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iRsSlw"><a class="RubricLk-gRWSOU fgWnkQ bric__lk" href="/magaze/books"><span class="RubricName-fVtemz cLxcNi">Books</span></a></div></div></div><h1 data-ttid="ContentHearHed" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ContentHearHed-NCyCC iUEiRd NbxED hpJvIc">Boys Will Be Girls</h1></div><div class="ContentHearAccredatn-lfctVB enhwXT ntent-hear__accredatn" data-ttid="ContentHearAccredatn"><div class="ContentHearDek-bIqFFZ Mtme">The makg of Billy Wilr's "Some Like It Hot."</div><div class="ContentHearByle-kmPyCa gvUmxJ"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset ContentHearContributorImage-cvjZXn jKACOU"><picture class="RponsiveImagePicture-cWuUZO dUOtEa ContentHearContributorImage-cvjZXn jKACOU rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w" siz="66px"/><source media="(m-width: 768px)" srcSet=" 120w, 240w" siz="66px"/><img alt="" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></span><div class="ContentHearByleContent-dpPmNn DRFq"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl ContentHearByl-cZqgyJ bqbBYQ"><p class="ByleWrapper-jWHrLH ivtvgj byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span><a class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM ByleLk-gEnFiw iUEiRd ggMZaT cXqSTL eErqIx byle__name-lk button" href="/ntributors/anthony-lane">Anthony Lane</a></span></span></p></div><time data-ttid="ContentHearPublishDate" dateTime="2001-10-14T20:00:00-04:00" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ContentHearPublishDate-eIBicG iUEiRd kYZrFA kEBrdf">October 14, 2001</time></div></div></div></div></div></hear></div><div data-attribute-verso-pattern="article-body" class="ArticlePageContentBackGround-cNiFNN kbAoLA article-body__ntent"><div class="ActnBarWrapperContent-lasBkU cAHp"><div class="ActnBarWrapperComponent-cjwxLS bEeSLb"><div data-attr-viewport-monor="" class="ActnBarWrapper-dhxmQh kNjTbQ viewport-monor-anchor"><button id="bookmark" aria-label="Save this story" class="ActnBarButton-dyFOZU hQrwCF bookmark large-screen"><span class="ActnBarSendaryButtonPrimaryIn-isbvyN cAwccV bookmark-button-in"><svg class="in in-bookmark" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Save this story</tle><path class="in-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z"></path><path class="in-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActnBarButtonText-bYXYuh iUEiRd bkefvo gkccfO">Save this story</span></button></div><div data-attr-viewport-monor="" class="ActnBarWrapper-dhxmQh kAEsuD viewport-monor-anchor"><button 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class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="has-dropp has-dropp__lead-standard-headg">One morng the summer of 1950, Billy Wilr was stg alone, eatg breakfast and readg the <em>Hollywood Reporter</em>. His wife, Audrey, me to the room and asked:</p><p class="paywall">"Do you know what day this is, ar?"</p><p class="paywall">"June 30th."</p><p class="paywall">"It's our anniversary."</p><p class="paywall">"Please," Wilr said, "not while I'm eatg."</p><p class="paywall">And there you have him. Like most Wilr anecdot, this tale has been told many tim, and we have gone beyond the pot of beg able to ascerta whether might actually be te. I gus you uld ask the man himself, who is still alive at the age of nety-five, but that would be no help; when to spng webs of Wilr mythology, he is by far the worst and most enjoyable offenr. (Who else, relivg his reer as a cub reporter Vienna, would claim to have terviewed Richard Strss, Arthur Schnzler, and Sigmund Frd on a sgle day?) Still, if the facts don't f the legend, prt the legend and to hell wh ; what matters about the breakfast story is that <em>sounds</em> right—the wisecrack zippg across the room and drowng the cnch of toast.