FILMS V (1966-1984)
  IV  V

NOTE: Sinatra's final films saw him develop the role of a gritty, tough-talking Detective role that heakened back to his early radio character 'Rocky Fortune.'  But where his earlier private eye roles were straightforward adventures, the new characters were bleak, hard-edged anti-heroes who tackled modern social problems and prejudices.  The violence escalates as well, and these final films are the darkest, grimmest films he ever made. 

Cast A Giant Shadow (1966)
MGM/UA; Screenplay by Melville Shavelson, based on a novel by Ted Berkman; Directed by Melville Shavelson,
146 min.

Kirk Douglas ....  Col. David 'Mickey' Marcus
Senta Berger ....  Magda Simon
Angie Dickinson ....  Emma Marcus
James Donald ....  Maj. Safir
Stathis Giallelis ....  Ram Oren
Luther Adler ....  Jacob Zion
Topol ....  Abou Ibn Kader
Ruth White ....  Mrs. Chaison
Gordon Jackson ....  James MacAfee
Michael Hordern ....  British ambassador
Allan Cuthbertson ....  Immigration officer
Jeremy Kemp ....  British Immigration senior
Sean Barrett ....  British Immigration junior
Michael Shillo ....  Andre Simon
Rina Ganor ....  Rona
Roland Bartrop ....  Bert Harrison
Robert Gardett ....  Gen. Walsh
Michael Balston ....  Sentry #1
Claude Aliotti ....  Sentry #2
Samra Dedes ....  Belly dancer
Michael Shagrir ....  Truck driver
Frank Latimore ....  UN officer
Ken Buckle ....  UN officer
Rod Dana ....  Aide to Gen. Randolph (as Rodd Dana)
Robert Ross ....  Aide to Chief of Staff
Arthur Hansel ....  Officer
Dan Sturkie ....  Parachute sergeant (as Don Sturkie)
Hillel Rave ....  Yaakov
Shlomo Hermon ....  Yussuf
Frank Sinatra ....  Vince Talmadge
Yul Brynner ....  Asher Gonen
John Wayne ....  Gen. Mike Randolph

REVIEW:  Cast A Giant Shadow, based on Ted Berkman's biography of Colonel Mickey Marcus, the American soldier who served as an adviser in the fight to establish the state of Israel in 1948, thinks it's a bigger movie than it is, but is an interesting film to watch today, since it portrays the dillema of an American soldier, Colonel David "Micky" Marcus, played by flinty Kirk Douglas, who's struggling to decide whether to stay and help the fledgling country of Israel fight their battles against the Arab nations, or return home to the United States.  Based on true events (although with a liberal dose of fiction thrown in), it's fascinating to see the spin that's taken on these events in 1966.  The black and white portrayals between the warring factions are incredibly naive, but for the purposes of this film, it works.  Also on the plus side of this movie are the extended cameos that pop up, of which Frank is one as the very funny pilot 'Vince Talmadge' - but other walk-ons include Yul Brynner and a never-crustier John Wayne as General Mike Randolph.  The rousing score by Elmer Bernstein is a classic, and the battle scenes continue to amaze, but the film is often confusing, or slips into a stop-everything rut when it focuses on Douglas's agonizing over being faithful to his wife who remains in the U.S., or pursue a heated relationship with sexy freedom-fighter Senta Berger.  What is so surprising about this film is how the topic still elicits such ferocious response from Arab/Israeli apologists who want to spin the events their own way.  If you have a clear head, you can watch this film and enjoy it as it was meant to be enjoyed: as a solid period film with amazing action sequences, improbable romance, and more stars than you can shake a stick at.


Assault On A Queen (1966)
Paramount Picttures/Seven Arts Productions/Sinatra Productions;
Screenplay by Rod Serling, from the novel by Jack Finney;
Directed by Jack Donohue,
106 min.

