Frank Sinatra Movies

After this show originally aired in 1965 on a closed-circuit TV transmission under the title The Frank Sinatra Spectacular, an edited version was screened during 1997 in the NYC/L.A. theaters of the Museum of Television & Radio as The Rat Pack Captured: The Only Television Performance. The 90-minute version telecast on Nick at Nite's TV Land in 1998 was part of The Museum of Television & Radio Showcase series. The show is the only known concert recording of the Rat Pack, capturing the on-stage antics and raucous camaraderie that Frank Sinatra, Sammy Davis Jr., and Dean Martin made famous at the Sands Hotel in Las Vegas during the five years following their appearance together in the Vegas casino caper comedy Ocean's 11 (1960). On June 20, 1965, Frank Sinatra organized a "summit meeting" of the Rat Pack in St. Louis as a benefit for Dismas House of St. Louis, the first halfway house for ex-convicts. Staged at St. Louis' Kiel Opera House, the evening was televised via closed-circuit to select locations, where ticket buyers watched the live performance on screen. Martin, Davis, and Sinatra each take turns in the spotlight for a selection of songs. After Davis goes galvanic with his drums and vocal on "I've Got You Under My Skin," he ring-a-dings comedic chimes with ten impressions during "One for My Baby." With Quincy Jones leading the Count Basie Orchestra, the Sinatra standards include "Luck Be a Lady," "You Make Me Feel So Young," and "Get Me to the Church on Time." Sinatra is hip, compelling, and very relaxed -- despite heckling from the wings by Davis and Martin during one Sinatra number. For the finale, the trio was joined by a somewhat stiff and uncomfortable looking Johnny Carson (substituting for the Rat Pack's Joey Bishop, ailing with a bad back). At that time, Carson had been the Tonight Show host for less than three years. Sharing the stage for 15 minutes, the four unleashed gags, comedy antics, and impressions -- closing with "Birth of the Blues." This program was discovered by producer Paul Brownstein who saw a St. Louis clip of Sinatra and Davis (donated from Sinatra family archives) while watching the CBS Sinatra birthday special (Sinatra at 50). Brownstein saw two TV cameras at the edge of the stage, which led him to believe the entire performance had been televised and recorded. After extensive research, he eventually located a copy of the show sitting in a closet of a secretary's office at Dismas House, where it had been since 1965. The Rat Pack Captured was presented as part of the MT&R and Nick at Nite's ongoing "Lost" program campaign, a collaborative effort to locate programs for which no tapes are known to exist. In the spring of 1996, the two organizations launched a campaign to heighten awareness of the need to preserve television programming. In 1997, the MT&R's president Robert M. Batscha commented, "The Rat Pack helped define the swinging Sixties, and the Museum is thrilled that this singular television performance of this talented trio will now, through the generosity of Dismas House of St. Louis, become part of our permanent collection." The permanent collection of the Museum of Television & Radio now includes over 75,000 radio/TV shows and commercials. The original uncut 1965 show, available for viewing by the public on MT&R consoles in LA and NYC, also includes performances by Count Basie, the Step Brothers, Kaye Stevens, and Trini Lopez, and the MT&R collection has both versions. The broadcast TV debut on TV Land (Monday, April 20, 1998) indicated yet another title in ads (Frank Dean & Sammy in Concert!). With no set schedule, The Museum of Television & Radio Showcase TV series has also included Peter Falk's Emmy-winning performance in The Price of Tomatoes (1962), previously lost works of James Dean, and the award-winning documentary Primary (1960). ~ Bhob Stewart, All Movie Guide

