NOTE:
By the late 50's, Sinatra's
film
roles became more dramatic, harder-edged, with even the
musicals moving away from the light, frothy vehicles they had been in
the early part of the decade, especially with the unsympathetic
portrayal of the lead character in Pal Joey. War and crime films alternated
on his schedule, with the occasional epic or western thrown
in. It seemed that Sinatra was willing to tackle anything,
and took greater latitude in the roles he was willing to
assume. And by 1960, the Rat Pack was in full
force, and Frank brought them with him into Hollywood.
Johnny
Concho (1956)
Kent
Productions/United Artists;
Screenplay by David P. Harmon and Don
McGuire, based on the story "The Man Who Owned The Town" by David P.
Harmon;
Directed by Don McGuire,
84 min.
Cast:
Frank Sinatra .... Johnny Concho aka Johnny Collins
Keenan Wynn .... Barney Clark
William Conrad .... Tallman
Phyllis Kirk .... Mary Dark
Wallace Ford .... Albert Dark
Dorothy Adams .... Sarah Dark
Christopher Dark .... Walker
Howard Petrie .... Joe Helguson, Blacksmith
Harry Bartell .... Sam Green
Dan Riss .... Judge Earl Tyler
Willis Bouchey .... Sheriff Henderson
Robert Osterloh .... Duke Lang
Jean Byron .... Pearl Lang
Leo Gordon .... Mason
Claude Akins .... Lem
John Qualen .... Jake
Wilfred Knapp .... Pearson
Ben Wright .... Benson
Joe Bassett .... Harry, Bartender
REVIEW: Frank Sinatra is cast in the
role of Johnny Concho,
who is a town bully who lives off the reptutation of his older brother,
who is a notrious gunfighter. The entire town
despises and avoids him, with the exception of Mary Dark, played by the
doe-eyed Phyllis Kirk, and the town sheriff, Barney Clark, (the
inimitable Keenan Wynn) who both see beneath Johnny's crusty
exterior into the scared little boy within. When
word arrives that two gunmen (played with gritty
intensity by William Conrad and Christopher Dark) have shot and killed
Johnny's brother in a gunfight, and are coming to the town to take it
over, Johnny in confronted by his own cowardice
and flees the town. Only when he's alone does he
finally face up to his past and finds the courage to return.
At first, Johnny tries to rally the townspeople behind him to face the
gunmen, but finding that no one will back him, he has to face
the villians alone. The film manages to
straddle both real-life events (the McCarthy inquisitions) and remains
a fine stand-alone film; although Sinatra in later years vilified the
movie (and the awful theme song which he performed), the film
is actually a good western that deserves greater
scrutiny for it's stance on standing together as a community.
Unfortunately not available in any format at present, Johnny
Concho still shows up on television a few times a year, and is
worth watching for fans who wish to see a great
performance by Sinatra.
Around
The World
In 80
Days (1956)
Michael Todd Company/United Artists;
Screenplay by
James Poe, John Farrow, and S.J. Perelman, based on the novel by Jules
Verne;
Directed by Michael Anderson,
167 min.
Cast:
David Niven .... Phileas Fogg
Cantinflas .... Passepartout
Finlay Currie .... Whist Partner
Robert Morley .... Ralph, Reform Club Member
Ronald Squire .... Reform Club Member
Basil Sydney .... Reform Club Member
Noel Coward .... Hesketh-Baggott, Employment Agent
John Gielgud .... Mr. Foster, previous valet to Mr. Fogg (as
Sir John Gielgud)
Trevor Howard .... Denis Fallentin, Reform Club Member
Harcourt Williams .... Hinshaw, Reform Club Attendant
Martine Carol .... Tourist
Fernandel .... French Coachman
Charles
Boyer
.... Monsieur Gasse, Travel Agent
Evelyn Keyes .... The Flirt
José Greco .... Flamenco Dancer (as Jose Greco)
Luis Miguel Dominguín .... Bullfighter (as Luis
Dominguin)
Gilbert Roland .... Achmed Abdullah
Cesar Romero .... Achmed Abdullah's Henchman
Alan Mowbray .... Consul
Robert Newton .... Mr. Fix
Cedric Hardwicke .... Sir Francis Gromarty (as Sir Cedric
Hardwicke)
Melville Cooper .... Mr. Talley, Captain of the 'Rangoon'
Reginald Denny
....
