Some Like It Hot - Ending Explained

The entire plot of Some Like It Hot is a carefully constructed series of reveals and escalating complications. The central deception is that Joe and Jerry are men disguised as women to hide from the mob after witnessing the St. Valentine's Day Massacre. This leads to the film's main romantic and comedic entanglements. The first major twist in their plan is both of them falling for Sugar Kane. Joe then complicates matters further by creating a second, male disguise: the shy, impotent millionaire 'Junior,' heir to Shell Oil, in a calculated effort to seduce Sugar. He successfully woos her aboard Osgood Fielding III's yacht, which he has commandeered for the night.

Meanwhile, Jerry as Daphne, in trying to fend off the advances of the real millionaire Osgood, accidentally gets engaged to him. The climax occurs when the mob, led by 'Spats' Colombo, arrives at the same Florida hotel for a convention of 'Friends of Italian Opera.' Their cover is blown, and a chaotic chase ensues through the hotel. Spats and his gang are ultimately gunned down in an elevator by their own boss in a parody of their earlier massacre.

In the final sequence, Joe, Jerry, and Sugar escape with Osgood on his yacht. Joe confesses his entire deception to Sugar. Instead of being angry, she kisses him, admitting she doesn't care that he's not a millionaire because she loves him. The film's final and most famous reveal comes when Jerry, as Daphne, tries to list all the reasons he can't marry Osgood, finally culminating in him ripping off his wig and shouting, "I'm a man!" Osgood, completely unfazed, smiles and delivers the iconic line: "Well, nobody's perfect." This ending leaves the resolution of Jerry and Osgood's relationship wonderfully ambiguous, concluding the film on a perfect note of comedic surprise and radical acceptance.

While on the surface a straightforward farce, Some Like It Hot has invited various interpretations, particularly concerning its ending and themes of gender identity. One common interpretation views the film as a deeply subversive text that uses comedy to explore queer themes. Jerry's enthusiastic embrace of his Daphne persona—especially his joyous exclamation of "I am!" when asked who the lucky girl is in his engagement—is seen by some critics as a journey of discovering a more authentic, perhaps gender-fluid, identity. In this reading, Osgood's final line is not just a punchline but a radical statement of acceptance of a non-binary or queer relationship.

A contrasting view argues that the film is primarily a screwball comedy and that reading too much into its gender politics is anachronistic. This perspective suggests that the cross-dressing is purely a comedic device for creating absurd situations and that Wilder's main goal was entertainment, not social commentary. According to this interpretation, the film is about the lengths people will go for self-preservation and romance, and the gender-bending is simply the hilarious catalyst for the plot. A third perspective finds a middle ground, acknowledging the film's primary goal as comedy while recognizing that its genius lies in its ability to weave in surprisingly progressive and thought-provoking ideas about identity and acceptance, making it a film that was both a product of its time and remarkably ahead of it.