugar and Joe interact is carefully staged to reflect their evolving dynamics.
- Depth of Field: Lang uses selective focus to isolate key elements within a scene, such as Marilyn Monroe’s radiant close-ups, which emphasize her star power.
- Foreground-Background Dynamics: Group scenes, like those featuring the all-girl band, often use layered compositions to create a sense of depth and interaction.
The meticulous attention to framing amplifies the comedic and dramatic beats, ensuring that every visual detail serves the story.
Lighting Style of Some Like It Hot
Lighting is where Lang’s cinematographic genius truly shines. In my work as a colorist, I often marvel at how lighting shapes the emotional tone of a scene, and Lang’s approach in this film is no exception.
- High-Key Lighting: Predominantly used in comedic and romantic moments, this style ensures a bright and cheerful atmosphere, particularly in scenes featuring Sugar.
- Low-Key Lighting: Used sparingly, such as in the gangster sequences, this lighting style introduces a noir-like edge, heightening the tension.
- Soft Lighting: Close-ups of Marilyn Monroe are bathed in soft light, enhancing her glamour and creating an ethereal quality that matches her character’s charm.
Lang’s lighting choices create a visual rhythm, oscillating between humor and danger while maintaining a cohesive aesthetic.
Lensing and Blocking in Some Like It Hot
The interplay of lenses and blocking decisions in Some Like It Hot is another area where Lang’s craftsmanship is evident.
- Lens Choices: Lang opts for medium and close-up shots to capture the nuances of the actors’ performances. Wide-angle lenses are used sparingly, mainly in scenes requiring a sense of chaos or scale, like the bustling hotel lobby.
- Blocking: The actors’ movements are carefully choreographed to enhance comedic timing. For example, Joe and Jerry’s exaggerated feminine postures within the all-girl band create visual humor that complements the dialogue.
This careful orchestration ensures that the humor lands effectively, even in visually complex scenes.
The Role of Black and White: “Color” in Some Like It Hot
Though devoid of color, Some Like It Hot creates a vivid visual palette through its use of contrast and texture. As a colorist, I’m fascinated by how Lang manipulates grayscale to convey mood and character.
- Contrast: The deep blacks and crisp whites create a dynamic range that adds depth to the visuals.
- Textures and Patterns: Costumes and set designs are carefully chosen to stand out in monochrome, ensuring visual clarity and impact.
This use of black and white not only solves technical challenges but also reinforces the film’s themes of duality and transformation.
Technical Aspects of Some Like It Hot
The film’s technical execution is as impressive as its artistic achievements. Shot on 35mm black-and-white film stock in a 1.85:1 aspect ratio, the cinematography balances intimacy with scope. The restoration for the 4K Ultra HD release highlights Lang’s meticulous attention to detail, from the shimmering textures of Monroe’s costumes to the nuanced lighting in dramatic scenes.
- Also Read: CINEMATOGRAPHY ANALYSIS OF JOKER: FOLIE À DEUX
- Also Read: CINEMATOGRAPHY ANALYSIS OF THE LIGHTHOUSE