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-1 viewport-monor-anchor"></div><p class="paywall">And so the mors acce, harng the image of Wilr the cynic, Wilr the man-hater and woman-srner. Who else would bother to assert that his bad back, which has plagued him throughout his reer, was brought on by an urge to make love Vienne doorways, standg up? More to the pot, who else would say so ont of his wife? Wilr was one of those steely souls, fed the Hollywood of the thirti and forti, who were even tougher than the actors they were slated to direct. In 1960, the year of "The Apartment," he looked back on the duti of his chosen profsn: "A director mt be a policeman, a midwife, a psychoanalyst, a syphant, and a bastard." It's not affectn that Wilr mds, I would image, but the fs that is ma of —the anniversari, the flowers, the song and dance. "Did you hear what I said, Miss Kubelik? I absolutely adore you," Jack Lemmon says, soft as a puppy, the closg moments of "The Apartment." But Shirley MacLae is havg none of : "Shut up and al," she repli, addrsg herself to the more prsg matter of g mmy. She ador the guy, of urse, and she has jt n uptown to tell him so, but, still, there are lims. You have to keep the puppy on a leash.</p><div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--article-mid-ntent" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--article-mid-ntent nsumer-marketg-un__slot---ntent"></div><div class="journey-un"></div></div></div><p class="paywall">There is only one tch the Wilr world—not even a tch, perhaps, but an irony that is strong enough to crack his ol. People love his movi. Needls to say, Wilr himself had an explanatn for this, as he did for everythg else. "You know how is," he told reporters London 1961. "You hate your ntist while he's pullg your teeth out, but the next week you're playg golf wh him." Over and over, Wilr shows mankd behavg badly, or g one another as props and pawns, or racg to folli om which there is no pe, and still, like sheep to the shearer, we e back for more. "Double Inmny," "The Seven Year Itch," "Sunset Boulevard," "The Apartment": the are part of the basic lexin of moviegog. One picture, particular, has bee an in. Last year, the Amerin Film Instute ved s members to vote on the hundred bt edi ever ma. The top spot went to Billy Wilr's "Some Like It Hot" (1959).</p><p class="paywall">Everyone knows that the hundred-bt lists are a bore. Not a fix, exactly, although the film crowd, like all social groups who are prented wh a qutnnaire, tends to repeat the nventnal wisdom whout troublg to thk through. Still, would take a brave cric to dispute the stat of "Some Like It Hot," jt as would take a historian of the hight subtlety and rourcefulns to expla, before a tribunal of his peers, why the most entertag cultural spectacle of the last hundred years has been, by mon nsent, a pair of full-grown Amerin mal wearg falsi.</p><p class="paywall">Falsehood, mt be said, is the fuel of this famo movie. It is rabid wh ceptn, and all attempts to summarize the plot tend to skip one of the chang of stume, or of heart; not until I saw the film aga recently, perhaps for the tenth time, did I notice that Jack Lemmon turns briefly to a bellhop. The rought of outl would go as follows: A pair of small-time jazz micians—Joe, a tenor-sax player (Tony Curtis), and Jerry, a bassist (Lemmon)—are accintal wns to the St. Valente's Day Massacre. Pursued by a big-time gangster (Gee Raft) and his hoods, they drs as women and jo an allgirl band on a tra to Florida. There Joe, who has bee Josephe, mak one more swch, pretendg to be an oil baron orr to woo the band's sger, Sugar Cane (Marilyn Monroe), née Kowalczyk. And Jerry, who has bee Daphne, draws the attentn of the satiable Osgood (Joe E. Brown), a bona-fi lnaire wh a mouth like a mailbox. It all ends well, wh both upl headg for a moonl yacht.</p><p class="paywall">What more is there to say? Many filmgoers n rece l om this picture more fluently than they n tell a story om their own past. The closg zger—Daphne yankg off her wig and clarg herself to be a man, and Osgood replyg, "Nobody's perfect," his beatific rands tact—is the kd of thg that pilers of movie quotatns slap on the vers of their books. Meanwhile, the tradnal Wilr mischief has lcified to received opn; when he said that Marilyn Monroe had breasts like grane and a bra like Swiss chee, he mt have realized that the le—one part idolatry to three parts slur—was here to stay, and is te that Monroe's bosom, thst and out of the spotlight as she sgs "I Wanna Be Loved by You" and "I'm Through wh Love," has bee as proud a feature of the Amerin landspe as Mt. Rhmore. In fact, the whole film is a natnal treasure; you n look at , but you n't touch.