The rest was Rat Pack frivolity, melodramas at which the Sinatra of the ’50s might have rolled his eyes (“The Devil at Four O’Clock”), and unspeakably smarmy comedies (“Marriage on the Rocks”), as Sinatra grew heavy, comfortable, and disengaged. In these five years, alongside a couple of middlebrow melodramas, coy comedies, and a fiasco of Himalayan dimensions (“The Pride and the Passion”), he played an assassin in “Suddenly,” the best Nathan Detroit ever in “Guys and Dolls,” a junkie in “The Man With the Golden Arm,” the heir to and equal of Bing Crosby in “High Society,” a semi-heel in “Pal Joey,” and broken men in “The Joker Is Wild” and “Some Came Running.”īy 1956, however, movies had begun to bore him, and tales of his terrible behavior began to circulate: arriving late, not knowing his lines, refusing second takes, refusing to support co-stars in their close-ups. As a quintessential antihero and derisively anti-Method actor, Sinatra - his face filled out with an appealing virility absent in his early years - embraced a work ethic that led to several ambitious movies. His film work is often remembered as an adjunct to a musician’s career.īetween 19, though, Sinatra functioned as an actor of nerve, stature, and originality - a natural, perhaps, but also a signature personality playing the type he assiduously perfected onstage. By then, Sinatra had elected to focus his creative energy on television and records. The selection covers 23 years (1943-65) in an often feckless Hollywood career that began in 1941 with uncredited vocal cameos and ended resignedly in 1970 save for a halfhearted return a decade later. raises its DVD flag to half-mast today with the thrifty release of 13 films, supplemented by few (and in most instances, zero) extra features. In acknowledging the 10th anniversary of Frank Sinatra’s death, Warner Bros.
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