Police Chief
Ronald Colman .... Railway Official
Robert Cabal .... Elephant Driver-Guide
Shirley MacLaine .... Princess Aouda
Charles Coburn .... Steamship Company Clerk
Peter Lorre .... Japanese Steward
George Raft .... Saloon Bouncer
Red Skelton .... Drunk in Saloon
Marlene Dietrich .... Saloon Hostess
John Carradine .... Col. Proctor Stamp
Frank Sinatra .... Saloon Pianist
Buster Keaton .... Train Conductor
Tim McCoy .... Colonel, U.S. Cavalry (as Col. Tim McCoy)
Joe E. Brown .... Stationmaster
Andy Devine .... First Mate of the 'Henrietta'
Edmund Lowe .... Engineer of the 'Henrietta'
Victor McLaglen .... Helmsman of the 'Henrietta'
Jack Oakie .... Captain of the 'Henrietta'
Beatrice Lillie .... Revivalist
John Mills .... Carriage Driver
Glynis Johns .... Sporting Lady's Companion
Hermione Gingold .... Sporting Lady
Edward R. Murrow .... Himself/Prologue Narrator
A.E. Matthews .... Club Member
Ronald Adam .... Club Member
Walter Fitzgerald .... Club Member
Frank Royde .... Club Member
REVIEW: The most ridiculous film ever
to win an Academy
Award for Best Picture, Around The World In 80 Days
is sheer spectacle, and nothing more. It's as if Florenz Zeigfeld had
taken over motion pictures and decided to stuff as many stars,
locations, and "bits" onto the screen as humanly possible and call it
entertainment. Well, this film is certainly entertaining as a spectator
event, sort of a "see how many stars you can spot" extravaganza, but
there's no character development, the barest bones of a plot, and oh,
look! There's Frank Sinatra as a piano player in a saloon! Moving right
along... I can't even sit through this exercise in mass entertainment
in one sitting, but it's fun to try to figure out just how director
Michael Anderson juggled all the different locations, actors,
schedules, and elephants to make this a semi-coherent picture. I
imagine the only reason that the film won best picture was that every
single voting member of the Oscars is in it. The plot involves Phineas
Fogg (the unflappable David Niven) who wagers 20,000 pounds that he can
travel around the circumrence of the earth in 80 days, with his loyal
and practical servant Passepartout. He travels by every means
available, pursued by Inspector Fix (Robert Newton) who believes that
Fogg has stolen the 20,000 pounds from the Bank Of England. On their
journeys they rescue a princess (Shirley MacLaine) and travel to Hong
Kong, Japan, San Franciso and India. Does he make it? Who cares? Just
sit back and enjoy the excess.
The Pride
And The Passion (1957)
Stanley Kramer
Productions/MGM/UA;
Screenplay by Edna and Edward Anhalt, from the
novel "The Gun" by C.S. Forester;
Directed by Stanley Kramer,
132 min.
Cast:
Cary Grant .... Anthony
Frank Sinatra .... Miguel
Sophia Loren .... Juana
Theodore Bikel .... Gen. Jouvet
John Wengraf .... Germaine
Jay Novello .... Gallinger
José Nieto .... Carlos
Carlos Larrañaga .... José
Philip Van Zandt .... Fidal
Paco El Laberinto .... Manolo
Julián Ugarte .... Enrique
Félix de Pomés .... Bishop
Carlos Casaravilla .... Leonardo
Juan Olaguivel .... Ramón
Nana DeHerrera .... María
Carlos De Mendoza .... Francisco
Luis Guedes .... French soldier
REVIEW: Yet another spectacle, and with
Frank playing a
Spaniard once again! (Apparently he learned nothing from his fiasco in The
Kissing Bandit) The story takes place during the Napoleonic
Wars, when the Spanish are defeated by the French army. During their
retreat they have left a potent weapon: a giant seven-ton cannon, which
Naval Captain Anthony Trumbell (Grant) is ordered to return to allied
lines. On the way he meets the leader of the insurgent forces, peasant
Miguel (Sinatra) who insists that the cannon be used to destroy the
French fort, Aliva. Sultry Sophia Loren comes along as Miguel's girl
Juana, but finds herself attracted to the dashing Navy Captain, and as
they struggle to move this behemoth canon across the countryside,
tensions erupt between the lover's triangle. Director Stanley Kramer,
still years away from his greatest film successes, finds great visuals
in the Spanish countryside where the film was shot, and manages to
capture the epic stuggles of the two armies with astounding action
sequences, but he has no idea how to direct his three stars. Their
bickering and strident speeches quickly become tiring, although the
film is supposed to rest on their shoulders, I got the feeling that the
film would have been more interesting without them. Frank reportedly
was at his worst while filming this movie, rejecting the car the studio
ordered for him, and having his own Thunderbird flown over at the
studio's expense, and displaying public insults for the country's
leader from his hotel room window. The film is interesting for the
spectacle and the panoramic sweep of the visuals, but as an emotional
kicker, it's a dud.
