Archive for Frank Sinatra

The Bad, The Bad and the Bad

Posted in FILM with tags , , , , , , , , , , , , , , , , , on October 17, 2019 by dcairns

FOUR FOR TEXAS is the Aldrich movie which sent him running back to hagsploitation. Apparently he didn’t have a good time with Frank & Dino. Frank & Dino were enough to make Bette & Joan look like a rest holiday. Frank & Dino together in a western is altogether too much of a disputably good thing, I think — it matters in RIO BRAVO that Dino has Duke to balance out the goombah energy with some more “authentic” movie-cowboy attitude.

Talk about spaghetti westerns. In fact, the first ten minutes of this one, a stagecoach raid and a series of reversals with the two stars pulling guns on one another over a carpetbag full of loot, plays quite Leonesque. Cynical, amoral, with a cold-hearted attitude to the little guy, who in this case is Percy Helton so maybe we can say it’s justified? But it’s the “zany” Leone of MY NAME IS NOBODY, all trick opticals and flippancy. Still, it really feels like a miniature dry run for the Italian west, just as VERA CRUZ feels like a more coherent and successful early clue to the new direction.

Then, however, the film gets REALLY bad. It follows the basic pattern of anything that’s died: stinking, bloating and decaying before your watering eyes. Sure, lots of familiar Aldrich faces show up, including V. Buono and that irritating va-va-voom fucker from KISS ME DEADLY. Who tragically doesn’t get blown up in this one.

Admittedly, I was watching a 4:3 DVD (why do such things exist?) but once the movie moves into town and indoors, the effect becomes very televisual, apart from one or two eyeball-searing sets. I can’t be fair to the film having seen it in the wrong ratio, but somehow I don’t WANT to be fair to it.

“Ekberg! Dead ahead!

“Why does this film sound like Batman?” asked Fiona, wandering in like a small child. I looked up Nelson Riddle, composer — her diagnosis was spot-on. I could wish it sounded EVEN MORE like Batman, had the Batman TV theme tune, in fact, and maybe starred Adam West as Batman. Was Buono ever a Batman villain? Any speculations as to his probable villain name are almost certainly going to make me sound fattist, and I’m not skinny enough for that look.

(Here’s how you figure out your Batman villain name: you pick something you always do, and put “‘er” on the end of it and “the” on the front.)

New Batman villain: The Flasher.

The movie is written by a woman, Teddi Sherman, a western specialist. Aldrich liked to selflessly claim the blame for the script also, and IMDb has the great W.R. Burnett playing some kind of wisely uncredited writing role.

The women are all costumed as if for a porno western.

Charles Bronson is maybe the only performer to emerge with credit, and it makes sense that Leone selected him.

Maybe watch the first reel but then avoid avoid avoid.

Everyone’s in it! I really found myself hating the leads. Phonetic transcriptions of Ursula Andress’s line readings would be the only way to get any pleasure out of this one.

“I’m glat you feels zat way. Main who worry about little sings bo-arr me.”

“I like main whoh wurr about me.”

“I was afraid off der disaternoon you may sink my gown wuss too raivealing.”

“Ope erhaps you fail like most American mendoo.”

It’s not clear that the Three Stooges are CORRECTLY UTILISED.

FOUR FOR TEXAS stars Tony Rime; Matt Helm; the killer nun; Honey Ryder; Paul Kersey; Edwin Flagg; Daggoo; Pablo Gonzalez; ‘Knuckles’ Greer; ‘Moose’ Malloy; Lt. Pat Murphy; Dehlia Flagg; Wilma Lentz; Grandma Walton; Alamosa Bill; Miss Hearing Aid; Dr. Lehman; Mr. Peevey; ‘Dum-Dum’ Clarke; Og Oggilby; and Not Themselves.

Fuzzy Frank

Posted in FILM with tags , , , , on October 13, 2017 by dcairns

I’ve just stolen a copy of John Frankenheimer: A Conversation, by Charles Champlin. It’s really good. Before I return it, I’ll quote a bit. Frankenheimer on Sinatra in THE MANCHURIAN CANDIDATE:

His big scene in the picture is his confrontation with Raymond when he holds up a deck of cards and they’re all the Queen of Hearts. […] And Frank was incredible in his close-up. We embraced afterwards, he was that good.

But when I looked at the dailies the next day, the close-up was out of focus. The only thing that was in focus was the oak leaf insignias on Frank’s shoulders. The assistant cameraman had made a mistake.

Going to tell Frank–he didn’t watch the dailies–was the longest walk of my life. He was crushed; he almost cried. “My God, what can we do?” he said. I told him the only thing we could do was re-shoot it.

We re-scheduled the shoot, but he had laryngitis so he couldn’t do it. We re-scheduled again and he was so uptight about it he was physically sick to his stomach before we began. We did three or four takes, and none of them was really any good. We scheduled it again and did some more takes. But it wasn’t there; he couldn’t do it. So I finally said, “Screw it, I’m going to use the one that’s out of focus.” I put it in the movie, and it becomes Raymond looking at him, kind of brain-washing him.

I got the greatest reviews of my life for that shot.

Fifty Shades of Kathryn Grayson

Posted in FILM, MUSIC with tags , , , , , , on January 31, 2017 by dcairns

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ANCHORS AWEIGH! may not be ON THE TOWN, but then, what is? It’s jolly good, and George Sidney directs with colossal, cartoonish energy. The score is so enthusiastic, so animated, it’s no surprise when Tom & Jerry turn up in person (though it’s a somewhat disturbing surprise when Jerry speaks, with a woman’s voice.

However, despite enjoying the wit and visual invention of the storytelling and filming, and the songs, and Gene Kelly’s dancing and the relentless portrayal of Frank Sinatra as an utter chump, which does not seem, in retrospect, like an obvious idea — I *did* feel occasional pangs of existential angst at Kathryn Grayson’s insanely chirpy countenance and incessant trilling and twinkling. And when the screen faded to black leaving only her eye-gleams, like pinholes into the Beyond, I was somewhat chilled.

But here’s a lovely transition caught halfway —

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And this bit is hilarious. Fascinatingly so, since it shows our heroes forced to improvise a song for plot reasons. Now, characters in musicals seem able to improvise songs at the drop of a hat, and we never question their preternatural skill. Now, just because the story requires it, Gene and Frank really have to struggle — even though the basic song, “If You Knew Susie,” is a familiar one. Think about it. What gives?

Bonus: a wildly improbably Grady Sutton as love rival.