I’ve enjoyed watching and writing about some of Frank Sinatra’s films over the last few weeks – and would like to thank everyone who has contributed such great comments. People made a lot of interesting suggestions in response to my question about which were his greatest film songs – and now I’ve got another question to pose. Which is his best film performance as an actor? Here are a few thoughts, linking in to some of the reviews I’ve written here. I have quite a few well-known films still to see, so would especially appreciate thoughts and recommendations on those.
Rod, one commenter who knows a lot about Sinatra’s work, has already suggested that the answer to that question might be the film I’ve just written about, The Man with the Golden Arm. Sinatra is full of intensity, but never hammy, as junkie Frankie Machine – and heartbreaking as the character’s desperation for a fix builds. As I said in my review, I feel the film somewhat cops out towards the end, but Sinatra himself gives a fearless performance and fully deserved his Oscar nomination.
So what about the film he actually won a supporting actor Oscar for, and which reinvigorated his whole career after a famously bleak patch – From Here to Eternity? I’ll admit it is quite a while since I saw this (I meant to fit in a viewing over the last few weeks but time ran out) – but, apart from the iconic image of Burt Lancaster and Deborah Kerr lying on the beach, the scenes which stick in my mind the most are those involving Sinatra’s character, Angelo Maggio. I can’t be sure how the performance compares with his others after all this time, but would be interested to hear what others think.
Another film which many would pick as his finest, and which he himself describes in an interview on the DVD as the best in his career, is The Manchurian Candidate. I saw this recently but didn’t write about it because I must admit I found the plot very hard to follow. I’ll need to see it again, but was impressed by the surreal opening sequence and by just how vulnerable Sinatra lets himself be in the scene on the train where he can’t light his cigarette because his hand is shaking. He looks grey and ill, with a patch of sweat breaking out on his upper lip – you want to look away, but can’t.
Yet another acclaimed performance is his role as the soldier coming home to a small town in Some Came Running. He also makes a compelling nervous gangster in Suddenly (1954), a role which has a lot in common with Bogart’s performance in Wyler’s The Desperate Hours.
Then of course there are the films where he combines acting and singing, such as the biopic of comedian Joe Lewis, The Joker Is Wild and the musical Young at Heart, a personal favourite for me. As has often been said, Sinatra really acts when he is singing – he used to study the lyric like a poem and make every word count. Recently I saw a documentary about his career which included a black and white clip of him singing One For My Baby in a TV studio, at a mocked-up bar. I don’t know whether this went out live on air or not, but it was impressive how he acted the scene at the same time as singing the words with passion. Fellow-blogger Patti wrote an interesting comment on one of my postings, after she and her son had a discussion about the question “Was Frank an actor who could sing? Or was he a singer who could act?” I’d have to say I see him as a singer first and foremost, but his acting is deeply connected to his singing – as in both cases he feels the words and gives them their weight.
Before I start to sound too gushing (if I haven’t done that already), I must say that I’m by no means a fan of every Sinatra film I’ve seen. Rat Pack self-indulgence like Robin and the Seven Hoods leaves me cold, and I was disappointed recently by Double Dynamite (1951), a very weak musical with hardly any songs, where Sinatra is miscast as a meek, boring bank teller and Groucho Marx gets all the good lines!