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">Now a new angle has opened up. Jt one warng: 'll st you. A hundred and fifty dollars, to be precise, for which you get a book. "Billy Wilr's 'Some Like It Hot' " is the size of an old electric typewrer, and weighs more than many mon domtic animals. Spookier still, is furrier than many mon domtic animals, beg vered a lightly padd velvet the lor of <em>crème pâtissière</em>. The tle is picked out orange leather letterg, as bold as a billboard, on the ont ver; si, you get lored productn stills, drippg wh Florida sunshe, pl full-page blowups of pencilled l om the screenplay, and the effect is to seize an unspectg black-and-whe edy and propel toward the stat of Pop art. There are many books voted to sgle films, but they tend to be unsg monographs, neatly nailg the work qutn to the social history of s era; this book, by ntrast, is more like one of Osgood's lghs—sful, lir, and load.</p><p class="paywall">The publisher of this unual volume is Taschen, which explas a lot. Benedikt Taschen is an outspoken German who started producg books 1981, and who has sce built up a talogue so hip, so huge, and so hungry for taboo that you see people Barn & Noble make a beele for the Taschen table and then sneak a glance around the store to make sure that nobody is lookg. It go whout sayg that you n't open a work entled "1000 Dso: A History of Lgerie" whout beg tapped on the shoulr by your fourth-gra teacher, whom you haven't seen thirty years, and who once tght you the nam of her favore flowers. The thg about Taschen is that even the books that <em>are</em> about flowers bear a distct agrance of perversn; this fall se the publitn of "A Garn En: Masterpiec of Botanil Illtratn," and a brief glance suggts that all those thstg pistils should give the antique girdl and stockgs a n for their money.</p><p class="paywall">The Wilr book is spl to three acts. The first sectn lv to the makg of the movie and ntas a facsie of the fal script, on agg buff paper, plete wh hol punched at the edge. The send sectn is a sheaf of terviews wh, among others, Wilr, Curtis, Lemmon, and Barbara Diamond, the widow of I. A. L. Diamond—Iz to his iends, and the -wrer on the movie. Diamond had no better iend than Wilr, nobody better qualified to match his smarts; as a team, they wrote a dozen films. ("Never a harsh word, twenty-five years of workg together," Wilr once said, at a lecture. "We were like bank tellers." They fished the screenplay of "Some Like It Hot" four days before the end of the shoot.) The terviews are new, nducted over the last uple of years. This don't mean that the material self is new—all ncerned have taken the opportuny to buff their anecdot, like silver, over time—but 's eful to fd packaged together, and even Wilr scholars should rejoice to fd Tony Curtis, pecially, such brazen form. You n hear the wi Brooklyn bark as he remembers, only too vividly, the profsnal drag queen whom Wilr flew om Berl to act as tutor to his leads:</p><div class="Contaer-bkChBi byNLHx"></div><p class="paywall">This guy told to keep the cheeks of your ass tight. You tighten up—which you did if you were the Navy anyway—and make one step good before the other. So when we started to put together, all beme a very charmg manner. I loved . . . Jack was outrageo as a girl, he uldn't wa to go trompg out. I was more hant, I was more like Grace Kelly than like my mother. I was on track.</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><asi class="PersistentAsiWrapper-VGrR daRVRt persistent-asi" style="posn:absolute;top:to;height:to" data-ttid="PersistentAsiWrapper"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="xeva"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></asi></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="vohphh"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">What's sweet about the rellectns is that Curtis plaly took a genue pri his womanly appearance; even now, the wordg ("a very charmg manner") retas a feme rrectns that borrs on the prim. Or at least do until he gets to Marilyn's door, and to the ltle tailor who was by wh his tape measure, checkg the statistics of the stars:</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-2 viewport-monor-anchor"></div><p class="paywall">Anyway, he measured me, 16, 34, 43, 18, 19, 18 . . . and then he go to Marilyn, this is all the same day and this is the tth . . . He to Marilyn's room and Marilyn had on a pair of panti and a whe bloe and that's all. He put the tape around her legs, looked up at Marilyn and said, "You know, Tony Curtis has got a better-lookg ass than you." She was standg there, she unbuttoned her bloe and said, "He don't have ts like the."