High Society: The Crooners Unite

First of all, The Philadelphia Story—the non-musical version of this film—competes for my favorite movie of all time so my analysis of High Society is colored. The precedent for embodying the roles had already been set by a star-studded cast, complete with Katherine Hepburn, Cary Grant, and Jimmy Stewart. In High Society, Frank Sinatra played the role which had been Jimmy Stewart’s in The Philadelphia Story. Sinatra was a comfortable and witty character who was naive in his being oblivious to his love for the photographer and his quick plunge into love for the troubled yet beautiful socialite. This role reminds fans that Sinatra could balance his confidence and humor with his persona as the average guy who falls for a girl out of his league and is rejected. His confidence is highlighted especially when he sits down in the family room and witnesses the masquerade which the bride-to-be puts on and also whenever he relates to other people in the film. Sinatra lacks awkwardness. His confusion about his attraction towards Tracy Lord—played by Grace Kelly—seems to be one of his only moments when he doesn’t operate with as much social ease. That unstated confidence which Sinatra displays on the screen seems to match more closely the persona which he developed off-screen after his comeback.

Bing Crosby’s role in the film as the wise-cracking but loving singer who ultimately gets the girl reinforces his identity in relation to Sinatra. Bing Crosby was the original crooner and functioned as a sort of “godfather” in the industry when Sinatra was trying to emerge on the scene. His role in the film was much more dominant than Sinatra’s. Bing Crosby seemed more associated with a jazz singer role in the film, which made him more legitimate and more of an innovator. Sinatra’s function for singing was to croon and get the girl and also to play up the comedic portion of his role. When singing together, Bing seems older and more knowledgeable yet they both maintain a certain respect for each other. Bing tries to diffuse conflict whenever Sinatra and Kelly run into Kelly’s fiancé while scantily clad and very intoxicated. Even though Sinatra croons to Kelly in the bar and she nearly falls over and obviously struggles against her temptation, Crosby still ends up with her. The rivalry has changed by the time of the film and Sinatra has forged his own musical niche and identity that admitting defeat to Bing Crosby doesn’t create bad feelings. They are almost jokingly going through the motions of competing with each other.

Guys and Dolls: Frank Playing the Well-Meaning Deadbeat

The differences between Frank Sinatra's acting as Nathan Detroit versus Marlon Brando as Sky Masterson are night and day. In addition to the characters being inherently radically different, the combination of poise and disposition which each actor contributes to his role is unique. Marlon Brando inhabits the role of the gangster who in his own way is ethical, keeping his word and not backing down from a challenge. Instead of fidgeting or looking around to determine how to behave, Brando maintains a suave front--and is much more calculated and confident with his body language. Whereas, Frank Sinatra plays the lovable deadbeat who is fighting to survive with his job as the facilitator of gambling games--he isn't legitimate enough to even play the games. When watching his typical body language, Sinatra looks down or around at his peers more due to his self-conscious attitude coupled with his disposition to fail or be pushed around. Looking at them separately, even more distinctions become apparent. Besides both seeming like good guys at their cores, having an active affiliation with mobsters, and falling in love with theirrespective "dolls", there are very few similarities between the two roles.

First, I shall look at Sinatra's role. From the start, Sinatra's role embraces a certain comedic element and self-awareness which enabled him to poke fun at himself and his weight. He struggles to keep his job, peer pressure and the need for money fueling his drive to set up gambling games. He is surrounded by male friends and acquaintances, and he tries to seem more in-charge of his life and situation because of that. His tendencies to look around at other men's reactions to him indicate his dependence on others to dictate his own behavior. Sinatra's treatment of his romance reveales much to the audience about his character. His fourteen year engagement and tendency to depend upon his fiance's income highlights how stagnant his life seems and how he lacks agency or pride. His exaggerated motions with his hands and jumpiness indicate his fear of ineptitude. The fact that he sings more often for the benefit of men also shows his desire to fit in with the guys--being a guy's guy. His masculinity suffers because his fiancee seems to be taking care of him and he assumes a slightly whipped relationship with her. One scene stuck out due to Sinatra's character being well-intentioned and comedic but weak. When coordinating the game to take place in the sewage system, he gets pressured into losing all of his money over a bet with dice with no spots and he gawkily handles a gun when Brando throws it to him. Frank's role meshes more with the typical, inept yet lovable portrayal of masculinity.

Marlon Brando, on the other hand, remains cool and collected throughout the movie--the person to look towards and emulate. His only moments of real vulnerability are when he puts his emotions on the line with his female interest--especially in moments of song. In comparison to Sinatra, his character was played up and seen as respectable long before delivering his first lines in the film. That buildup allows the audience to separate themselves from him and put him on a pedestal for being a gambler worthy of respect and not easily taken advantage of. His effortless approach towards other men and most women contributes to the illusion that he is almost always in control of the situation. Brando's usage of his body to make people more aware of his strong and dominating presence are minimal because the lack of fidgeting; using his body too much in expression would make him seem like he cares too much about what others think. He is wise and articulate---causing even the most buttoned up girl to be submissive. He could fight but could also play up his romantic side--both of which contribute to his being a heartthrob-like character in the film. In essence, Sinatra was endearing yet Brando was captivating and powerful.