Frank Sinatra ....  Mark Brittain
Virna Lisi ....  Rosa Lucchesi 
Val Avery ....  Trench
Leslie Bradley ....  Officer #3
Lawrence Conroy ....  Junior officer
Richard Conte ....  Tony Moreno
Reginald Denny ....  Master-at-Arms
Anthony Franciosa ....  Vic Rossiter
Arthur Gould-Porter ....  Officer #4
Errol John ....  Linc Langley
Alf Kjellin ....  Eric Lauffnauer
Ronald Long ....  Officer #2
Murray Matheson ....  Captain
Lester Matthews ....  Doctor
Barbara Morrison  
Gilchrist Stuart ....  Officer #1
John Warburton ....  Bank manager

REVIEW:  Considering the talent that was behind the concept, with a knockout book by "Invasion of the Body Snatchers" author Jack Finney, and the screenplay by Twilight Zone alum Rod Serling, I would have expected this high-concept film to be a lot more thrilling than it turned out, something along the lines of Indiana Jones, but somewhere the transfer from book to film went awry. The idea is a smash: a motley mix of five men are hired by sexy, shady Italian entrepreneur Virna Lisi to refubish a World War II submarine, and become modern-day pirates! Their first target: the super ocean liner Queen Mary, which they'll hold hostage with the submarine while the theft takes place. With a setup like that, even I could've penned a plot that winds up more suspense than this film does. But saddled with an interminable build up, not unlike the yawn-inducing opening stretch in Ocean's Eleven, and Sinatra as lead brigand 'Mark Brittain' just walking through the picture with no real connection to either the character or plot, the interest leaks right out of the film. By the time the actual attack is set into motion, which picks things up for a few minutes, the audience could probably care less. Several veteran character actors get to shine, which helps a lot, as Richard Conte and Reginald Denny both nicely delineated in their roles, and the musical score, by Duke Ellington is nicely jazzy, but still the whole feels flabby, and could've used some punching up in the first reel. Still, there's enough entertainment here in the scenery and the supporting cast to make it worth a look. You also might want to track down the snappy original novel for an idea of how the film could've played out.  VHS only. 

The Naked Runner (1967)
Artanis Productions/Warner Brothers;
Screenplay by Stanley Mann, based on the novel by Francis Clifford;
Directed by Sidney J. Furie,
101 min.

Frank Sinatra ....  Sam Laker
Peter Vaughan ....  Slattery
Derren Nesbitt ....  Colonel Hartmann
Nadia Gray ....  Karen
Toby Robins ....  Ruth
Inger Stratton ....  Anna
Cyril Luckham ....  Cabinet minister
Edward Fox ....  Ritchie Jackson
J.A.B. Dubin-Behrmann ....  Joseph
Michael Newport ....  Patrick Laker

REVIEW:  A shamefully undervalued picture, this European cold-war spy thriller is certainly a change of pace for Sinatra, who turns in a nicely-tuned performance as industrial designer Sam Laker, who is in England with his 10-year-old son Patrick. While there he is contacted by an old World War II buddy Slattery, who is part of the British Secret Service, and believes that Sam, with his blank dossier and low profile is the perfect choice to assasinate some escaped Communist spies. While it's not as sharp a film as say, The Icarus Agenda, and the editing is choppy (reportedly due to Frank walking off the set of the film to be with his new bride Mia Farrow), there is a minimilist leanness to the production that lends itself to the story, as this ex-GI, who thought his life with a gun was over, finds himself falling into old patterns in his pursuit of the Russians. Peter Vaughan is nicely caustic in his featured role as instigator 'Slattery' and the European settings give the film a cold, old-world look that feels just right. Unfortunately, due to the aforementioned difficulties on-set with Frank, some obvious stand-ins were hired to take Frank's place in a few shots, and the plot can be baffling due to the sometimes questionable editing choices made by the producers. Rarely shown on TV, and not yet released on DVD, you might want to wait before purchasing this title, but if it's available for rent, give it a try. VHS only.

Tony Rome (1967)
Twentieth Century Fox;
Screenplay by Richard L. Breen, from the novel by Marvin H. Albert;
Directed by Gordon Douglas,
110 min.