Richard Quine directs George Axelrod's acerbic script (adapted from Julien Duvivier's La Fête à Henriette) in this romantic comedy that reunites William Holden and Audrey Hepburn for the first time since 1954's Sabrina. Holden plays Richard Benson, a Hollywood screenwriter being pressured by movie producer Alexander Meyerheimer (Noël Coward) to finish his script entitled "The Girl Who Stole the Eiffel Tower." Meyerheimer gives Richard a two-day ultimatum to complete his work, unaware that Richard has yet to even start on the script. In an effort to get moving on his project, Richard hires a live-in secretary, Gabrielle Simpson (Audrey Hepburn), to help him. Soon enough, the two fall in love and spend the time enacting various scenes from the unwritten screenplay as the time slips away and Richard's deadline looms. ~ Paul Brenner, All Movie Guide

Adrian Messenger (John Merivale) asks his friend, British colonel Anthony Gethryn (George C. Scott), to check on the whereabouts of the eleven men named on a written list. Not long afterward, the plane on which Messenger is travelling is deliberately blown up. The mystery killer slipped the bomb on the plane while disguised as a priest, and we soon learn that the killer adopts a different guise for each of his subsequent murders. As Gethryn tracks down the men on Messenger's list, he discovers that all had been POWs in the same Burmese stockade during World War II, and he deduces that the murderer, who is methodically decimating those on the list, had been a traitor and informer. Gethryn traces the killer to the British estate of The Marquis of Gleneyre (Clive Brook), where his visit coincides with the return of "prodigal" American relative George Brougham (Kirk Douglas). Gethryn is convinced that Brougham is the killer, and that he plans to murder the only heir who stands in the way of the family fortune, but he has no tangible proof. Filmed primarily in Ireland, The List of Adrian Messenger received good theatrical bookings by virtue of its gimmick: several of the bit characters are played by famous stars in heavy makeup, and each of these stars -- Kirk Douglas, Burt Lancaster, Robert Mitchum, Frank Sinatra, and Tony Curtis -- "unmasks" in the epilogue. In truth, only Douglas and Mitchum did any real acting under their mounds of collodion and crepe hair; the others showed up only to shoot their unmasking scenes (at a salary of $75,000 each!) and were "doubled" in the film itself. ~ Hal Erickson, All Movie Guide

The legendary Judy Garland, Frank Sinatra, and Dean Martin co-headline a live, vintage concert performance before a packed house in the home video issue, Most Famous Hits: Judy Garland/Frank Sinatra/Dean Martin. Featured in this 60-minute show are 20 numbers, performed solo and together. Selections include Garland interpreting "Just in Time," "When You're Smiling," "I Left My Heart in San Francisco," and "The Man that Got Away"; Sinatra on "Too Marvelous for Words" and "I See Your Face Before Me"; and Martin covering "Almost Like Being in Love" and "Bye Bye Blackbird." The three team up for "You're Nobody 'Til Somebody Loves You," while Garland performs two separate versions of "You Do Something to Me," one with Sinatra and one with Martin. Martin and Sinatra pair up on "The One I Love Belongs to Somebody Else." ~ Nathan Southern, All Movie Guide

This was the last trip in the "road" comedies that Bob Hope, Bing Crosby, and a bevy of female stars that featured Dorothy Lamour once made famous. In this road to Hong Kong and parts far beyond, Chester and Harry (Hope and Crosby) are a couple of failed vaudeville stars looking for a way to riches in the confidence game. Chester's memory goes kaputz, and the two end up involved with Diane (Joan Collins), a spy looking for a secret formula, and a bunch of hoodlums who plan on sending up a rocket to the moon with special equipment allowing them to rule the planet earth. The pair of heroes gets caught in the rocket instead of the originally intended monkeys, and the monkey business continues in outer space -- where it seems to be all along. In this mixed collage of events, several stars pop up in cameo roles: Peter Sellers, Dean Martin, David Niven, Frank Sinatra among them. ~ Eleanor Mannikka, All Movie Guide

