An uber impressive celebration of the centenary of Sinatra is the pictorially splendid, THE CINEMATIC LEGACY OF FRANK SINATRA.
Sinatra’s musical legacy is entrenched in the collective psyche, but, even though he won an Academy Award, his extraordinary contribution to film has been overshadowed.
Australian born David Wills brings Sinatra’s cinema into sharp focus with a book that is loaded with pictures that chronicles his celluloid career and forces the recognition of the bona fide classics and iconic stature of many of his films.
The book begins with an overview of Sinatra’s film career essayed by Wills who states that Frank was able to take his signature persona and translate it successfully into many film genres – first as the comedic song and dance man, then as the dramatic actor and romantic lead and finally as the tough guy and action hero.
Unsurprisingly, Sinatra first forays into film had him cast as a crooner, not much more than a singing head static in front of an orchestra. There were a string of these cameos for a string of studios – Paramount, MGM, RKO.
Anchors Aweigh in 1945 was probably his first notable role, pairing him with Gene Kelly who was tasked with putting Sinatra on his dancing feet, and giving him a surer footing in the film business as a whole.
Nevertheless, Sinatra’s career as a screen sensation seemed to fizzle before it properly caught fire. And then came From Here to Eternity, for which he petitioned, pleaded, and agreed to take a paltry paycheck for. Winning an Oscar for his performance as Angelo Maggio, his cinematic star began its upward trajectory, an ascension that wasn’t always straight, but flew right through three decades.
Regrets, he had a few, and these few do get a mention in this marvelous visual feast. The triumphs are tremendous, although many are forgotten by contemporary audiences. Perhaps this book’s greatest legacy is prompting the re-investigation of films like Suddenly, Von Ryan’s Express, The Detective and The First Deadly Sin.
It could be legitimately leveled that the book is a vanity project, what with the essays by Sinatra’s children, Nancy, Tina and Frank Jr., but even with the bias of papa love, the articles do paint a first hand and intimate picture of the way Sinatra approached a role and how he “processed” his performance on set.
Added to these childhood recollections are anecdotes from fellow actors, directors, and producers that contrast the complexities of a man who could be Cranky Frankie, Chairman of the Board, or Ol’ Blue Eyes.
As a producer, he could do it his way, and he did with Ocean’s Eleven, Robin and the 7 Hoods, Soldiers Three and Four for Texas.
Sinatra’s sole outing as a director, None But the Brave, afforded him the chance to humanise the Japanese, twenty years after the Pacific conflict.
A sumptuous production, THE CINEMATIC LEGACY OF FRANK SINATRA, is designed by Stephen Schmidt and contains contributions by Amanda Erlinger, Nancy Sinatra’s youngest daughter, currently Fine Art Curator for Frank Sinatra Enterprises.
A lustrous addition to any film library or adornment for any coffee table, and at an affordable fifty dollars, it’s a must have.
THE CINEMATIC LEGACY OF FRANK SINATRA by David Wills is published by St. Martin’s Press, New York