Film career of Frank Sinatra

Sinatra in Robin and the 7 Hoods (1964)

The film career of Frank Sinatra spanned several decades, between the 1940s and the 1960s. Sinatra starred in movies from 1944 up until the 1980s.

1940s

Sinatra tried to break into Hollywood in the early 1940s, and spent much time watching directors and actors in action. He said of it: "I went around to all the different sets in the studio, and watched different people work, all the veterans. I'd stand up on a ladder way in the back and pick up pointers from these people.I still have never been to a dramatic coach, I suppose I should have. I almost regret I didn't".[1] Sinatra made his film debut in 1941, performing in an uncredited sequence in Las Vegas Nights, singing "I'll Never Smile Again" with Tommy Dorsey's The Pied Pipers.[2] He received his first credit for singing "The Last Call for Love", "Poor You" and "Moonlight Bay" in Edward Buzzell's Ship Ahoy the following year, which starred Red Skelton and Eleanor Powell.[3] In 1943 he had a cameo role along with the likes of Duke Ellington and Count Basie in Charles Barton's Reveille with Beverly, making a brief appearance singing "Night and Day".[4] The following year he was given his first leading role opposite Michèle Morgan and Jack Haley in 1944 in Tim Whelan's musical film Higher and Higher for RKO Pictures, playing himself.[5][6] He again worked with Whelan in another musical of that year, Step Lively, co-starring George Murphy and Adolphe Menjou. Biographer Tim Knight wrote that that this was the film that Hollywood "fully unleashed 'The Voice' on the movies", giving Sinatra a role as a "sweetly naive playwright who is swept into scheming Broadway director's Gordon Miller's chaotic universe".[7]

Sinatra in Till the Clouds Roll By (1946)

In 1945, Metro-Goldwyn-Mayer cast Sinatra opposite Gene Kelly and Kathryn Grayson in the Technicolor musical Anchors Aweigh, in which he played a sailor on leave in Hollywood for four days. A major success, it garnered several Academy Award wins and nominations, and the song "I Fall in Love Too Easily", sung by Sinatra in the film, was nominated for the Academy Award for Best Original Song. Knight notes that while the film "drew Sinatra's young, excitable fans", it also "attracted an older audience who never would have stood in line all night just to hear him sing", making him into a "truly cross generational star".[8] That same year, he was loaned out to RKO to star in a short film titled The House I Live In. Directed by Mervyn LeRoy, this film on tolerance and racial equality earned a special Academy Award shared among Sinatra and those who brought the film to the screen, along with a special Golden Globe for "Promoting Good Will".[9][10]

In 1946, Sinatra returned to MGM to make Till the Clouds Roll By, a Technicolor musical biopic of Jerome Kern, directed Richard Whorf, with an ensemble cast which included Robert Walker, Judy Garland, Lena Horne, June Allyson and Van Heflin.[11] Santopietro considered the film to be the "dodo bird of MGM musicals—it moves but never flies", but noted that Sinatra had a cameo in the climax of the film, singing "Ol' Man River".[12] The following year, he featured in another musical directed by Whorf of MGM, It Happened in Brooklyn, co-starring Peter Lawford, Kathryn Grayson and Jimmy Durante. The film contains six songs written by Sammy Cahn and Jule Styne, including "The Song's Gotta Come From the Heart", in which Sinatra performed a duet with Durante.[13] Variety noted: "Much of the lure will result from Frank Sinatra's presence in the cast. Guy's acquired the Bing Crosby knack of nonchalance, throwing away his gag lines with fine aplomb. He kids himself in a couple of hilarious sequences and does a takeoff on Jimmy Durante, with Durante aiding him, that's sockeroo."[14]