The
Joker Is Wild
(1957)
Paramount
Pictures;
Screenplay by Oscar Saul, adapted from the novel "The Life Of
Joe E. Lewis" by Art Cohn;
Directed by Charles Vidor,
126 min.
Cast:
Frank Sinatra .... Joe E. Lewis
Mitzi Gaynor .... Martha Stewart
Jeanne Crain .... Letty Page
Eddie Albert .... Austin Mack
Beverly Garland .... Cassie Mack
Jackie Coogan .... Swifty Morgan
Barry Kelley .... Capt. Hugh McCarthy
Ted de Corsia .... Georgie Parker
Leonard Graves .... Tim Coogan
Valerie Allen .... Flora
Hank Henry .... Burlesque comedian
REVIEW: Sinatra tackles a
film that is easily one of his
most underrated roles. Taking the role
of real-life comedian Joe E. Lewis, Sinatra easily steps into
the shoes of Lewis as a popular vocalist who is a rising star
on the concert circuit. This unfortunately draws the
attention of Al Capone and his mob, who try to strong-arm
Lewis into an "exclusive" contract, which Lewis firmly, but politely
declines. The mob brutalizes Lewis, slitting his
throat, which irreparably damages his vocal cords.
Although he otherwise recovers from the attack, the loss of
his voice grinds on Lewis's mood, turning him into a
dark and caustic figure, spitting out biting humor.
His friend Austin Mack, played by Eddie Albert in a sincere and
grounded performance, leads Lewis to taking his humor on stage, where
he becomes a hit all over again with his ascerbic brand of
humor. On this second rise to fame, he meets and falls in
love with two different women, the rich Letty Page, played by wonderful
Jeanne Crain, and the sultry chorus girl Martha Stewart (!), played
by blond ingenue Mitzi Gaynor. The struggle Lewis
has in his feelings between these two women and his never resolved
bitterness over the loss of his voice slowly drive Lewis to
alchoholism, which threatens to destroy him. Frank
again gets a powerhouse soundtrack for this film, with the instant
standard "All The Way" introduced, as well as "At Sundown",
"I Cried For You", "If I Could Be With You", "Out Of
Nowhere", and Bing Crosby's signature song "Swingin' On A
Star". The Joker Is Wild is one of
those films that has been unjustly forgotten and deserves to
be released on DVD.
Pal
Joey (1957)
Columbia
Pictures;
Screenplay by Dorothy Kingsley, from the musical play by John
O'Hara;
Directed by George Sidney,
111 min.
Cast:
Rita Hayworth .... Vera Simpson
Frank Sinatra .... Joey Evans
Kim Novak .... Linda English
Barbara Nichols .... Gladys
Bobby Sherwood .... Ned Galvin
Hank Henry .... Mike Miggins
Elizabeth Patterson .... Mrs. Casey
REVIEW: This film, recast
from the revolutionary stage
musical of the early 1940's, had less impact in 1957 when Sinatra
immortalized it, since the social norms it had challenged a decade
earlier had already grown more cynical and jaded, but it's
still what many consider the ideal vehicle for Frank. Sinatra
plays Joey Evans, an egotistical, selfish nightclub
singer who has no qualms about stepping on anything and anyone
is his quest for self-gain. The subject matter was actually
toned down in the film version, although the subject matter was nearly
fifteen years old, turning the character of Joey into more of a con-man
with a heart of gold, but Sinatra is the ideal figure for this unsavory
character, and the classic Rodgers and Hart songs that make up the
majority of the score are sung with the biting witticism that Lorenz
Hart's lyrics demand. "The Lady Is A Tramp" is particularly zinging, as
Sinatra sings it to a classy lady who's expecting something more
reverential or romantic. Kim Novak co-stars as the chorus girl who's
probably the ideal woman for Joey, but to him, she's just a pit stop on
his road to better things; their scenes together are heart-breaking.
