Category Archives: Frank Sinatra

1955 Films, Frank Sinatra, Jean Simmons, Joseph L. Mankiewicz, Marlon Brando, Musical

Guys and Dolls-1955

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Guys and Dolls-1955

Director Joseph L. Mankiewicz

Starring Marlon Brando, Frank Sinatra

Scott’s Review #887

Reviewed April 19, 2019

Grade: B+

The interesting pairing of Marlon Brando and Frank Sinatra in the playful musical Guys and Dolls (1955) provides enough bombast and playboy inclinations to make the music lively and entertaining.

Though not one of my all-time favorites in the genre the film keeps up the pace with a nice flow and hearty musical numbers that successfully transfer the Broadway show to the big screen with an endearing production.

Nathan Detroit (Sinatra) is a full-fledged gambler, living and breathing the sport although commonly taken to task for his deeds. As the police clamp down on the shenanigans around town he is desperate to obtain a deposit for use of a secret venue allowing gambling.

Spotting acquaintance and fellow gambler Sky Masterson (Brando) the duo embark on a ridiculous and hilarious bet involving Sky’s invitation to dinner in Havana, Cuba with Sarah Brown (Jean Simmons) a devout religious figure and non-gambler.

Predictably, events spiral out of control with romance, misunderstandings, and charming musical numbers.

The setup is plot-driven but forgivable given the fun involved. We are certain that Masterson will fall head-over-heels for missionary and seemingly unobtainable Sarah.

Will he get the girl? Will she forgive him when she realizes what Masterson and Nathan have hatched at her expense? Of course, the fun is in the revelations as the film goes along.

Naturally, Nathan has his antics; he must marry his years-long intended Adelaide (Vivian Blaine) because of losing a different bet.

The premise, the plot, and the conclusion all feel rather frivolous and a bit chauvinistic in the modern world as many 1950s productions do.

The film is a clear case of a naughty guy meeting a good girl, the guy pursues the girl, the guy gets the girl, and the guy and girl ride off into the sunset, so the overall production is not cutting edge nor particularly progressive but is okay because of the fun and good chemistry among the characters.

Brando and Sinatra possess as much chemistry together as Brando and Simmons do.

The conclusion is satisfying and wrapped neatly like a tidy Christmas bow. To no one’s surprise, both couples tie the knot in beautiful style as all the misfires and misunderstandings end with a double wedding in the middle of Times Square, with Sky marrying Sarah, and Nathan marrying Adelaide.

A perfect climax and a way to show the bright and bustling New York City amid a romantic backdrop can forgive any other weaknesses the film may contain.

What makes the film rise above standard fare or mediocrity as an overall piece is the wonderfully adorable tunes and Sinatra and Brando as a duo. The actor-turned-singer Brando and the singer-turned-actor Sinatra crackle with harmony as they play off each other in style.

The clap-along “Sit Down You’re Rockin’ the Boat” never fails to get any audience on its feet and the clever “Luck Be a Lady”, a classic Sinatra standard, still resonates today.

The art direction, cinematography, costumes, and music all wrap the film together nicely allowing the film a tight and well-muscled extravagant feel with maturity and richness perfect for the decade the film was released in.

Guys and Dolls sits beside other musicals with a style all its own. A handful of Oscar nominations followed though none for the top honors of Picture of any acting nominations.

The 1960s brought a decidedly darker texture to cinema leaving many 1950s films feeling dated or superfluous compared to more important story directions.

While this is the case with Guys and Dolls (1955) there also exists an innocence in watching the pure and charming character relationships and the resulting fun and frolicking.

A lively musical score, the bright lights of New York City, and the unusual locale of Cuba make the film lovely entertainment.

Oscar Nominations: Best Scoring of a Musical Picture, Best Art Direction, Color, Best Cinematography, Color, Best Costume Design, Color

1953 Films, Best Film of the Year, Best Picture Oscar Winners, Burt Lancaster, Claude Akins, Deborah Kerr, Donna Reed, Drama, Ernest Borgnine, Frank Sinatra, Fred Zinnemann, George Reeves, Jack Warden, Montgomery Clift, Romantic Drama, War

From Here to Eternity-1953

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From Here to Eternity-1953

Director Fred Zinnemann

Starring Burt Lancaster, Deborah Kerr, Montgomery Clift

Scott’s Review #875

Reviewed March 7, 2019

Grade: A

Based on a popular novel of the same name, written by James Jones in 1952, From Here to Eternity (1953) tells a powerful story of romance and drama set against the gorgeous backdrop of Hawaii.

The film is poignant and sentimental for its build-up to the World War II Pearl Harbor attacks, further enhancing the storytelling.

With great acting and a compelling story, the film is a bombastic Hollywood creation that conquers the test of time remaining timeless.

A trio of United States Army personnel is stationed on the sunny island of Oahu. First Sergeant Milton Warden (Burt Lancaster), Private Robert E. Lee Prewitt (Montgomery Clift), and Private Angelo Maggio (Frank Sinatra) are the main principals, and their life in the Schofield Army Barrack is chronicled.

They are joined by respective love interests Alma Lorene (Donna Reed) and Karen Holmes (Deborah Kerr) and the triumphs and sorrows of each are explored dramatically before the devastating incident set to take place.

The film’s perspective is centered around the male characters which risks the film being classified as a “guy’s movie”. Enough melodrama and romance exist to offset the testosterone and masculinity, and as the characters weave in and out of each other’s lives, a broader canvas is painted.

This point is to the film’s credit as each character is rich with development, sympathy, or sometimes pure anger.