</p><p class="paywall">For once, I thk we need the salty stori, bee Monroe needs all the salt she n get. The Marilyn dtry is so eply soaked her crackups—shakg the poor woman until we n hear the slosh of booze and the rattle of pills—that 's soberg to get back to the floozie wh the forked tongue. If "Some Like It Hot" remas her bt as well as her most celebrated film, that is bee Wilr was lucky enough, and perceptive enough, to tch Marilyn when her balance was still tact. Wilr knew precisely how good a edian she was, he knew the rat of be to fluff, and he saw that her pathos—which the public, avid for the crash of failg marriag, was creasgly keen to ascribe to her—wasn't worth a damn unls me wrapped shg l. "That's the story of my life: I always get the fuzzy end of the lollipop" is dangeroly close to one of Marilyn's private nfsns, but Wilr and Diamond give the image such a lick and a twist that slots que happily to the given scene—Sugar Cane chattg to the new girls on the tra headg south, and takg a slug om the flask of bourbon that she keeps tucked to her garter. Shortly afterward, she jumps to bed wh Jack Lemmon, jt for fort. Both are nightgowns:</p><p class="paywall">S<em class="small">UGAR</em>: When I was a ltle girl, on ld nights like this, I ed to crawl to bed wh my sister. We'd cuddle up unr the vers, and pretend we were lost a dark ve, and were tryg to fd our way out. <br/>J<em class="small">ERRY</em>: (moppg his brow) Intertg.</p><p class="paywall">It's only when you read this the Taschen book, as part of the prted screenplay, that you realize how fantastilly dirty is. (Dirtier, ed, than plays onscreen, where Lemmon adds a "very" and oths the le up wh a giggle.) Somehow, unr the mouflage of a joke, Wilr got that dark-ve stuff past the censors; if challenged, prumably, he uld always claim to be unwise the ways of symbolism. A lollipop was jt a thg you sucked.</p><p class="paywall">Taschen sav the bt for last. The third sectn is a roundup of the global reactn to the movie, cludg a Mexin poster for "Una Eva y Dos Adan" and a newspaper clippg announcg that, whatever some might like, was too damn hot for the state of Kansas. (The thori wanted to cut the smooch on the yacht between Curtis and Monroe, which he feigns impotence and v her to cure , but Uned Artists said no.) Fally, tucked to the si of the back ver is a scrappy-lookg notebook: an exact reproductn of Marilyn's own shootg script. It is not very long— ntas only her l, wh the ends of the l that prece them, so as not to nfound her—and scrawled here and there are her azzled, misspelled ments and jabs of self-persuasn: "<em>what</em> am I dog," "ocent," "Actg beg private public to be Brave." On the ont, she put her name and addrs—"MARiLYN MONROE, GoLdWyN Studs, N. FORMOSA," se the book got lost. Or, more likely, se <em>she</em> got lost. Once, when filmg "The Seven Year Itch," she arrived at eleven o'clock for an eight-thirty start; when Wilr wanted to know what had happened, she replied that she uldn't fd the stud. "She'd only been unr ntract for six years," Wilr said later, wh one of his dry grs. A particular le readg for "Some Like It Hot" required eighty-three tak, at the end of which he told Marilyn not to worry. "Worry about what?" she asked.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">That sublime qutn hovers the air, whenever "Some Like It Hot" is showg, as blhely as a bird. It's as if Wilr were darg to give him a list of thgs—the dreadful evince of the world—that are worthy of signifint worry, and then swattg them asi. Remember, this is a film that looks on as a le of thugs m multiple murr a Chigo garage; Wilr shows only the thugs, however, not the jerkg bodi, and th giv leave to lgh. The picture begs ath, wh a rpectful shot of a hearse, and ends a double helpg of love. Ed Sikov, his clever, pend bgraphy of Wilr, quot the director one of his r moods: "Movi should be like amement parks. People should go to them to have fun."