The theme is the founding of the state of Israel. The action begins on a ship filled with Jewish immigrants bound for Israel who are being off loaded on Cyprus. An Intelligence officer ... See full summary »
Eva Marie Saint,
In a bold coup a Palestinian terrorist group captures the yacht Rosebud and kidnaps the millionaires five daughters on it. At first they demand film clips to be shown on major European TV ... See full summary »
Frankie Machine is a skilled card dealer and one-time heroin addict. When he returns home from jail, he struggles to find a new livelihood and to avoid slipping back into addiction. Written by
Mike Campanelli <firstname.lastname@example.org>
Screenwriter Walter Newman was unhappy with Eleanor Parker as Zosh and related in a 1972 interview that he told Preminger that Shelley Winters should be cast in the role. The writer thought Joanne Woodward would be fine in the role, but she hadn't acted in a film as yet at that point and Preminger turned her down. See more »
When Frankie returns to his apartment after his release, the top edge of the set and the studio lights are clearly visible as the camera pans across the room. See more »
Fleabag settings via Hollywood, given a glossy coat and melodramatic treatment...
Director Otto Preminger makes a valiant attempt to interject some real feeling into this adaptation of Nelson Algren's novel, but the material is ultimately far too false and the film fails to come off. Frank Sinatra plays Frankie, an ace card-dealer and poker-player coming out of a six-month stay in an institution to kick his drug habit; in the interim, he's become a good drummer and hopes to land a job with a band, but troubles with his invalid wife and the low-life neighborhood characters set him out on the precipice once again. Preminger can't seem to eke out a realistic scenario within these studio back streets, and Elmer Bernstein's blaring music undermines the nuances with Prestige! and Importance! Sinatra manages some hard-knock looks of concern and hopelessness, but his well-intentioned Frankie is a distressing creation (and, with all that talk about the "bobbysoxers" turning out for him, he's an uncomfortable sketch of the real Frankie when he was down-and-out several years prior). Glamorous Kim Novak, cast as the local working girl, is perhaps too Park Avenue for these squalid settings, however this is one of Novak's best, most subtle performances and she carries a great many scenes in the second-half. Eleanor Parker's role as Frankie's wheelchair-bound spouse is something else altogether; played on the verge of hysteria, it's a stunning portrait of a parasitic woman on the edge, needling, needy and yet aggressive. Parker appears to relish this outré role (and chews up a few scenes in the bargain)--and her big exit scene is a beauty--but in the context of this film, the performance is too hyperbolic. It's indicative of much of the writing, which walks a fine line between human drama and soap opera. This effort, pumped up for big effects, crosses that line too many times, finishing up wilted and unsatisfying. ** from ****
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