Critical film analysis: methods and applications

¶ … Hot is a classic Hollywood comedy with Jack Lemmon, Tony Curtis, and Marilyn Monroe, and it is special in many ways. Directed by Billy Wilder, a legendary director in Hollywood, the film was shot in black and white, and uses straightforward lighting, camera shots, and editing to create a film that is visual, but never takes anything away from the cast, the script, and the setting. It is the acting and the music that all add up to make this film memorable, and it is an excellent example of when to use unique camera and lighting techniques, and when not to.

Most of the camera shots in this film are straightforward. There are several deep-focus scenes, such as the pivotal scene in the garage when the car careens into the garage, and then the men are lined up against the wall. The lighting in this scene is dark in the corner where the two musicians are hiding and lighter when the men are lined up under the window, just as it would be in a garage. Wilder uses everyday techniques like this to illustrate these characters are "average Joes" thrown into a silly and decidedly non-average situation. This is a comedy, so the camera, lighting, editing, and sound should not take away from the cast and the script, and that is one reason Wilder uses mostly straightforward techniques in the film.

There are numerous two-shots in the film that concentrate on the relationship between the characters. Often, Lemmon and Curtis fill up the screen, but there are also plenty of other two-shots featuring Monroe and Curtis and Lemmon and Joe E. Brown. The center of this film is the relationships between the characters, and these two-shots help build those relationships. Lighting is also straightforward, with little backlighting or special techniques. One exception is the scene where Monroe sings "I Wanna be Loved by You," in a decidedly see-through and risque gown. The spotlight cuts Monroe off just above her ample bosom, leaving the rest of the revealing dress in shadow, but leaving little to the imagination. The lighting could have been a result of censorship at the time (1959), but the dress shows up under regular lighting later, so the lighting in the nightclub scene could just have been used for dramatic effect.

Close-ups are also used often, but not as often as the two-shots and deep-focus shots. This may be that the two men looked more like women from further away, and so, the camera was kept at a distance to help keep up the masquerade. There were a few low camera angles looking at feet and legs, primarily the two men as they learned to walk in heels and Monroe when she is introduced in the film. The "Spats" character is almost always introduced by a close-up of the floor and the spotlessly clean spats he wears on his shoes, which is where he gets his nickname. Other than that, most of the camera angles are straight on, and mid-range focus is used for most of the shots. Another exception are the outdoor shots, which tend to include at least some of the background in the shots. For example, when Curtis meets Monroe on the beach, the shot is medium to wide, with a nice view of the Hotel del Coronado in the background. This helps set the stage, but it also keeps distance between the characters at first, so other camera angles can show them getting closer as the film progresses.