</p><p class="paywall">The fun Billy Wilr feels like an attack; sleepg around the office was never que the same after "The Apartment," which—ntrary to the charg of misogyny that have been laid at Wilr's door—pass much harr sentence on the guys than on the dolls. Yet, the more you learn of Wilr, the more you wonr whether his dialogue, as black and gleamg as wet k, might not have been his first le of fense. Like half the great Amerin directors, he was the pure product of Europe. Humphrey Bogart, who didn't take to Wilr on the set of "Sabra," labelled him a "Pssian German." Even by Bogie's standards, this was wi of the mark, sce Wilr was born a Polish Jew. He lived Krakow, Vienna, and Berl, where he ma his name wrg screenplays. In 1933, when Hler me to power, Wilr moved to Paris: "It seemed the wise thg for a Jew to do." Ls than a year later, as if the needle of his talent were seekg magic north, he me to Ameri, bearg, acrdg to Ed Sikov, pi of "Babbt," "A Farewell to Arms," and "Look Homeward, Angel," and the sum of eleven dollars.</p><p class="paywall">In 1945, he returned to Europe, the uniform of a lonel; he was workg for the Psychologil Warfare Divisn, and one of his duti was to view and cut the footage that was g om the ncentratn mps. This was then shown to German dienc. He also had to screen performers for the revival of cultural events, a task that me to a head when Anton Lang, who had played the part of Christ the Passn Play at Oberammerg before the war, and who had sce joed the S.S., requted permissn to take up the role once more. On one ndn, Wilr said: "Use real nails." It may be disncertg to fd one-lers flourishg, even at their btert, such ed soil, but is equally prumptuo to ph the matter further; as far as Billy Wilr knows, his mother, stepfather, and grandmother died at Achwz, and nobody n tell such a man how he should or should not rpond. If his first film after the war, a Tyrolian fantasy lled "The Emperor Waltz," starrg Bg Crosby lerhosen, seems almost pathologil s urge to ignore sufferg, so be . Wh time, seems that Wilr has returned to the scene of those crim: he tried to buy the rights to the Thomas Keneally novel "Schdler's List," and there was even talk of his emergg om retirement to direct. When Spielberg's film was released, Wilr approved, and he ed the ocsn to wre an article for a German newspaper, posg a quiet, unanswerable qutn to those who were tempted to doubt the existence of the Holot: "If the ncentratn mps and the gas chambers were all imagary, then please tell me—where is my mother?"</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="cjhvfo"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">For fans of his work, is legimate to ask whether Wilr's rtive habs—the migratns of an orphaned smopolan—somehow fd their way to the movi. The hero and hero his films may not go for many chang of scenery, but is there not somethg obssive the ease, or the eagerns, wh which they shift the landspe of their own liv, as if preparg at any stant to flee? First up is Gger Rogers, who adopts the not altogether credible disguise of a twelve-year-old girl "The Major and the Mor" (1942), Wilr's first film as an Amerin director. Then we have Franchot Tone "Five Grav to Cairo" (1943), pretendg to be a waer and beg mistaken for a spy; Audrey Hepburn "Love the Afternoon" (1957), the génue who pos as a fur-led sophistite the hope of snarg Gary Cooper; virtually the entire st of "The Apartment" (1960), followed by Jack Lemmon aga, "Irma La Douce" (1963), playg a lowly French p who pass himself off as an English lord. Fally, and most acridly, there is Kim Novak "Kiss Me, Stupid" (1964), the hooker who be a temporary wife.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-3 viewport-monor-anchor"></div><p class="paywall">Wilr is not the first person to nnect edy wh a taste for subterfuge, as anyone faiar wh "Twelfth Night" n nfirm. And Shakpeare has nothg to brag about, eher, given that he lifted half the plot of "The Comedy of Errors" om a play by Plt wrten around 200 B.C. All we n say is that, if Wilr had a vted tert shape-shiftg, "Some Like It Hot" brgs that tert to the boil. Joe and Jerry are not so much characters as quick-change artists wh good mil technique, and the fluidy of their self-ventn, like their sense of rhythm, nonts our feelgs of dullns and stolidy and merrily blows them away. When they first ci to drs as women, the mera honors the outrageons of the plan: no kooky shots of waxg and paddg, no closps of wig tape and tweezers, jt a straight, no-bullsh cut to the railroad statn and a hearty uple of broads. Wilr has always srned what he lls the "fancy-schmancy," and "Some Like It Hot" tak a nvoluted problem and lays on straight.