[Quick Summary: Two musicians witness a murder & hide out as part of an all girl orchestra band.]
I think this is on the list because of the tennis match dialogue.
ex. Around p. 24, Sugar (Marilyn Monroe) confides in her friend Josephine/Joe that she's had it with men, & that she has got a soft spot for sax players with glasses.
Joe desperately wants to confess, "I can be that man!" but doesn't dare. Sugar has only opened the floodgates because she thinks it's her girlfriend Josephine. If Sugar knew it was Joe, she'd hate him.
So he just rapidly responds with one word answers to keep her talking.
Yet every double entendre is a knife in his heart. The audience it transfixed on Joe. How much longer will he have to undergo this internal agony?
We're invested in what he's experiencing rather than trying to jump ahead.
Not too many films can keep an audience pinned in the moment like that.
WHAT I'VE LEARNED: Great dialogue emphasizes the importance of Now.
Some Like It Hot (1959)
by Billy Wilder & I.A.L. Diamond