Some Like It Hot
After two Chicago musicians, Joe and Jerry, witness the the St. Valentine's Day massacre, they want to get out of town and get away from the gangster responsible, Spats Colombo. They're desperate to get a gig out of town but the only job they know of is in an all-girl band heading to Florida. They show up at the train station as Josephine and Daphne, the replacement saxophone and bass players. They certainly enjoy being around the girls, especially Sugar Kane Kowalczyk who sings and plays the ukulele. Joe in particular sets out to woo her while Jerry/Daphne is wooed by a millionaire, Osgood Fielding III. Mayhem ensues as the two men try to keep their true identities hidden and Spats Colombo and his crew show up for a meeting with several other crime lords.
Despite its modest budget of $2.9M, Some Like It Hot became a massive hit, earning $25.0M worldwide—a remarkable 767% return. The film's unique voice connected with viewers, illustrating how strong storytelling can transcend budget limitations.
1 Oscar. 11 wins & 13 nominations
Plot Structure
Story beats plotted across runtime
Narrative Arc
Emotional journey through the story's key moments
Story Circle
Blueprint 15-beat structure
Arcplot Score Breakdown
Weighted: Precision (70%) + Arc (15%) + Theme (15%)
Some Like It Hot (1959) exhibits deliberately positioned story structure, characteristic of Billy Wilder's storytelling approach. This structural analysis examines how the film's 10-point plot structure maps to proven narrative frameworks across 2 hours and 2 minutes. With an Arcplot score of 3.7, the film takes an unconventional approach to traditional narrative frameworks.
Structural Analysis
The Status Quo at 1 minutes (1% through the runtime) establishes Chicago, 1929: Joe and Jerry are struggling jazz musicians playing in a speakeasy, scraping by in Prohibition-era chaos. They're broke, desperate, and living gig to gig.. Of particular interest, this early placement immediately immerses viewers in the story world.
The inciting incident occurs at 14 minutes when Joe and Jerry accidentally witness the St. Valentine's Day Massacre. Spats Colombo and his gang spot them as witnesses. Their lives are now in mortal danger—they must flee Chicago immediately or be killed.. At 11% through the film, this Disruption aligns precisely with traditional story structure. This beat shifts the emotional landscape, launching the protagonist into the central conflict.
The Collapse moment at 81 minutes (66% through) represents the emotional nadir. Here, During the mob hit, Joe and Jerry are spotted by the remaining gangsters and must flee immediately. Joe realizes he must abandon Sugar without explanation, breaking her heart. He can't tell her the truth, can't say goodbye properly. Everything collapses: the romance, the safety, the fantasy identities., demonstrates the protagonist at their lowest point. This beat's placement in the final quarter sets up the climactic reversal.
The Synthesis at 86 minutes initiates the final act resolution at 71% of the runtime. The escape finale: Sugar chooses to run away with Joe despite everything. Jerry (as Daphne) tries to explain to Osgood why they can't marry, listing all the reasons, but Osgood dismisses each one. The chase concludes as they speed away in Osgood's boat, leaving the gangsters and their old lives behind., demonstrating the transformation achieved throughout the journey.
Emotional Journey
Some Like It Hot's emotional architecture traces a deliberate progression across 10 carefully calibrated beats.
Narrative Framework
This structural analysis employs systematic plot point analysis that identifies crucial turning points. By mapping Some Like It Hot against these established plot points, we can identify how Billy Wilder utilizes or subverts traditional narrative conventions. The plot point approach reveals not only adherence to structural principles but also creative choices that distinguish Some Like It Hot within the comedy genre.
Billy Wilder's Structural Approach
Among the 10 Billy Wilder films analyzed on Arcplot, the average structural score is 5.6, showcasing experimental approaches to narrative form. Some Like It Hot takes a more unconventional approach compared to the director's typical style. For comparative analysis, explore the complete Billy Wilder filmography.
Comparative Analysis
Additional comedy films include The Ministry of Ungentlemanly Warfare, The Bad Guys and Lake Placid. For more Billy Wilder analyses, see The Seven Year Itch, Witness for the Prosecution and The Apartment.
Plot Points by Act
Act I
SetupStatus Quo
Chicago, 1929: Joe and Jerry are struggling jazz musicians playing in a speakeasy, scraping by in Prohibition-era chaos. They're broke, desperate, and living gig to gig.
Theme
Spats Colombo: "I want you should get rid of them—all of them." The theme of identity, disguise, and what we're willing to do to survive is established through the gangster's lethal deception.
Worldbuilding
Establishing the dangerous world of Prohibition Chicago: speakeasies, mob violence, police raids. Joe and Jerry lose their car, their money, and their gig when the speakeasy is raided. They're broke musicians trying to find their next job.
Disruption
Joe and Jerry accidentally witness the St. Valentine's Day Massacre. Spats Colombo and his gang spot them as witnesses. Their lives are now in mortal danger—they must flee Chicago immediately or be killed.
Resistance
Desperate to escape, Joe and Jerry debate their options. They see an ad for musicians needed in Florida. There's one problem: it's an all-girl band. After initial resistance, they realize disguising themselves as women is their only chance to survive and get out of town.
Act II
ConfrontationPremise
The fun and games of the premise: Joe and Jerry navigate life as women in the all-girl band. They befriend Sugar, experience life from a female perspective, and deal with the challenges of maintaining their disguises. Jerry attracts millionaire Osgood Fielding III while Joe plots to seduce Sugar by impersonating a millionaire.
Opposition
Pressure mounts from all sides: Joe's feelings for Sugar become real, complicating his con. Jerry (as Daphne) becomes entangled with Osgood, who proposes marriage. Spats and his gang close in, recognizing the musicians. The gangsters' conflict escalates, and another massacre occurs at the hotel, putting Joe and Jerry in immediate danger again.
Collapse
During the mob hit, Joe and Jerry are spotted by the remaining gangsters and must flee immediately. Joe realizes he must abandon Sugar without explanation, breaking her heart. He can't tell her the truth, can't say goodbye properly. Everything collapses: the romance, the safety, the fantasy identities.
Crisis
Joe and Jerry, still in drag, must say goodbye to Sugar and the life they've built. Joe (as Josephine) tells Sugar that Junior had to leave. Sugar is heartbroken, believing she's been abandoned again. Joe grapples with the reality that he's become exactly the type of man who uses women—the type Sugar was trying to escape.
Act III
ResolutionSynthesis
The escape finale: Sugar chooses to run away with Joe despite everything. Jerry (as Daphne) tries to explain to Osgood why they can't marry, listing all the reasons, but Osgood dismisses each one. The chase concludes as they speed away in Osgood's boat, leaving the gangsters and their old lives behind.