In 1948 Sinatra appeared with Grayson in The Kissing Bandit, playing a shy, Boston-bred son of a robber, who falls for the daughter of the Spanish Governor of California. The film was a financial disaster, with the studio losing over $2.5 million, making it one of the least successful musicals in MGM history. The film was also poorly received critically, and is often cited as the worst film of Sinatra's career.[15] Also in 1948, Sinatra played a priest, one of his most unlikely roles according to Knight, opposite Fred MacMurray and Alida Valli in Irving Pichel's The Miracle of the Bells. It fared poorly upon release, with Time Magazine declaring in their review that "The Archangel Michael, familiarly picture, ought to sue".[16] In 1949, Sinatra co-starred with Gene Kelly in the Technicolor musical Take Me Out to the Ball Game, a film set in 1908, in which Sinatra and Kelly play baseball players who are part-time vaudevillians.[17] It was well received critically and became a commercial success. That same year, Sinatra teamed up with Kelly for a third time in On the Town, playing a sailor on leave in New York City. Today the film is rated very highly by critics, and in 2006 it ranked No. 19 on the American Film Institute's list of best musicals.[18]

1950s

In 1951, Sinatra featured opposite Jane Russell and Groucho Marx in the Irving Cummings comedy, Double Dynamite for RKO. The picture involves an innocent bank teller (Sinatra) suspected of embezzling who turns to a sardonic waiter (Groucho Marx) for advice.[19] Although Sinatra has by far the most screen time, he took third billing behind Jane Russell and Groucho Marx.[lower-alpha 1] Both Sinatra and Jane Russell play against type as a shy, timid pair, while Marx portrays a sarcastic waiter who breezily mentors the frightened young couple. Jane Russell and Groucho Marx each sing a duet with Frank Sinatra written by Jule Styne and Sammy Cahn. Marx and Sinatra sing "It's Only Money", and Russell and Sinatra deliver the romantic "Kisses and Tears.[21] The following year he appeared in Joseph Pevney's Meet Danny Wilson with Shelley Winters, in a role which Knight thought at times was overacted.[22] For Santopietro, the film marked the end of the first period of Sinatra's film career, at a time when his career had slumped.[23]

Sinatra as Maggio in From Here to Eternity

The rebirth of Sinatra's career began in 1953 with Fred Zinnemann's drama From Here to Eternity, and based on the novel of the same name by James Jones. The picture deals with the tribulations of three soldiers, played by Burt Lancaster, Montgomery Clift, and Sinatra, stationed on Hawaii in the months leading up to the attack on Pearl Harbor.[24] Sinatra had long been desperate to find a film role which would bring him back into the spotlight.[25] Columbia Pictures boss Harry Cohn had been inundated by appeals from people across Hollywood, even columnists, to give Sinatra a chance to star as "Maggio" in the film.[26] Ava Gardner begged Cohn's wife to pressure her husband into giving Sinatra the part.[27] Initially, Sinatra was sure that Eli Wallach would be given the part, and spent a miserable few weeks on location with Ava Gardner in Africa during the shooting of John Ford's Mogambo.[28] He was eventually cast in the role, accepting a minor fee to "prove his worth".[29][lower-alpha 2] During production, Montgomery Clift became a close friend, and Sinatra later professed that he "learned more about acting from him than anybody I ever knew".[31] After several years of critical and commercial decline, his Academy Award for Best Supporting Actor win helped him regain his position as the top recording artist in the world.[32] The Los Angeles Examiner wrote that Sinatra is "simply superb, comical, pitiful, childishly brave, pathetically defiant", commenting that his death scene is "one of the best ever photographed".[33] Sinatra later stated that the "greatest change in my life began the night they gave me that Oscar".[34]

