![]() ![]() Their second film was perhaps Wilder’s funniest, the classic Some Like It Hot (1959), in which Tony Curtis and Jack Lemmon hide from mobsters by disguising themselves as women. Writing with I.A.L.ĭiamond heightened Wilder’s genius for plot construction and verbal repartee and brought a new sharpness to the satire. In the face of such blandness and unreality, the films of Billy Wilder seem all the more inspired. ![]() Other popular vanilla entertainment of the time included Doris Day’s romantic comedies opposite Rock Hudson (Pillow Talk, 1959 Lover Come Back, 1962), Cary Grant (That Touch Of Mink, 1962), and James Garner (The Thrill Of It All, 1963 Move Over Darling, 1963). ![]() Blending broad humor with fantasy and aiming at an audience of youngsters, the studio made stars of Fred MacMurray (The Shaggy Dog, 1959 The Absent-Minded Professor, 1961 Son Of Flubber, 1963), Tommy Kirk (The Misadventures Of Merlin Jones, 1964 The Monkey’s Uncle, 1965), Dean Jones (That Darn Cat, 1965 The Ugly Dachshund, 1966 The 1,000,000 Dollar Duck, 1971), and a Volkswagen (The Love Bug, 1969 Herbie Rides Again, 1974 Herbie Goes To Monte Carlo, 1977). Although now rarely revived and barely remembered, the Walt Disney Company’s live-action comedies were among the biggest box-office hits up until the late ’70s. The genre returned with two hit films which typify the extremes in audience tastes: The Shaggy Dog and Some Like It Hot. In 1959 it came back and has remained a steady part of America’s film diet ever since. By the mid 1950s, comedy virtually disappeared from the lists of top-ten moneymaking films. ![]()
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