</p><p class="paywall">That is why all efforts to tease a eper entanglement om Wilr's manic film are fated to fail. I looked up "Some Like It Hot" a chunky, five-volume work entled "Internatnal Dictnary of Films and Film-Makers," and me across the words:</p><p class="paywall">When Joe tri to assert his masculy wh Sugar, Jerry sists he mata his female inty. Aware of their dilemma, our pleasure be pennt on the ramifitns of genr intifitn and sexual exposure.</p><p class="paywall">As Osgood would say, "Zowie!" In fact, "Some Like It Hot" has almost nothg to tell about transvtism, and surprisgly few suggtns on the topic of homosexualy. It really is about two men who put on women's cloth to save their sks, and was part of Wilr's geni that he enuraged his leadg men to ph their fx girlishns oppose directns—Curtis toward the mure, Lemmon head first to the lubric and the loud. That way, we get no sgle statement on the pathology of cross-drsg, and we soon realize that we don't need one. Remember their heated exchange after Jerry gets engaged to Osgood:</p><p class="paywall">J<em class="small">OE:</em> Why would a guy want to marry a guy? <br/>J<em class="small">ERRY</em>: <em>Secury</em>.</p><p class="paywall">Lemmon really whacks that send syllable, and backs up wh a sharp shiver of his maras. (Wilr vised them as a prop; he need somethg for Lemmon to be dog while the dience lghed, so that Curtis's next straight le would not get buried. Get that for nfince.) Jerry isn't lyg, but he's not gay, eher; strangely, "Some Like It Hot" only be tly ght wh sexual nfn if you try to ci what will happen after the end of the picture. Image all four of them chasg each other around the fo'c'sle.</p><p class="paywall">So where do that leave Osgood's fal, ntented dictum: "Nobody's perfect"? As a universal tth, a wherg Wilr glance at life beyond the movie theatre, remas unimpeachable. As a wrap-up for "Some Like It Hot," however, 's ls of a sure thg. Insi this picture, everybody <em>is</em> perfect. It go whout sayg that nobody is good or morally servg, unls you unt the cmblg Sugar, yet all the dizzy men and women on display are allowed to fulfill the sential duti of their nature, to act as we would want them to act, and more than that we surely nnot ask. Wilr has often been disdaed by crics for his misanthropy, a plat that strik me as absurd; if we were to start strikg artists off the list bee of the attus they happen to hold toward humany, we would be left wh very few. For one thg, there would be pil of Flbert burng the street. More pertent is the qutn of what Wilr do wh this narrow-eyed spicn of his fellow-men, and the most vigoro reply is ma by "Some Like It Hot." The movie holds self between a sober regnn that none of n be tsted and the more spired, even stirrg sight of lovers strag every sew to break the cycle of disenchantment and keep their ridiculo promis. If that sounds tricky, you try strag a sew heels.</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="tg1vd9"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="mqjbe"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">All of which means that "Some Like It Hot" is an object of bety. Comedi, unr Hollywood law, are not supposed to be betiful, but Wilr's film, like "Sunset Boulevard" and "The Apartment," fds a balance between hope and spair, and that turn translat to a Vienne play of shadow and gleam. ("I hate lor," Wilr said, addg, "Even words sound phony when the picture is lor.") When the upright cizens of Kansas tried to ban "Some Like It Hot" bee of the scene on the yacht, they didn't know what they were missg: not merely Monroe's astoundg backls drs but the enticg glter when she turns off the lamp—a thoand pots of light, reflectg off the drs and the shelf of sportg trophi at the si. She is a trophy, too, but the geons of the scene mak her momentarily more prec than even Joe, wh his fogged spectacl, uld possibly know. Likewise, when Sugar thks she has lost her lnaire, she tak her sadns out on a song, "I'm Through wh Love," and Wilr lets her long vibrato—"For I mt have <em>you-oo-oo</em> or no one"—rg and ripple around the movie, as if uld halt the merry-go-round of nstant pursu, and as if her yearng were more than a silly csh. The happy endgs of "Some Like It Hot" and "The Apartment" are not tacked on as an afterthought or a sop; they rm that good fortune, cludg the luck of requed love, nnot be relied upon to arrive like a tra. It n only be grabbed passg, at the last gasp.