In 1954, Sinatra starred opposite Doris Day in the musical film Young at Heart. They released an album together, of the same name which peaked at #11 on Billboard, while the single reached #2 and was considered as Sinatra's comeback single after several years away from the top of the pop singles chart.[35][36][37][lower-alpha 3] So popular was the song "Young at Heart" that the film was also titled Young at Heart, having had no title until the song's success.[38] The Young at Heart album released by Day and Sinatra did not include the title song, which Sinatra recorded prior to his film work.[39][lower-alpha 4] Later in 1954, Sinatra starred opposite Sterling Hayden in the film noir Suddenly, playing a psychopathic killer posing as an FBI agent who takes over a familial residence during a stakeout. Sinatra's performance was lauded by critics, with Bosley Crowther of The New York Times declaring that "Mr. Sinatra deserves a special chunk of praise for playing the leading gunman with an easy, cold, vicious sort of gleam" and that the film demonstrated a turn in direction in a career in playing such a "repulsive role", in comparison to his earlier career.[40] Sinatra had wanted to play the lead role in On The Waterfront that year, which eventually went to Marlon Brando. According to Kelley, Sinatra sued producer Sam Spiegel for $500,000 for breach of contract, settled amicably in the end, and labelled Brando the "most overrated actor in the world" in rage.[41]

Sinatra in Suddenly

In 1955, Sinatra was nominated for an Academy Award for Best Actor and BAFTA Award for Best Actor in a Leading Role for his role as a heroin addict in The Man With The Golden Arm.[42] In preparation for the film he spent time at drug rehabilitation clinics observing addicts going cold turkey.[43] Unlike previous roles, Sinatra found himself deeply immersed in the character and enjoyed rehearsing scenes—he didn't complain when some short scenes with co-star Kim Novak had to be shot as many as 35 times.[44] Sinatra later remarked that he had always considered his performance in The Man With The Golden Arm to have been the greatest of his film career, and that he'd won the Oscar for the wrong role.[45] This was followed by a role opposite Brando in Guys and Dolls. Sinatra was upset when Brando was given the lead romantic role of Sky Masterson and sued the producers; the case wasn't settled until out of court five years later. On set, Sinatra grew tired with Brando's insistence on extensive rehearsing before scenes, and said to director Mankiewicz: "Don't put me in the game, Coach, until Mumbles[lower-alpha 5] is through rehearsing".[46] He also featured alongside Debbie Reynolds in The Tender Trap,[47] in a role which biographer Roy Pickard considers to have been the film in which "Sinatra at last got into top gear", bringing him back to MGM.[48] Later in the year he starred opposite Robert Mitchum and Olivia de Havilland as a hospital orderly in Stanley Kramer's debut picture, Not as a Stranger, for which he was nominated for a BAFTA Award for Best Actor in a Leading Role.[49][50] During production, Sinatra got drunk with Mitchum and Broderick Crawford and trashed Kramer's dressing room. Kramer vowed to never hire Sinatra again at the time.[51]

Sinatra and Grace Kelly on the set of High Society

Sinatra was cast in the lead role in Henry King's Carousel (1956), a 20th Century Fox production. However, when Sinatra learned that the film was to be shot in two formats, Cinemascope and a new 55-millmeter process, he refused to make "two pictures for the price of one", and walked off the set and didn't return. Fox sued Sinatra for a million dollars for breach of contract and replaced him with Gordon MacRae.[51] Instead, he featured alongside Bing Crosby and Grace Kelly in High Society, earning a reported $250,000 for the picture.[52] The public rushed to the cinemas to see Sinatra and Crosby together onscreen, and it ended up earning over $13 million at the box office, becoming one of the highest-grossing pictures of 1956.[53] Later that year he appeared at the titular character in Johnny Concho, a Western,[54] in which he played an "skinny, scared, evil runt, living of his brother's fearsome reputation, even hiding behind the skirts of his woman in the ultimate showdown".[55] He also had cameo roles in Around the World in 80 Days and Meet Me in Las Vegas.[56]