Not really a great musical, since it's so seedy and
cynical in its sensibilities, but it's an ideal showcase for
the Sinatra of the Fifties, and the music, which also includes
"There's A Small Hotel", "I Could Write A Book", "My Funny Valentine",
"I Didn't Know What Time It Was," "Bewitched, Bothered and Bewildered"
and "Zip" is the very best. The DVD includes an interesting bonus reel
of Frank Sinatra instrucing the audience on the different slang phrases
found in the film.
Kings Go
Forth (1958)
Frank Ross-Eton Production/Metro-Goldwyn-Mayer;
Screenplay by Merle
Miller from the novel by Joe David Brown;
Directed by Delmer
Daves,
109 min.
Cast:
Frank Sinatra .... 1st Lt. Sam Loggins
Tony Curtis .... Cpl. Britt Harris
Natalie Wood .... Monique Blair
Leora Dana .... Mrs. Blair
Karl Swenson .... Lt. Col. Loggins
Ann Codee .... Mme. Brieux
Eddie Ryder .... Cpl. Lindsay (as Edward Ryder)
Jacques Berthe .... Jean-François Dauvah
Pete Candoli .... Musician (uncredited)
Cyril Delevanti .... Blairs' Butler (uncredited)
Marie Isnard .... Old Woman with Wine (uncredited)
Red Norvo .... Musician (uncredited)
REVIEW:
Kings
Go Forth is one of Hollywood's more ignored "message movies"
where the theme that's explored (race relations and
bigotry) overshadow everything else. Sinatra stars
as Leutenant Sam Loggins, a hard-nosed gunnery man, and Curtis is the
cocky, swaggering radio operator Britt
Harris. Fighting in Southern France during World War
II, the two men are as different as night and day: Curtis is smooth and
sophisticated, with dashing good looks and a wealthy family
back home. Sinatra is rough around the edges and street-wise,
but when the two of them meet the ravashing Monique, played by Natalie
Wood, they go head to head in competition for her affections.
Monique is initially attracted to Curtis's character,
but then Monique's mother (played by Leora Dana) reveals that
Monique's father was black, classifying Monique as a mulatto.
Back in the late Fifties, this topic was all the
rage, with Sidney Poitier taking point in several race-related films
during this era that helped break down the color barriers in
films (in fact, Tony Curtis's next film, The Defiant Ones would
tackle the same subject, this time co-starring with Poitier).
But for such a high-minded subject, it's interesting to note
that there are no black characters present, just all these
Italian-Americans discussing the subject at
length. Britt Harris, despite his sophisticated
upbringing, drops Monique like a hot potato, and vociferously
rails against interracial relationships, which of course means he gets
killed in action later in the picture (ultimate justice).
Frank's character also initially balks at the implications of Monique's
heritage, but is able to later reconcile his feelings and reunites with
Monique after the war. Although the film isn't as daring as
it would like to think, Frank shows himself to be equal to the task of
acting side by side with his co-stars in this earnest wartime
melodrama.
Some
Came
Running (1958)
Metro-Goldwyn-Mayer;
Screenplay by John Patrick
& Arthur Sheekman, based on the novel by James Jones; Directed
by Vincente Minnelli,
152 min.
Cast:
Frank Sinatra .... Dave Hirsh
Dean Martin .... Bama Dillert (professional gambler)
Shirley MacLaine .... Ginny Moorhead
Martha Hyer .... Gwen French (schoolteacher)
Arthur Kennedy .... Frank Hirsh
Nancy Gates .... Edith Barclay (Frank Hirsh's secretary)
Leora Dana .... Agnes Hirsh
Betty Lou Keim .... Dawn Hirsh
Larry Gates .... Prof. Robert Haven French
Steven Peck .... Raymond Lanchak (Ginny's suitor)
Connie Gilchrist .... Jane Barclay (Edith's mother)
Ned Wever .... Smitty (owner, Smitty's Bar)
REVIEW: A slow-burning drama, Some
Came
Running has Frank cast as Dave Hirsh, a burned-out writer
and ex-G.I. who, after a disasterous late-night card game, retreats to
his home town of Parktown, Indiana with a dizzy call-girl,
played by Shirley MacLaine, (who received her first Oscar
nomination for the role). Frank's character, Dave
Hirsh, is a bitter, hardened man who casts a cynical eye on
his former town's inhabitants, who reveal themselves
to be concealing demons under a veneer of small
town facades. Arthur Kennedy
plays Dave Hirsh's brother, Frank, who is
a half-owner of the town's bank, but who sees
his burned dreams in his brother's successes; Dean Martin
plays the boozy town gambler whose worst intincts are
kindled by Hirsh's sharp observations; and Martha Hyer is the
local schoolteacher who finds herself attracted to both Hirsh's
writings and the man. Shirley is the firecracker in the film,
both hilarious and heartbreaking as the simple-souled 'bad girl' who
finds refuge in Hirsh's arms, even though he
considers her nothing more than a diversion.