Frank Sinatra ....  Tony Rome
Jill St. John ....  Ann Archer
Richard Conte ....  Lt. Dave Santini (Miami Beach Police Dept.)
Gena Rowlands ....  Rita Kosterman
Simon Oakland ....  Rudolph 'Rudy' Kosterman
Jeffrey Lynn ....  Adam Boyd
Lloyd Bochner ....  Vic Rood (drug pusher)
Robert J. Wilke ....  Ralph Turpin (hotel house detective)
Virginia Vincent ....  Sally Bullock
Joan Shawlee ....  Fat Candy
Richard Krisher ....  Donald Pines
Lloyd Gough ....  Jules Langley (thug)
Babe Hart ....  Oscar (thug)
Elisabeth Fraser ....  Irma
Rocky Graziano ....  Packy (necktie vendor outside restaurant)
Shecky Greene ....  Catleg, a.k.a. John Fields
Jeanne Cooper ....  Lorna Boyd
Harry Davis ....  Ruyter (Dutch jeweler)
Stanley Ross ....  Sam Boyd
Sue Lyon ....  Diana Pines

REVIEW:  A great little detective role for Frank, which he would reprise in 1968's Lady In Cement, Tony Rome has Frank cast as the title character who is a private dick in Miami. He lives and works from a houseboat, and when his former partner Ralph Turpin (who's now a hotel detective) shows up, the case he's given turns out to be much more personal than he would have guessed. What starts out to be a kidnapping, turns into a showcase for several characters pulled right out of the gutter, and mix in a cocktail of blackmail, jewel robbery, forgery, and murder. Frank brings his old Rat Pack ethos to the character, making Tony a hard-talking, tough-nosed man who, in the best From Here To Eternity tradition, get the daylights beat out of him several times over the course of the film. At first Tony is baffled by the escalation of violence involved in the case, but when his friend is murdered, Tony gets personal, enlisting the help of divorcee Jill St. John.. Frank of course has a history of playing detectives from his earliest radio days when he took the role of 'Rocky Fortune', but Tony Rome is far grittier, the humor more oddball, and the violence here is several notches up from earlier films. It's an enjoyable diversion and a memorable role for Frank.

The Detective (1968)
Twentieth Century Fox
Screenplay by Abby Mann, from the novel by Roderick Thorp;
Directed by Gordon Douglas,
114 min.

Frank Sinatra ....  Det. Joe Leland
Lee Remick ....  Karen Leland
Ralph Meeker ....  Curran
Jack Klugman ....  Dave Schoenstein
Horace McMahon ....  Capt. Tom Farrell
Lloyd Bochner ....  Dr. Wendell Roberts
William Windom ....  Colin MacIver
Tony Musante ....  Felix Tesla
Al Freeman Jr. ....  Robbie Loughlin
Robert Duvall ....  Nestor
Pat Henry ....  Mercidis
Patrick McVey ....  Tanner
Dixie Marquis ....  Carol Linjack
Sugar Ray Robinson ....  Kelly
Renée Taylor ....  Rachael Schoenstein
James Inman ....  Teddy Leikman
Tom Atkins ....  Harmon
Jacqueline Bisset ....  Norma MacIver

REVIEW:  The Detective, much like Tony Rome, takes an ever-grittier look at modern life in this seedy mystery involving the murder of the homosexual son of a wealthy department-store magnate. Sinatra plays Detective Joe Leland, who, with his partner Robbie Loughlin (a steady Al Freeman), investigate the crime and soon arrest the murdered man's ex-roomate Tony Musante (playing the psychotic 'Felix Tesla'), the trial is a success, Felix is exectued, and Sinatra's character is promoted. But not long after, Jacueline Bisset, playing the widow of a rich accountant whom she believes was murdered at a racetrack hires Joe to investigate, but when Joe seeks information, he's blocked by the police. When he pushes back, an attempt is made on his life, and he discovers that there may be more to this case, and the one that preceded it, than meets the eye, involving cheating spouses, and a corrupt land deal. During all this, Joe also has to deal with his hot-and-bothered wife, played with sultry abandon by Lee Remick, and who serves no purpose other than to bring young teenage boys into the theater, as well as dive into the dark and hidden world of homosexuality in the late 60s. The subject matter is treated with typical Hollywood sterotypes, with dark nightclubs and lots of disparaging comments by Sinatra's character about "queers". Jack Klugman makes an apearance as a family man who's on Sinatra's team, and look also for appearances by Robert Duvall and "Sugar Ray" Robinson. While this film has interest for it's decidedly dated point-of-view and subject matter, its bleak, relentlessly off-putting mood and unblinking subject matter will be hard for many to swallow.

Lady In Cement (1968)
Twentieth Century Fox
Screenplay by Marvin H. Albert and Jack Guss, based on the novel by Marvin H. Albert; Directed by Gordon Douglas,
93 min.