In 1957, Sinatra starred opposite Rita Hayworth and Kim Novak in George Sidney's Pal Joey, for which he was nominated for the Golden Globe Award for Best Actor – Motion Picture Musical or Comedy. Santopietro considers the scene in which Sinatra sings "The Lady Is a Tramp" to Hayworth to have been the finest moment of his film career.[55] He next portrayed comedian Joe E. Lewis in The Joker Is Wild, a romanticized biopic of his life. Sinatra earned $125,000 for the role through his new company Bristol Productions, which had a 25% share in the film and box-office gross.[57] The song "All the Way" won the Academy Award for Best Original Song.[58] Later that year he spent time on location in Spain shooting The Pride and the Passion with Cary Grant, in which he played a Spanish guerrilla leader during the Peninsular War of 1810.[59] Director Kramer agreed to give Sinatra another chance, and later regretted it, finding him uncooperative and arrogant, as he was unwilling to shoot his scenes twice.[51] He only accepted the role as he wanted to be closer to Ava Gardner while she was filming The Sun Also Rises in Europe, due to marriage problems.[60][61] Kramer said of the production: "[Sinatra] didn't want to wait around.... He wanted his work all done together.... Eventually for the sake of harmony, we shot all his scenes together and he left early. The rest of the cast acquiesced because of the tension, which was horrific".[51]

In 1958, Sinatra was one of the ten biggest box office draws in the United States.[62] He starred opposite Dean Martin,[63] Martha Hyer and Shirley MacLaine in Vincente Minnelli's Some Came Running for MGM. Daniel O'Brien considers it to be "probably the high point of Sinatra's late fifties output, a superior piece of schlock melodrama that flaunts the courage of its dubious convictions to largely successful effect".[64] He next appeared alongside Tony Curtis and Natalie Wood as a World War II lieutenant in Kings Go Forth, an film which dealt with themes of racism and miscegenation,[65][66] Sinatra was responsible for the casting of Wood in the film, paying her $75,000 for just ten weeks work.[65] In 1959, Sinatra again appeared in a war picture—John Sturges's Never So Few, with Gina Lollobrigida, Peter Lawford, and Steve McQueen, based on the OSS Detachment 101 incident in South East Asia during World War II.[67] Davis, Jr. was originally intended to play McQueen's role, but Sinatra fired him in revenge for a mild comment made by Davis, Jr. about the proverbial "old blue eyes" during a Chicago radio interview.[68] McQueen's biographer Wes D. Gehring claims that Sinatra got on so famously with McQueen during the production, often performing practical jokes on each other, that McQueen "might have become part of the Rat Pack".[69] Sinatra ended the decade with a role as a "lovable small-time operator and hotel keeper" opposite Edward G. Robinson and Eleanor Parker in the Frank Capra comedy, A Hole in the Head.[70][71] It was shot on location in Miami Beach, Florida over the winter of 1958.[72] "High Hopes", sung by Sinatra in the film, won the Academy Award for Best Original Song.[73]

1960s

Sinatra as Tony Rome

In 1960 Sinatra starred in Can-Can. He personally financed Ocean's Eleven, the first film to feature the Rat Pack together, and paid Martin and Davis Jr. fees of $150,000 and $125,000, exorbitant for the period.[74] The following year he appeared in The Devil at 4 O'Clock.[75]

In 1962 Sinatra had a leading role in the Academy Award winning The Manchurian Candidate and appeared with the Rat Pack in the western Sergeants 3, following it with 4 for Texas in 1963, which was co-produced by Sinatra, Martin and Robert Aldrich.[74] For his performance in Come Blow Your Horn he was nominated for the Golden Globe Award for Best Actor – Motion Picture Musical or Comedy.[76] In 1964 he starred in Robin and the 7 Hoods; the song "My Kind of Town" was nominated for the Academy Award for Best Original Song.[77]

Sinatra featured in three films in 1965. His first was None but the Brave, which was also the only feature film he directed.[78] His two other films include Marriage on the Rocks and Von Ryan's Express.[79][80] The following year he starred in Assault on a Queen and Cast a Giant Shadow.[81][82] In the late 1960s, Sinatra became known for playing detectives, notably Tony Rome in Tony Rome (1967) and its sequel Lady In Cement (1968).[83][84] He also played a similar role in 1968's The Detective.[85]