Many films have been told, and continue to be told throughout the decades, of the terrors and after-effects of World War II but From Here to Eternity remains towards the top of the heap. While not going full throttle with too much violence or grit, the film tells of the trials and tribulations of people affected and soon to be affected by the war.

The characters co-exist peacefully in their little slice of the world though there is the occasional bullying or insubordination among the ranks, the romance soon takes center stage followed by the dire attacks.

The smoldering beach scene featuring Burt Lancaster and Deborah Kerr on the ravaging shores of Halona Cove is as iconic as a cinematic moment ever existed. Rumors of the star’s torrid love affair and the need to run off to make love after shooting the scene could be a myth but have never been disproven.

Reportedly the camera crew shot the scene quickly and left the duo to their desires. Regardless, the scene may cause the iciest of hearts to turn into a torrent of heart-pounding flutters.

The film suddenly takes a dark turn as if realizing that it is a film about a devastating war. A major character dies and another character goes on the hunt for revenge. Despite these deaths not being at the hands of an enemy or a battle they are powerful and dim.

Finally, the attack on Pearl Harbor is upon us just as the audience no doubt will sense is coming and ends sadly with simple dialogue between the two main female characters.

Thanks to fine direction by novice director Fred Zinnemann, From Here to Eternity (1953) elicits a pure breadth of emotions and subject matters.

At its core a cynical film, the picture is also rich with courage, integrity, and love of one’s country without suffering from phony false patriotism.

With a dash of romance and sexuality, the film is utterly memorable and deserving of the hefty Academy Awards it achieved.

Oscar Nominations: 8 wins– Best Motion Picture (won), Best Director-Fred Zinnemann (won), Best Actor-Montgomery Clift, Burt Lancaster, Best Actress-Deborah Kerr, Best Supporting Actor-Frank Sinatra (won), Best Supporting Actress-Donna Reed (won), Best Screenplay (won), Best Musical Score of a Dramatic or Comedy Picture, Best Sound Recording (won), Best Cinematography, Black-and-White (won), Best Costume Design, Black-and-White, Best Film Editing (won)

1962 Films, Angela Lansbury, Frank Sinatra, Janet Leigh, John Frankenheimer, Laurence Harvey, Political Thriller, Thriller

The Manchurian Candidate-1962

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The Manchurian Candidate-1962

Director John Frankenheimer

Starring Frank Sinatra, Laurence Harvey

Scott’s Review #852

Reviewed January 3, 2019

Grade: A

The Manchurian Candidate (1962) is an enthralling film that perfectly captures the political landscape of the time and continues to be relevant in present-day politics. Taut, mysterious, and filled with great twists and turns, the film flows nicely and climaxes with a shocking crescendo.

With compelling performances by all and a brilliant musical score, the film fires on all cylinders and can be watched and enjoyed repeatedly.

Events began in 1952 during the bloody Korean War. A United States platoon consisting of several men is accosted by the Soviets and sent to communist China for experimentation.

Three days later the men return as if nothing happened and Sergeant Raymond Shaw (Laurence Harvey) is proclaimed a hero and awarded the Medal of Honor for saving the men’s lives. When the war ends the men return to the United States to resume normal lives.

Years later Captain Bennett Marco (Frank Sinatra) suffers from recurring nightmares in which Shaw murders two missing soldiers in front of a panel in a bizarre brainwashing demonstration. When another soldier in the platoon has the same nightmares Army Intelligence begins an investigation.

Further complicating the plot is Raymond’s ambitious mother Eleanor Iselin (Angela Lansbury) and her attempt to guide her husband Senator Iselin (James Gregory) to further power using any means necessary.

The Manchurian Candidate is a film that requires attention to appreciate and understand.

The plot is highly complex, but that is a testament to the composition of the film and hardly a complaint. The viewer must stay on course to appreciate the intricate details.

Director John Frankenheimer is fantastic at adding unique dramatic effects and imaginative film-making. A prime example is the brainwashing sequence as dialogue is interspersed between what the soldiers think is happening (a peaceful grandmotherly horticulture demonstration) and reality (a dastardly experiment involving murder and programming).

Despite Sinatra being billed as the lead in the film the most treasured props go to Lansbury as Eleanor and Harvey as Shaw. Raymond is the character most developed and we see several sides to him. Primarily a loner who appears cold and harsh, this is due to his being programmed to assassinate.

A sequence involving the love of his life, Jocelyn (Leslie Parrish), and a romantic summer they share is beautiful and innocent as it contrasts with the dismal and manufactured “new Raymond”.

Lansbury has never been cast in a more challenging role. Eleanor is determined to stop at nothing to ensure her husband will reach the presidency and connives and cheats her way to the top. Still, the part is written as such to avoid making her a complete one-note character despite her ways.

In an eerie scene close to the finale she vows payback for what has been done to Raymond and then plants an incestuous kiss on his lips. An odd and disturbing moment, the scene also justifies in her mind the lengths she has gone to get what she wants.

The musical score is lovely and contradicts the dour backstabbing and espionage throughout. Romantic and sweet melodies abound and classic hymns like The Twelve Days of Christmas and The Star-Spangled Banner are included in the film.

As a result, The Manchurian Candidate’s score feels multi-faceted, patriotic, and artistic with enchanting results.

The Manchurian Candidate (1962) is a stellar film with a perfect blend of thrills, deceit, politics, and creative filmmaking to make it a bold classic. The final sequence is jaw-dropping in its finality and brutality.

Remade in 2004 with a great cast yet a poor script, avoid that one at all costs and enjoy the power and lasting effects of the original.

Oscar Nominations: Best Supporting Actress-Angela Lansbury, Best Film Editing