Minnelli's direction is both cool and taut and the during the course of
the two and a half hour film, he gradually unravels the deceptions
within the town, and sparks the fuse that's lit in the tragic
characters lives. The film's tragic
denoument, occuring at the town carnival, is
a nightmarish homage to Hitchcock's direction, and fittingly
closes the door on what can only appear as the
character's fitting fates.
A Hole In The
Head (1959)
United Artists;
Screenplay by Arnold Schulman, adapted from the his own play; Directed
by Frank Capra,
120 min.
Cast:
Frank Sinatra .... Tony Manetta
Edward G. Robinson .... Mario Manetta
Eleanor Parker .... Eloise Rogers
Carolyn Jones .... Shirl
Thelma Ritter .... Sophie Manetta
Keenan Wynn .... Jerry Marks
Joi Lansing .... Dorine
Connie Sawyer .... Miss Wexler
James Komack .... Julius Manetta (as Jimmy Komack)
Dub Taylor .... Fred (the clerk)
George DeWitt .... Mendy Yales
Benny Rubin .... Abe Diamond
Ruby Dandridge .... Sally
B.S. Pulley .... Hood (as B.S. Pully)
Joyce Nizzari .... Alice (Jerry's secretary)
Pupi Campo .... Master of Ceremonies
Eddie Hodges .... Alvin 'Ally' Manetta
REVIEW: A family-friendly
film, and one of Capra's last
efforts, A Hole In The Head finds Frank
as Tony Manetta, an impractical divorcee who's trying to hang on to his
finances and his 12-year-old son Julius, who has an unshakeable faith
in his wayward father. Tony owns a hotel
in Florida, but his uneasy grasp of
fiscal matters has put his business at risk. His
well-off brother and sisiter-in-law, (played with perfection by Edward
G. Robinson and Thelma Ritter, respectively) travel down to
Florida to visit, and Tony tries to get his brother to loan
him money for another crazy scheme (get this - Tony wants to build a
theme park in Florida, this was years before Disney World was
built). But Mario and Eloise have other plans - they hope to
pair Tony up with a widow (played by Eleanor Parker), and hopefully
she'll plant some sense in his hair-brained skull. A
hole in the head has all the Capra touches that fans will appreciate;
the innate goodness in the characters, the family-conscious camraderie
between Edward and Frank's characters, and the love between a father
and son. But where Capra's best films have
always striven to reach a higher plateau in the messages they preach, A
Hole In The Head feels a little thin. The
story is the main problem, with the conflicts smaller and less
worthy of attention than Mr. Smith Goes To Washington,
or It's A Wonderful Life.
Frank also seems less involved in this character than the
harder-hitting dramas he'd been investing in, and the result is a pale
shadow of other films. Frank again plays a loveable
cad, but he's not as much of a cad, and he's not as loveable here as he
was in say, Pal Joey. But these are
really small quibbles - this is a fine film that the whole
family can enjoy, and a real twist from other Sinatra films.
Never So
Few (1959)
Canterbury
Production/Metro-Goldwyn-Mayer;
Screenplay
by Millard Kaufman, adapted from the novel by Tom T. Chamales;
Directed
by John Sturges,
125 min.
Cast:
Frank Sinatra ....