Final roles

In 1970, Sinatra starred opposite George Kennedy in the western Dirty Dingus Magee. According to biographer Tom Santopietro, Sinatra only agreed to the film, an "abysmal" affair which was clearly the "wrong vehicle" for him as he put, because he needed something to cheer him up following the death of his father in January 1969.[86] The film was panned by the critics. In a scathing review, Roger Ebert referred to the film as "as shabby a piece of goods as has masqueraded as a Western", and stated: "I lean toward blaming Frank Sinatra, who in recent years has become notorious for not really caring about his movies. If a shot doesn't work, he doesn't like to try it again; he might be late getting back to Vegas".[87] Sinatra had intended to play Detective Harry Callahan in Dirty Harry (1971), but had to turn the role down due to developing Dupuytren's contracture in his hand.[88]

Sinatra's last major role was opposite Faye Dunaway in Brian G. Hutton's The First Deadly Sin (1980), in which he plays a troubled New York City homicide cop, Captain Edward X. Delaney. In a small role, Dunaway is the detective's ailing wife, hospitalized during the entire story with a rare kidney affliction. The musical score was by composer and arranger Gordon Jenkins,[89] who had first worked with Sinatra on the 1957 album "Where Are You?".[90] The First Deadly Sin failed to make much of an impression at the box office, but was well received by a number of critics. Santopietro noted that Sinatra gave an "extraordinarily rich", heavily layered characterization, one which "made for one terrific farewell" to his film career,[91] and Ebert was pleasantly surprised by Sinatra's "quiet, poignant, and very effective performance" as the detective, who "looks and acts very touchingly like a tired old cop on the threshold of retirement".[92] In 1988, in his final film role, he lent his voice to the Singing Sword in a cameo role in Who Framed Roger Rabbit.

Barbara Sinatra states that Sinatra was looking for a role like Dustin Hoffman's in Rain Man in the 1980s, and says that it was a role he would have really liked playing.[93] Santopietro notes that Francis Ford Coppola approached Sinatra to play the older mafioso Don Altobello in The Godfather III, and was considering accepting the role, but wasn't keen on the heavy shooting schedule and was talked out of it by his wife Barbara.[94] The role went to Eli Wallach.

Sinatra was always keen on playing a Bond villain in the James Bond franchise and, whilst he never managed to win such a role, in the 1989 film Licence to Kill he and his friends Robert Davi and Cubby Broccoli named the film's villain Franz Sanchez as an inside joke due to the character sharing both Sinatra's initials and number of letters in the full name.[95]

Filmography

Notes

  1. ↑ Hughes and Sinatra had both courted Ava Gardner. Hughes was envious because Gardner did not return his interest and had married Sinatra. For his part, Sinatra believed that Gardner and Hughes had a previous relationship, though Gardner denied this. Hughes, who was the owner of RKO Pictures, intensified Sinatra's wrath against him when he was working on the 1951 film Double Dynamite. Hughes demoted Sinatra's billing in the film to third and eventually barred him from the RKO lot.[20]
  2. ↑ Sinatra successfully later sued a BBC interviewer who claimed that he'd used his Mafia connections to get the part.[30]
  3. ↑ Sinatra was not very enthusiastic about the song initially. His friend, Jimmy Van Heusen, convinced him that the song would be a success.[35]
  4. ↑ Young at Heart was produced by Day's husband at the time, Marty Melcher. Sinatra had an intense dislike for Melcher, calling him a "heel and a fucking creep" to his face. Sinatra disliked Melcher enough to insist that he would not work on the set if Melcher was anywhere on the Warner lot. The feud grew worse when Melcher suggested that Day sing Young at Heart as the film's title song. Sinatra's recording of the song was already a hit. Day conceded that she did not care whose voice was heard singing the film's title song. Because of the rift, the Young at Heart soundtrack album contains all the songs heard in the film but the title Young at Heart. Sinatra's hit recording is heard at the beginning and end of the film.[39]
  5. ↑ Mumbles was Sinatra's nickname for Brando