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-4 viewport-monor-anchor"></div><p class="paywall">Billy Wilr knows what happs is; he once fed as havg a doctor who smok four packs a day. When the profs of "Some Like It Hot" me , he himself was hand $1.2 ln, which 1960 was a lot of dough. He bought himself two Pl Kle, an Egon Schiele, and a uple of Braqu, to go wh his Balth and his Matisse: happs you n stare at. Almost three s later, he was asked, all serns, whether he would have ma movi if he hadn't been paid to do so. And Wilr, the man who has told more ld tths than many of would re to hear, didn't hate for a send: "What do you thk, I'm a sucker?" ♦</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="9gken"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 PaywallInleBarrierWhWrapperGrid-fyrGfS kLQIUk grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__le-barrier article__body"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"><asi class="PaywallInleBarrierWrapper-iBnuqk lfXXa-D" data-ttid="PaywallInleBarrierWrapper"><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--paywall-le-barrier" role="prentatn" aria-live="pole" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--paywall-le-barrier"></div><div class="journey-un"></div></div></asi></div></div></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ContentWrapperGrid-fvkmBv brYtrA grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__ntaer"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"></div></div></div></div></div></div></article><div class="ContentFooterWrapper-jVNdRG dTJkpP ArticlePageContentFooterGrid-ccsXYy eMZRHU article-body__footer"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><footer class="ContentFooterMagazeDisclaimer-gzKAqo iZIuUU" data-ttid="MagazeDisclaimerWrapper">Published the prt edn of the <a href="/magaze/2001/10/22" data-reactroot="">October 22, 2001</a>, issue.</footer></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"></div></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="ContributorsWrapper-eNpWFu GWFsc ntributors" data-ttid="Contributors"><div class="ContributorBWrapper-bnVHbt gMon"><div class="ContributorBAvatar-bIGTqf eMWbvj"><a href="/ntributors/anthony-lane"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w" siz="100vw"/><img alt="" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></span></a></div><div class="ContributorBContent-ubQdr jZTSSi"><div class="ContributorBHear-ledood XOIEx"></div><div class="ContributorBB-fBolsO giFhKz"><a href="/ntributors/anthony-lane">Anthony Lane</a> has been a film cric for The New Yorker sce 1993. He is the thor of “<a href=">Nobody’s Perfect</a>.”</div><div class="ContributorBFooter-brqDlv ezUmSv"></div></div></div></div></div></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div data-ttid="TagCloudWrapper" class="TagCloudWrapper-gGgndx ctyZyK ContentFooterTagCloud-krQmRG ZLGh"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudSectnHear-cOforY iUEiRd bPyAoD kQQRmu">More:</span><a href="/tag/books" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Books</span></a></div></div></div></div><div data-ttid="ContentFooterBottom" class="ContentFooterBottom-jwWZfC kcbyiW"><div class="ContentFooterNewsletterContentWrapper-bmjtna kixtae"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div data-ttid="NewsletterSubscribeFormWrapper" class="NewsletterSubscribeFormWrapper-fCqqkN jKSBhE newsletter-subscribe-form ContentFooterNewsletterForm-hKeYwa liPqcf"><div data-ttid="NewsletterSubscribeFormHedDekWrapper" class="NewsletterSubscribeFormHedDekWrapper-fpMElW eglIBL"><h3 class="NewsletterSubscribeFormDangeroHed-kRwWjt kbxOa-D newsletter-subscribe-form__hed ContentFooterNewsletterForm-hKeYwa liPqcf">Books & Fictn</h3><div class="NewsletterSubscribeFormDek-kXonvc cKOhTM newsletter-subscribe-form__k">Short stori and poems, pl thor terviews, profil, and tal om the world of lerature.