Frank Sinatra ....  Tony Rome
Raquel Welch ....  Kit Forrest
Richard Conte ....  Lt. Dave Santini
Martin Gabel ....  Al Munger
Lainie Kazan ....  Maria Baretto
Pat Henry ....  Rubin
Steve Peck ....  Paul Mungar
Virginia Wood ....  Audrey
Richard Deacon ....  Arnie Sherwin
Frank Raiter ....  Danny Yale
Peter Hock ....  Frenchy
Alex Stevens ....  Shev
Christine Todd ....  Sandra Lomax
Mac Robbins ....  Sidney the organizer
Tommy Uhlar ....  The Kid, Tighe Santini
Rey Baumel ....  Paco
Pauly Dash ....  MaComb
Andrew Jarrell ....  Pool Boy
Dan Blocker ....  Waldo Gronsky

REVIEW:  Sinatra's second and final Tony Rome picture is a step down from the first, with Sinatra seemingly less involved in the role, and the R-rated elements increased.  More of a whodunnit than the first film, the caper involves Tony coming upon a murder victim encased in cement while scuba diving.  Hired by Gronsky (in a marvellous performance by Dan Blocker) to find out if the body is of his missing girlfriend, he discovers that the girl was at a party earlier, and begins to interview different party-goes, including hot socialite 'Kit Forest' (played by the oh-so-lovely Raquel Welch), and her neighbor, former racketeer Al Munger, who threatens Tony to stay away from Kit.  Tony begins to suspect that there's more to the murder than meets the eye, especially when Gronsky reveals that he and Al's son have been skimming money from Al's accounts.  While the first Tony Rome picture had a odd sense of fun to it, this film, perhaps due to the intricate, winding plot, has less, and suffers because of it. Frank has always had a gift for throw-away one-liners, always delivered with smirk or a wink, but here, he just seems to throw them away, making Tony less of a character this time around, and more of a cut-out.  These hard-edged detective films by Frank are not my favorite in his ouvre, but for those who like bleak mystery/action flicks, you might want to check this out.

Dirty Dingus Magee (1970) 
Screenplay by Tom Waldman, Frank Waldman, and Joseph Heller, based on "The Ballad Of Dingus Magee" by David Markson; 
Directed by Burt Kennedy,&
91 min.

Frank Sinatra ....  Dingus Billy Magee
George Kennedy ....  Herkimer 'Hoke' Birdsill
Anne Jackson ....  Belle Nops (mayor of Yerkey's Hole)
Lois Nettleton ....  Prudence Frost (schoolteacher)
Jack Elam ....  John Wesley Hardin
Michele Carey ....  Anna Hot Water
John Dehner ....  Brig. Gen. George
Henry Jones ....  Rev. Green
Harry Carey Jr. ....  Charles Stuart
Paul Fix ....  Crazy Blanket (Anna's father)
Marya Christen ....  China Poppy (Belle's maid)
Terry Wilson ....  Sergeant
Willis Bouchey ....  Ira Teasdale
Tom Fadden ....  Trooper

REVIEW:  Sinatra's last feature film for a decade, Dirty Dingus Magee was orignally planned to have a nineteen-year-old actor in the title role, but was rewritten when the 55-year-old Sinatra took the part.  So what does Frank do is this picture?  He plays a theiving, wenching, ne'er-do-well charmer who has the power to awaken the feelings of a sexually-repressed schoolmarm (Louis Nettleton), drive Indian maidens wild with passion (Michele Carey) and start a war between the army and some local indians!  On the way he robs 'Hoke' Birdsill (played by the always-reliable George Kennedy), a stagecoach (which leads to a series of comic scenes where Frank repeately fails to break oven the coach's strongbox), and riles the Mayor  (played by Anne Jackson) who's afraid that all these whoop-ups will harm her profitable side-business of running the town brothel.  Essentially, what we have here is a ninety-minute film of what appears to be Frank finally having a mid-life crisis.  If you can sit through this cheap excuse for loads of curse words and sexual innuendo, you have more stamina than I do.  The humor is scattershot and broad, the acting is as subtle as an avalanche, and Sinatra is simply too old to be playing this part.  (Sorry, Frank).  Add to that the denigrating attitudes towards women, Native Americans, and anyone else that's in this film's sights, and you have a truly low point in the careers of Sinatra, and writer Joseph Heller (who also penned Catch 22 - go figure!)  VHS only.