References

  1. ↑ Santopietro 2009, p. 7.
  2. ↑ Feather, Leonard (November 24, 1973). Billboard — Jazzmen Have Always Favored FS. Nielsen Business Media, Inc. p. 44. ISSN 0006-2510.
  3. ↑ Knight 2010, p. 79.
  4. ↑ Knight 2010, p. 80.
  5. ↑ Knight 2010, p. 16.
  6. ↑ Crowther, Bosley (January 22, 1944). "Higher and Higher". The New York Times. Retrieved August 31, 2015.
  7. ↑ Knight 2010, p. 20.
  8. ↑ Knight 2010, p. 35.
  9. ↑ Billboard — Sinatra Scrapbook. Nielsen Business Media, Inc. November 20, 1965. p. 105. ISSN 0006-2510.
  10. ↑ Dietz 2015, p. 135.
  11. ↑ Green 1999, p. 141.
  12. ↑ Santopietro 2009, pp. 121-2.
  13. ↑ Bakish 1995, p. 89.
  14. ↑ "It Happened in Brooklyn". Variety. December 31, 1946. Retrieved August 31, 2015.
  15. ↑ Rapport. Rapport Publishing Company. 1995. p. 61.
  16. ↑ Knight 2010, p. 40.
  17. ↑ McGuiggan 2009, p. 86.
  18. ↑ "AFI's 25 Greatest Movie Musicals of All Time". American Film Institute. Retrieved August 31, 2015.
  19. ↑ Knight 2010, p. 66.
  20. ↑ Hernandez 2010, pp. 287-288.
  21. ↑ Lynch 1989, p. 68.
  22. ↑ Knight 2010, p. 77.
  23. ↑ Santopietro 2009, p. 186.
  24. ↑ Knight 2010, p. 86.
  25. ↑ Kelley 1986, pp. 210, 214.
  26. ↑ Kelley 1986, p. 210.
  27. ↑ Kelley 1986, p. 206.
  28. ↑ Kelley 1986, pp. 210-1.
  29. ↑ Billboard. Nielsen Business Media, Inc. November 20, 1965. p. 65. ISSN 0006-2510.
  30. ↑ Kelley 1986, p. 215.
  31. ↑ Kelley 1986, pp. 220-23.
  32. ↑ Schmidt, M.A. (May 9, 1954). "Best Pictures: From Here to Eternity". The New York Times. Retrieved August 31, 2015.
  33. ↑ Kelley 1986, p. 224.
  34. ↑ Kelley 1986, p. 243.
  35. 1 2 O'Brien 2014.
  36. ↑ "Young at Heart". Sinatra Discography. Retrieved September 5, 2015.
  37. ↑ "Young at Heart album awards". AllMusic. Retrieved September 5, 2015.
  38. ↑ Santopietro 2009, p. 157.
  39. 1 2 Bret 2014.
  40. ↑ Crowther, Bosley (October 8, 1954). "Suddenly". The New York Times. Retrieved August 31, 2015.
  41. ↑ Kelley 1986, p. 254.
  42. ↑ Geraghty 2011, p. 18.
  43. ↑ Longworth 2014, p. 57.
  44. ↑ Santopietro 2008, pp. 189-193.
  45. ↑ Santopietro 2008, p. 195.
  46. ↑ Santopietro 2008, pp. 168-70.
  47. ↑ Turner 2004, p. 93.
  48. ↑ Pickard 1994, p. 8.
  49. ↑ Epstein 2013, p. 98.
  50. ↑ Knight 2010, p. 110.
  51. 1 2 3 4 Hickey 2015, p. 76.
  52. ↑ Santopietro 2008, p. 203.
  53. ↑ Knight 2010, p. 136.
  54. ↑ Turner 2004, p. 95.
  55. 1 2 Santopietro 2009.
  56. ↑ Knight 2010, p. 189.
  57. ↑ O'Brien 2014, p. 221.
  58. ↑ Billboard. Nielsen Business Media, Inc. December 15, 1958. p. 36. ISSN 0006-2510.