</div></div><div data-ttid="NewsletterSubscribeFormInputsWrapper" class="NewsletterSubscribeFormInputsWrapper-keARJE hVWbzr"><form class="form-wh-validatn NewsletterSubscribeFormValidatn-iCYa-Dt dweEln" id="newsletter" name="newsletter" novalidate="" method="POST"><span class="TextFieldWrapper-Pzdqp hNhevp text-field" data-ttid="TextFieldWrapper__email"><label class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TextFieldLabel-klrYvg iUEiRd stdEm fvoOvz text-field__label text-field__label--sgle-le" for="newsletter-text-field-email" data-ttid="TextFieldLabel__email"><div class="TextFieldLabelText-cvvxBl eeDYTb">E-mail addrs</div><div class="TextFieldInputContaer-jcMPhb oFrOs"><put type="email" aria-scribedby="privacy-text" aria-valid="false" id="newsletter-text-field-email" required="" name="email" placeholr="E-mail addrs" class="BaseInput-fAzTdK TextFieldControlInput-eFUxkf eGzzTT laFPCK text-field__ntrol text-field__ntrol--put" data-ttid="TextFieldInput__email"/></div></label><button class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv dwpimO button button--utily TextFieldButton-csBrgY edxbrw" data-event-click="{"element":"Button"}" data-ttid="Button" type="subm"><span class="ButtonLabel-cjAuJN hzwRuG button__label">Sign up</span></button></span><div id="privacy-text" tabx="-1" class="NewsletterSubscribeFormDisclaimer-bTVtiV bsgLJZ"><span><p>By signg up, you agree to our <a href=" rel="nofollow noopener noreferrer" target="_blank">User Agreement</a> and <a href=" rel="nofollow noopener noreferrer" target="_blank">Privacy Policy & Cookie Statement</a>. 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summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-1" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="How Larry Gagosian Rhaped the Art World" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl ldWYvC summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Profil</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-1" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">How Larry Gagosian Rhaped the Art World</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-1" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="How Larry Gagosian Rhaped the Art World" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">The aler has been so succsful sellg art to masters of the universe that he has bee one of them.</div><div class="SummaryItemByleWrapper-boCfbi hYsZi summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Patrick Radn Keefe</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hlYhBH summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm eamwqR" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="On Killg Charl Dickens" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl ldWYvC summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Life and Letters</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-2" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">On Killg Charl Dickens</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="On Killg Charl Dickens" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">I did everythg I uld to avoid wrg my historil novel. When I fally started “The Frd,” one prciple was clear: no Dickens.</div><div class="SummaryItemByleWrapper-boCfbi hYsZi summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Zadie Smh</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hlYhBH summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm eamwqR" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Country Mic’s Culture Wars and the Remakg of Nashville" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl ldWYvC summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Amerin Chronicl</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-3" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">Country Mic’s Culture Wars and the Remakg of Nashville</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Country Mic’s Culture Wars and the Remakg of Nashville" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">Tennsee’s ernment has turned hard red, but a new set of outlaw songwrers is challengg Mic Cy’s nservative ways—and lg bro-untry sound.</div><div class="SummaryItemByleWrapper-boCfbi hYsZi summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Ey Nsbm</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hlYhBH summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard 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