Contract On Cherry Street (TV) (1977)
Artanis Productions/Columbia Pictures Television;
Screenplay by Edward Anhalt, based on the novel by Philip Rosenberg;
Directed by William A Graham,
145 min.

Frank Sinatra ....  Dep. Insp. Frank Hovannes, Organized Crime Unit (OCU)
Martin Balsam ....  Capt. Ernie Weinberg, OCU
Jay Black ....  Tommy Sindardos, Greek Highjacker
Verna Bloom ....  Emily Hovannes
Joe De Santis ....  Vincenzo Seruto, Crime Lord
Martin Gabel ....  Baruch 'Bob' Waldman, Crime Boss
Harry Guardino ....  Ron Polito, OCU
James Luisi ....  Al Palmini/Arnold Palmer
Michael Nouri ....  Lou Savage, OCU
Marco St. John ....  Eddie Manzaro, Crime Boss/Son of Salvatore Manzaro
Henry Silva ....  Roberto Obregon, OCU
Richard Ward ....  Jack Kittens, Police informant who works for Waldman
Addison Powell ....  Bob Halloran, Head Of OCU
Steve Inwood ....  Fran Marks, Junkie Stoolie
Johnny Barnes ....  Otis Washington, Manzaro's Enforcer

REVIEW:  After a seven year break from acting, Sinatra, then 62 years old, chose to play the part of Deputy Inspector Frank Hovannes in a television movie - his first ever - and had his company team with Columbia Television to produce it.  Contract On Cherry Street (also known as Stakeout On Cherry Street), is similar to other cop shows that were popular during the 70's, such as Kojak, and the film Serpico, which dealt with policemen who are apart from the mainstream, often breaking the rules to take matters into their own hands.  Frank's character is shattered when his best friend and partner is brutally murdered by members of New York's mafia.  Frustrated by what he perceives as the slow wheels of justice, Frank forms a shadow task force that takes on the mob by planning a calculated 'hit' on known mobster in the hopes of starting a gang war and wiping out the major crime factions (led by Martin Gabel, Joe De Santis, and Marco St. John).  Members of this fringe team include Harry Guardino as the bitter, enraged vengeance-seeker, Michael Nouri as the new kid on the force who's not sure what he's getting into, and Henry Silva as the voice of conscience and reason.  Even for 1977, this film reeks with violence, with Frank casually brutalizing suspects, and pushing the envelope of television standards.  The script, which ping-pongs between portraying the mob in true The Godfather fashion, and showing the police force as generally ineffectual, is OK for it's purpose, but doesn't dig beneath the surface of the characters, as each one sticks with the stock options they're written with.  Occasionally shown on cable TV, you'll want to keep your eyes peeled for this rarity.  UPDATE:  Sony has made this available on a manufactured on demand DVD.  

The First Deadly Sin (1980)
Artanis Productions/Cinema VII;

Screenplay by Mann Ruben, based on the novel by Lawrence Sanders;
Directed by Brian G. Hutton,
112 min.


Frank Sinatra ....  Edward Delaney
Faye Dunaway ....  Barbara Delaney
David Dukes ....  Daniel Blank
George Coe ....  Dr. Bernardi
Brenda Vaccaro ....  Monica Gilbert
Martin Gabel ....  Christopher Langley
Anthony Zerbe ....  Captain Broughton
James Whitmore ....  Dr. Sanford Ferguson
Joe Spinell ....  Charles Lipsky
Anna Navarro ....  Sunny Jordeen
Jeffrey DeMunn ....  Sergeant Fernandez Correlli
John Devaney ....  John Rogers
Robert Weil ....  Sol Appel
Hugh Hurd ....  Ben Johnson
Jon DeVries ....  Calvin Samtell