An unusually tense and intelligent political thriller, The Manchurian Candidate was a film far ahead of its time. Its themes of thought control, political assassination, and multinational conspiracy were hardly common currency in 1962, and while its outlook is sometimes informed by Cold War paranoia, the film seemed nearly as timely when it was reissued in 1987 as it did on its original release. It opens with a group of soldiers whooping it up in a bar in Korea as their commander, Sgt. Raymond Shaw (Laurence Harvey), arrives to inform them that they're back on duty. These men obviously have no fondness for Shaw, and he feels no empathy for them. While on patrol, Shaw and his platoon are ambushed by Korean troops. Months later, Shaw is receiving a hero's welcome as he returns to the United States to accept the Congressional Medal of Honor, and several of the soldiers who served under Shaw repeatedly refer to him as "the bravest, finest, most lovable man I ever met." It soon becomes evident that after their capture by the Koreans, Shaw and his men were subjected to an intense program of brainwashing prior to their release. While several are troubled by bad dreams and inexplicable behavior, it's Capt. Bennett Marco (Frank Sinatra) who seems the most haunted by the experience. In time, Marco is able to piece together what happened; it seems Raymond Shaw was programmed by a shadowy cadre of Russian and Chinese agents into a killing machine who will assassinate anyone, even a close friend, when given the proper commands. On the other side of the coin, Shaw is also used for political gain by his harridan mother (Angela Lansbury), who guides the career of her second husband, John Iselin (James Gregory), a bone-headed congressman hoping to win the vice-presidential nomination through a campaign of anti-Communist hysteria.

The Manchurian Candidate features a host of remarkable performances, several from actors cast cleverly against type. Frank Sinatra's edgy, aggressive turn as Marco may be the finest dramatic work of his career; Laurence Harvey's chilly onscreen demeanor was rarely used to s better advantage than as Raymond Shaw; James Gregory is great as the oft-befuddled Senator Iselin; and Angela Lansbury's ultimate bad mom will be a shock to those who know her as the lovable mystery writer from Murder, She Wrote. George Axelrod's screenplay (based on Richard Condon's novel) is by turns compelling, witty, and horrifying in its implications, and John Frankenheimer's direction milks it for all the tension it can muster. While Frankenheimer's career has had its ups and downs, The Manchurian Candidate and Seconds (1966) suggest that he deserves to be recognized as one of the most brilliantly paranoid American filmmakers of the '60s. Entertaining yet unsettling, both films indicate that things in the '60s were not what they seemed, with a resonance that still echoes uncomfortably in the present. ~ Mark Deming, All Movie Guide

Spencer Tracy plays an American priest tending to the natives of a South Sea island. A plane carrying three convicts -- Harry (Frank Sinatra), Marcel Gregoire Aslan and Charlie Bernie Hamilton) -- lands on the island; Father Doonan (Tracy) manages to enlist their (reluctant) aid in working at a children's hospital. When the island falls victim to a series of earthquakes, Father Doonan and the convicts work together to evacuate the hospital staff and the children. Harry, the least cooperative of the prisoners, becomes a hero during a volcanic eruption by going back to rescue the priest, who with convict Charlie has been holding a bridge in order to allow the others to escape. Father Doonan and the two convicts are killed, but all the children are rescued. Blighted by bad special effects and ponderous direction, Devil at Four O'Clock is less interesting than the behind-the-scenes rumors concerning the friction between Spencer Tracy and Frank Sinatra. ~ Hal Erickson, All Movie Guide

Francis Albert Sinatra (1915-1998) went a long way for a kid from Hoboken, NJ. He became one of the world's most admired singers and an Academy Award-winning actor. Although he didn't have many critical or ratings successes with his two 1950s TV shows, his television specials fared better. Part of a ten-tape collection, this video contains archival footage from Sinatra's February 15, 1960, special on ABC, titled Here's to the Ladies. His guests included the elegant singer Lena Horne, Can-Can co-star and girl Rat Packer Juliet Prowse, Mary Costa, and comedian Barbara Heller, with a special appearance by former First Lady and philanthropist Eleanor Roosevelt. "The Chairman" sings "Here's to the Ladies," "I've Got You Under My Skin," "Lonely Town," and a Harold Arlen medley with Ms. Horne that includes snippets from "Paper Moon," "Accentuate the Positive," "Get Happy," "Devil and the Deep Blue Sea," "My Heart Stood Still," and "Here's to the Ladies." ~ Steve Blackburn, All Movie Guide