  59. ↑ New York Magazine. New York Media, LLC. September 7, 1992. p. 85. ISSN 0028-7369.
  60. ↑ Thorpe, Vanessa (October 19, 2014). "Sophia Loren: how Cary Grant begged me to become his lover". The Guardian. Retrieved September 24, 2015.
  61. ↑ Kelley 1986, p. 258.
  62. ↑ Kelley 1986, p. 282.
  63. ↑ Messenger 2012, p. 77.
  64. ↑ O'Brien 2014, p. 243.
  65. 1 2 O'Brien 2014, p. 236.
  66. ↑ Early 2004, p. 16.
  67. ↑ Moon 1991, pp. 285-91.
  68. ↑ Gehring 2009, p. 52.
  69. ↑ Gehring 2009, p. 54.
  70. ↑ Italian Americana - A Hole in the Head. State University of New York College at Buffalo. 1976. p. 251.
  71. ↑ Marill 1990, p. 184.
  72. ↑ "Dog Track Owner May Sue Sinatra For Not Showing". Miami Daily News-Record. November 20, 1958. p. 10. Retrieved September 28, 2015 – via Newspapers.com.
  73. ↑ "The 32nd Academy Awards". Academy of Motion Picture Arts and Sciences. Retrieved October 1, 2015.
  74. 1 2 Rojek 2004, p. 144.
  75. ↑ Weiler, A. H. (October 19, 1961). "The Devil at 4 O Clock (1961)". The New York Times. Retrieved October 2, 2015.
  76. ↑ "Come Blow Your Horn (1963) - Awards". The New York Times. Retrieved October 4, 2015.
  77. ↑ "The 37th Academy Awards". Oscars.org. Retrieved October 4, 2015.
  78. ↑ Knight 2010, p. 262.
  79. ↑ LoBianco, Lorraine. "Marriage on the Rocks (1965)". Turner Classic Movies. Retrieved October 3, 2015.
  80. ↑ "Von Ryan's Express". Time Out. Retrieved October 3, 2015.
  81. ↑ Crowther, Bosley (July 28, 1966). "Assault on a Queen (1966)". The New York Times. Retrieved October 4, 2015.
  82. ↑ Crowther, Bosley (March 31, 1966). "Cast a Giant Shadow (1966)". The New York Times. Retrieved October 4, 2015.
  83. ↑ Ebert, Roger (November 22, 1967). "Tony Rome". RogerEbert.com. Retrieved October 4, 2015.
  84. ↑ Canby, Vincent (November 21, 1968). "Lady in Cement (1968)". The New York Times. Retrieved October 4, 2015.
  85. ↑ Ebert, Roger (July 12, 1968). "The Detective". RogerEbert.com. Retrieved October 4, 2015.
  86. ↑ Santopietro 2009, p. 614.
  87. ↑ Ebert, Roger (November 23, 1970). "Dirty Dingus Magee". RogerEbert.com. Retrieved August 31, 2015.
  88. ↑ Santopietro 2008, pp. 414-15.
  89. ↑ Friedwald 1995, p. 483.
  90. ↑ Granata 2003, p. 133.
  91. ↑ Santopietro 2009, p. 648.
  92. ↑ Ebert, Roger (October 30, 1980). "The First Deadly Sin". RogerEbert.com. Retrieved August 31, 2015.
  93. ↑ Sinatra 2011, p. 257.
  94. ↑ Santopietro 2008, p. 346.
  95. ↑ "Exclusive Interview: Robert Davi Talks Awaken". mrrumsey.com. Retrieved 2016-01-12.

Sources

External links

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