"I"m a girl," Lemmon answers miserably. They are lost in a male fantasy, disguised and able to observe women without being observed themselves. This results in scopophilia, as they attain pleasure from seeing the girls as objects of sexual stimulation. "It's like falling into a tub of butter!" exclaims Lemmon. "No butter, no sugar! We"re on a diet!" replies Curtis. This is also referencing to Monroe's character, Sugar Kane. "Boy, I"d like to borrow a cup of that sugar!" Leers Lemmon.
The second time we see Marilyn she is caught swigging from a hip flask that she then hides away in her garter belt. She then turns around and asks innocently: "Are my seams straight?" It appears that she is asking to be looked at and desired, even though she is saying this to women (or so she thinks) This is another example of the "male gaze" as she offers up her body to be made into an object. "I"ll say!" Curtis replies, as he and Lemmon gork at her legs.We see her sexuality through the male eyes of Lemmon and Curtis, and when she is singing with the band on the train Lemmon is so busy eying up Marilyn's behind that he doesn't realise he is playing the wrong side of the bass. Curtis turns Marilyn into an object of fetish. Freud believed that female sexuality was dangerous, but turning it into an object of fetish results in it being under male control. Fetishist scopophilia focuses on the look of Marilyn alone, and if it were not for her sexuality she would have no part in the narrative at all. The flawless female beauty stops the flow of action. Marilyn is displayed for immediate gaze and enjoyment of the male spectator. This is particularly apparent in Marilyn's solo of "I Wanna be Loved by You" she wears a clinging, see through dress, gauze covering the upper slopes of her breasts. Wilder places her in the centre of a round spotlight that doesn't simply illuminate her from the waist up but dips and clings as Monroe moves her body higher and lower in the light.