Action director John Sturges had a few good films behind him (Bad Day at Black Rock, Gunfight at the O.K. Corral) and a few more to come (The Great Escape, The Magnificent Seven) when he put together this colorful story of wartime romance. In addition to his talents as a director, this saga of an American Captain stationed with his Allied command in Burma during World War II is helped by a stellar cast. Frank Sinatra is Captain Tom Reynolds who is supposed to be battling the Japanese in Burma but gets side-tracked when his unit and his Kachin allies are attacked by Chiang Kai-shek's forces. In supporting roles are Charles Bronson, Steve McQueen (about to make his mark on the big screen), Gina Lollobrigida, Peter Lawford, Brian Donlevy, and several others. After General Chiang's attack, Captain Reynolds leads the remainder of his men into Nationalist Chinese territory for a fast retaliation -- basically a wholesale slaughter. He is called on the carpet for this action later, and his would-be love, Carla Vesari (Lollobrigida) is suddenly faced with a decision to stay with her current man (Paul Heinreid) or take off for the unknown USA with the American Captain. ~ Eleanor Mannikka, All Movie Guide

Francis Albert Sinatra (1915-1998) went a long way for a kid from Hoboken, NJ. He became one of the world's most admired singers, a recording star, a radio star, and an Academy Award-winning actor. Part of a ten-tape collection, this program features archival television footage of Sinatra working with vibrant jazz chanteuse Ella Fitzgerald, British comedian and actress Hermione Gingold, versatile quartet the Hi-Lo's, and Rat Packers Juliet Prowse and Peter Lawford. With Fitzgerald, Sinatra sings "Just You, Just Me" and "Can't We Be Friends?" ~ Steve Blackburn, All Movie Guide

Francis Albert Sinatra (1915-1998) went a long way for a kid from Hoboken, NJ. He became one of the world's most admired singers, a recording star, a radio star, and an Academy Award-winning actor. By the 1960s, however, he was feeling the heat of rock & roll. Part of a ten-tape collection, this program features Sinatra singing and cutting up with his Rat Pack pals Sammy Davis Jr. and Joey Bishop. Highlights include a brief appearance by Elvis Presley, his very first after he was mustered out of the U.S. Army. Sinatra, who had publicly scorned Presley and his music, nevertheless asked him to be a guest on his ABC television special, hoping it would boost ratings. It worked: the program garnered "Old Blue Eyes" his highest ratings, but it's likely that a good portion of the audience only had eyes for the King, who pocketed a cool $100,000 for his brief performance. ~ Steve Blackburn, All Movie Guide

Adapted by Merle Miller from the novel by Joe David Brown, Kings Go Forth stars Frank Sinatra and Tony Curtis as, respectively, a tough army lieutenant and a cocky radio operator. Serving in Southern France during World War II, Sinatra and Curtis vie for the affections of mademoiselle Natalie Wood. Upon learning that Wood's father was black, both men succumb to their inbred prejudices. Sinatra manages to overcome his latent bigotry, but Curtis does not. In fact, he's so vocal in his race hatred that audiences are virtually cheering for his inevitable demise. After the war, Sinatra, who has lost an arm in combat, relocates Wood. The film ends ambiguously, possibly because miscegenation was still a touchy topic amongst Hollywood censors. Kings Go Forth was universally popular - except, perhaps, with those ex-GIs who were still resentful that Frank Sinatra had in real life been spared wartime service due to a questionable physical ailment. ~ Hal Erickson, All Movie Guide