Capt. Tom
Reynolds
Gina Lollobrigida .... Carla Vesari
Peter Lawford .... Capt. Grey Travis
Steve McQueen .... Cpl. Bill Ringa
Richard Johnson .... Capt. Danny De Mortimer
Paul Henreid .... Nikko Regas
Brian Donlevy .... Gen. Sloan
Dean Jones .... Sgt. Jim Norby
Charles Bronson .... Sgt. John Danforth
Philip Ahn .... Nautaung
Robert Bray .... Col. Fred Parkson
Kipp Hamilton .... Margaret Fitch
John Hoyt .... Col. Reed
Whit Bissell .... Capt. Alofson
Richard Lupino .... Mike Island
Aki Aleong .... Billingsly
REVIEW: You have about two
thirds of a good film here, with
intriguing locales and explosive action sequences in the first and last
thirds of the picture, and the middle third dragged down by a
superfluous (and improbable) romance.
Frank here is O.S.S. Operative Captain Tom Reynolds, who is training a
group of Burmese guerilla fighters (Kachins) in modern warfare, they
can badger the Japanese forces during World War II. It's an interesting
premise, especially in light of modern terrorist activities which were
fostered by the same goodwill efforts. But director John Sturges isn't
interested in studying the rights or wrongs of these efforts; he gives
the audience some spectacular war battles, with real, gritty moments of
action that still are impressive. But the film takes a sharp left turn
when Frank is ordered to take some time off and pick up both a doctor
(the bland Peter Lawford), and medical supplies. While on this enforced
holiday, Captain Reynolds meets up with other characters, including
driver Steve McQueen, a shady war profiteer (Paul Henried) and his
mistress, Carla Vesari (Gina Lollobrigida). The romance that heats up
between Frank and Gina is not only pointless to the rest of the film,
it practically grinds the film to a halt as we half-heartedly wonder
whether these two will hit it off, even though they share no on-screen
chemistry. Thankfully, the film picks up again as the main characters
return to the theater of action for some closing action pieces. While
not a great war picture, it's worth seeing for Frank's square-jawed
performance and the exceptional war scenes. You can make popcorn during
the middle.
Can-Can (1960)
Twentieth
Century Fox;
Screenplay by Dorothy Kingsley and Charles
Lederer, based on the musical play by Abe Burrows;
Directed by
Walter Lang,
131 min.
Cast:
Frank Sinatra .... François Durnais
Shirley MacLaine .... Simone Pistache
Maurice Chevalier .... Paul Barriere
Louis Jordan .... Philipe Forrestier
Juliet Prowse .... Claudine
Marcel Dalio .... Andre (head waiter)
Leon Belasco .... Arturo (orchesra leader)
Nestor Paiva .... Bailiff
John A. Neris .... Photographer
Jean Del Val .... Judge Merceaux
Ann Codee .... League president
REVIEW: No,no,no,no.
If you're going to
do a musical Frank, make sure that 1.) it's not one of Cole
Porter's later shows, almost all of which have dull
scores, and 2.) that you don't have to pretend
you're French. Obviously believing that he still can
pull off a foreign accent, after the twin spanish disasters of Kissing
Bandit and Pride and the Passion
(actually, he doesn't even try), Frank signs on to star again with the
inimitable Shirley MacLaine and two stars who know how to
act French because they ARE French: Maurice Chevalier and
Louis Jordan. But this ain't Gigi by a
long shot. Easily one of Cole Porter's weaker 'hits' on
Broadway, Can-Can
tells the story of a nightclub
owner, one Simone Pistache (MacLaine), who is contantly
getting shut down by the police because she allows a salicious dance
called the Can-Can to be performed there every night.
Sympathetic judge Paul Barriere (Chevalier) is willing to look the
other way (with a few backward glances), but hard-nosed lawman
Philipe Forrestier (Jordan) will go to any length to uphold
morality (or is it morali-TAY?). Frank plays Francios,
Simone's beau, who helps out, but once Simone begins playing
both sides of the field and Philipe falls for her hard, things
get tricky. Frank and Shirley barely show up for
their roles, singing the songs well, but only marginally there
for the line readings, and Jordan,
usually unflappable, looks embarrassed to be
here, but Chevalier is all oily
charm, though he is given little to do. I
know a lot of people enjoy this film, but place it side by
side to any of the greats, and its seams begin to
show. It was a creaky show on Broadway, and here, blown
up onto the big screen, it really feels like
leftovers. Songs Frank sings include: "C'est Magnifique",
"Let's Do It", "It's All Right With Me", "Montmart'", and "I Love
Paris".