From Here to Eternity: The Breakout Role

After playing the role of the boyish, innocent, and fairly oblivious sailor multiple times, Frank Sinatra proved himself to have the talent and depth necessary for taking up a role of Maggio in From Here to Eternity. He was established as a kind-hearted yet hot-headed little guy who loved his drink and cringed at flagrant injustice. His character added a hint of comedy to the film, playing a believable best friend in the service. His portrayal allowed the audience to find him endearing and fall in love with him again after abandoning him and believing his star had fallen. Perhaps, more than his excellence in portraying the drunkard and funny guy parts, his small stature but strong character and resolve made this a stand out role for Sinatra. His previous characters in Anchors Aweigh, It Happened In Brooklyn, and On the Town all lacked the toughness and masculine (even though at times comedic) qualities that were so evident in From Here to Eternity. Instead of trying so hard to follow other people's rules and playing the system straight like he tended to do in his aforementioned films, Sinatra's internal moral compass, his sense of right and wrong, governed his behavior.

One very stark difference between this film and his musicals is his complete lack of singing or association with music. Even though there were several scenes which incorporated a song, Sinatra did not sing. He also did not have a significant female interest, even though he adopted the role of being very interested in girls--chasing girls for the first time as he had at the club. Since Sinatra did not sing, he lacked the secret weapon to woo his women. His costars, Burt Lancaster and Montgomery Clift, were much more physically appealing than Sinatra, which is highlighted in the film when they appear shirtless or are wearing tank tops. This acceptance of Sinatra as a scrawny guy next to the muscular stars epitomised the supporting actor role; he was used as a prop to show the audience the superior characters of the other men and proved himself to be tough in the meantime. He was still clearly meant to be Italian and also donned the uniform, so there remained some similarities between his past films and From Here to Eternity.

The real testament to his acting was that he made the plot line believable. In the film, Maggio almost gets into a fight with the prison warden and then ends up secretly getting beat up to the point of near death. His escape attempt led to his death. His death led to the murder of the prison warden by Burt Lancaster's character and also indirectly led to Burt Lancaster's death. Only a serious and respected character could be the cause of so much upheaval and have the audience believe that the revenge for his death was necessary--even in hindsight. Sinatra's character was too good of a person and too valuable to see die without repercussions.

Sinatra Week on American Idol

American Idol tends to have weeks that are dedicated to a particular style of music or a specific artist. Michael Jackson, Elvis, and Sinatra are only a few of the artists whose songs have been imitated or reworked on the show with some good and some god-awful renditions . There are several things to watch for in the clip. Notice: the crowd's response to Tina and Nancy's appearance on the show (a genuine respect for the legend), Simon's obvious hero-worship and respect towards Sinatra when receiving a monogrammed handkerchief, the singer's strained approach to "Fly Me to the Moon", and Simon's description of qualities which were distinctly Sinatra. This clip reminds me that sometimes it is beneficial to see someone imitate in order to gain a better perception of what makes the original so special and unique. Enjoy!

Here's the clip: http://www.youtube.com/watch?v=ALvYOmN6gXg

On the Town--Sinatra's Innocence Still Fairly Intact

It seems to be a trend that Sinatra needs an aggressive, opinionated, cute (but not drop dead gorgeous) girl to pair up with. This actually makes him more endearing and seemingly in reach for the girls in the audience pining after Frank. In Anchors Aweigh, It Happened In Brooklyn, and On the Town, Sinatra ends up with a blonde, boisterous, Brooklyn girl. This phenomenon is especially obvious in On the Town, when the female cabbie pulls over and nearly jumps Sinatra--something in which he seems disinterested. Thinking over it, while Sinatra eventually reciprocates the love or attraction, he at firsts seems either oblivious to the glaring signals or feels like he has better things to do with his time. Just when the audience could believe that Sinatra either failed to hit puberty and like girls or that he may be more interested in the Gene Kellys than the Katherine Graysons, Sinatra kisses the girl and shows some passion!

On the Town has all the workings of a cheesy yet cute musical. Start off with three attractive (or at least attractive enough) sailors on leave and add in three women to pair them off. There are several hard to get sequences, but there is no doubt in the audience's mind that the blunt taxi driver would win over Sinatra and Gene Kelly would get a date with Ivy Smith. Ozzie (Jules Munshin), the third and most comedic sailor of the trio, was paired with the over-the-top, boy-crazy and nerdy Claire (Anne Miller). The women characters were all perfectly crafted to complement the models of masculinity which Sinatra, Kelly, and Munshin portrayed.