REVIEW:  Sinatra's final dramatic film, made 39 years after Las Vegas Nights, is a fine, character driven thriller which pits policeman Edward Delaney against a cunning psychopath who's main modus operandi is murdering people with an icepick. Against this horrific tableau Delaney also struggles against the deteriorating condition of his dying wife, played with all-too-brief screen time by the wonderful Faye Dunaway. The film unwinds slowly, with Delaney having to piece together the clues his quarry leaves for him, and having to try and convince his superiors that the killer will strike again, while at the same time loathe to leave his wife's hospital bedside; in the original novel, the characters are fleshed out much more, with Barbara Delaney becoming Edward's sounding board, confidant, and only friend, but in the film, these intimate moments are pared back to the bare minimum, which is a shame, since their dramatic weight is what gives the film its heart. Frank especially is in fine form here, with his scenes a triumph of barely-contained grief. The scene where he verbally tears into his wife's physician (George Coe), is a brilliant piece of acting, where Frank allows his character's flood of emotions burst thorugh. David Dukes is also suitably chilling as the deranged killer whose horrific motives are revealed at the very end, and James Whitmore is good as the ascerbic coroner who backs Sinatra's beliefs about a serial killer. Unfortunately, the film settles for shock value over compelling drama, and the film as a whole suffers for it. But still, this film is historically interesting as Sinatra's last leading role in a feature film.

Cannonball Run II (1984)
Arcafin B.V/Golden Harvest Company Ltd./Warner Brothers;

Screenplay by Harvey Miller, Hal Needham, Albert S. Ruddy and Brock Yates;
Directed by Hal Needham,
96 min.


Burt Reynolds ....  J.J. McClure
Dom DeLuise ....  Victor Prinzim/Captain Chaos/Don Canneloni
Dean Martin ....  Jamie Blake
Sammy Davis Jr. ....  Morris Fenderbaum
Jamie Farr ....  The Sheik
Telly Savalas ....  Hymie Kaplan
Marilu Henner ....  Betty
Shirley MacLaine ....  Veronica
Susan Anton ....  Jill, Lamborghini Babe
Catherine Bach ....  Marcie, Lamborghini Babe
Foster Brooks ....  Fisherman
Sid Caesar ....  Fisherman
Jackie Chan ....  Jackie Chan, Mitsubishi Engineer
Tim Conway ....  CHP Officer
Tony Danza ....  Terry
Jack Elam ....  Doctor Nikolas Van Helsing
Michael V. Gazzo ....  Sonny
Richard Kiel ....  Arnold, Mitsubishi Driver
Don Knotts ....  CHP Officer
Ricardo Montalban ....  King
Jim Nabors ....  Pvt. Homer Lyle
Louis Nye ....  Fisherman
Molly Picon ....  Mrs. Goldfarb
Charles Nelson Reilly ....  Don Don Canneloni
Alex Rocco ....  Tony
Henry Silva ....  Slim
Frank Sinatra ....  Frank Sinatra
Joe Theismann ....  Mack
Mel Tillis ....  Mel
Shawn Weatherly ....  Blake's Girl in Bed
Abe Vigoda ....  Caesar
Dale Ishimoto ....  Japanese Businessman
Arte Johnson ....  Pilot
Chris Lemmon ....  Young CHP Officer
George Lindsey ....  Uncle Cal
Doug McClure ....  The Slapper
Jilly Rizzo ....  Jilly
Dub Taylor ....  Sheriff

REVIEW:  Frank's final on-screen appearance is nothing more than another face in the flood of high-profile cameos which are the only reason for this film to exist. How the first film in the Cannonball series succeeded and spawned numerous sequels (and spurred the creation of other brainless car chase shows like The Dukes Of Hazzard) is one of the great mysteries of the Twentieth Century. In that sense, this film hearkens back to other Frank films like Till The Clouds Roll By, which was nothing more than an excuse to parade name stars on the silver screen. But back then there was real talent to be shown - this film has such 'stars' as Arte Johnson, Charles Nelson Reilly, Jamie Farr, and Dom Deluise. What made so many members of the Rat Pack agree to appear in the otherwise wasted excuse for film? Who knows, but Frank appears as himself for the first time since the previously mentioned 1946 film, and everyone appears to be having a grand time, at the expense of the audience. In that sense, this may be the ultimate Rat Pack film - a lot of friends getting together to have some drinks and act silly in front of a crowd. Of course, out of sheer curiousity, how can you pass up a chance to see the Rat Pack together in the same film for the very last time? Or to marvel at how far the mighty have fallen. Not the film I would have chosen to be Frank's last, but it's what it is, and revels in its own stupidity, which I suppose is a kind of charm.

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