When first getting off the boat, the boys all sing together and sight-see together. Not until they take a rest and start talking do the differences in personality and interests become apparent. Kelly proclaimed himself the female-expert, seemingly invincible and unstoppable when pursuing a woman. As typical for his characters, Kelly seemed to puff up his own reputation and it only faltered when he realized that it wouldn't get the girl. Kelly was the strong, wolf-like character, chasing his woman who was perched on a pedestal around town. If the girl were easy to get, Kelly wouldn't want her (most likely). Sinatra's preoccupation with sightseeing even when having the option of spending time alone with a more than willing female in her apartment made him seem oblivious to the allure of females. He kept being obstinate and even ticked off by the cabbie attempting to seduce him (as if he had a better usage of his time). Finally his will was broken and he also gave into temptation (which I didn't know he harbored until then)when he started passionately kissing the cabbie in the apartment. Sinatra seemed to have come of age in the middle of the film and his song on the top of the Empire State Building exemplified that, while Sinatra was endearing, his characters tended to lack the smooth technique of Kelly. Lastly, Jules seemed to fit into the comedic role in the film. He wanted a girl and Ann lusted after the male gender, so they inevitably fell together and began their romance with no delay. Jules's quirky personality needed some female who shared that slight odd-ness with him. Out of all of the men, and even though he was the first one to have something physical happen with a girl on the trip, he seemed to be the least attractive and his role was purely to provide laughs, not to induce the swooning.

The Rat Pack...Bro-Love at It's Finest!

This clip of the Rat Pack captures the effortlessly cool, talented, and hilarious nature of the guys. Instead of the word for word scripted nature of many shows today, the Rat Pack bantered, sang,and drank on-stage. I feel like this clip shows how far Sinatra really came from his early years. This is the Sinatra which warrants his fame and legacy.

Here's the link: http://www.youtube.com/watch?v=grPyyTYjLHw&feature=related

It Happened In Brooklyn: Slightly Stronger Sinatra Emerges

There are quite a few obvious parallels between Anchors Aweigh and It Happened In Brooklyn. Frank Sinatra opens in both movies possessing few social skills and little presence amongst his peers. The first time that he seems comfortable, commanding attention as well as respect, is when he sings. Katherine Grayson plays the part in both films of the beautiful aspiring opera singer—a yet to be discovered gem for talent scouts and the male population. Sinatra losses the girl once again to the darker and more handsome male co-star (played by Gene Kelly in Anchors Aweigh and Peter Lawford in It Happened In Brooklyn). The end of the movie even ended with Sinatra figuring out that he truly loved a blonde, sassy Brooklyn girl, not Grayson. Saying that the storyline was predictable is an understatement.

Within the first few minutes of the movie when Peter Lawford flashes onto the screen, the audience knows that Frank will inevitably lose the battle for the girl. Next to Lawford, Sinatra seems to possess more confidence and a more dynamic character, but Lawford’s character seemed much like Grayson’s character—both were striking and had a musical gift and dream which they were about to abandon. Unlike in Anchors Aweigh, Sinatra served as the leader of the pack, made the decisions, and seemed more self-aware in It Happened In Brooklyn; however, physically, Frank could not compete with the stature and face of Peter Lawford.

One distinct difference between his role from Anchors Aweigh is that his character has more agency, furthering along the plot. It seems like nothing could have happened without Frank’s involvement in the film. He was discovered and obtained his job at the record store. He helped Lawford’s character have success with composing by getting his music published. He befriended the lonely janitor played by Jimmy Durante and encouraged Durante's character to dream and feel important by introducing the old man to royalty. By introducing Lawford to Grayson, Frank warmed up Grayson’s voice, poising her for greater success in the opera realm, and encouraged Lawford to shrug off his fear of talking to women. Even though he didn’t seem like a masculine or powerful individual in the film, Sinatra seemed to orchestrate nearly everything, even if he was unaware.

One common theme in It Happened In Brooklyn was the deeply rooted belief that with hard work and determination, talent could be discovered and rewarded. The American Dream prevailed. This theme mirrors Sinatra’s progress in show business up until that point. Sinatra’s character comes home to Brooklyn with a optimism and pure love for his past homestead, hinting at Sinatra’s status as son of Italian immigrants. His character had an initial fear of auditioning but is discovered by the owner of the shop and offered an attractive job when merely singing for fun. The undiscovered talent of the teenage pianist soon gains the attention and respect of critics as well as a board which grants scholarships. Not only does the boy get seen, the scholarship board actually amends restrictions on age in order to offer the scholarship and schooling to the boy. The film remains overly optimistic throughout. Even though Sinatra’s character is rejected by the girl, the viewers are led to believe that he will end up with the approachable yet feisty girl from his hometown, making Sinatra seem that much more attainable by his audience. Finally, although Sinatra did not have formal singing training, he was cast alongside Katherine Grayson—obviously touting years of vocal training. The opera duet which they perform in the Italian restaurant highlights the differences in style and training, reminding the audience that Frank had literally made himself, functioning as living proof of the American Dream.