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The Man With the Golden Arm
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Directed by Otto Preminger.
When Otto Preminger was willing to release his drug-addiction drama Man With the Golden Arm without the sanction of a Production Code seal, it proved to be yet another nail in the coffin of that censorial dinosaur. Based on the novel by Nelson Algren, the film stars Frank Sinatra as Frankie Machine, expert card dealer (hence the title). Recently released from prison, Frankie is determined to set his life in order-and that means divesting himself of his drug habit. He dreams of becoming a jazz drummer, but his greedy wife Eleanor Parker wants him to continue his lucrative gambling activities. Since Parker is confined to a wheelchair as a result of a car accident caused by Frankie, he's in no position to refuse. Only the audience knows that Parker is not crippled, but is faking her invalid status to keep Frankie under her thumb. Gambling boss Robert Strauss wants Frankie to deal at a high-stakes poker game; terrified that he's lost his touch, Frankie asks dope pusher Darren McGavin to supply him with narcotics. When McGavin discovers that Parker is not an invalid, she kills him, and Frankie (who is elsewhere at the time) is accused of the murder. He is willing to go to the cops, but he doesn't want to show up with drugs in his system. So with the help of sympathetic B-girl Kim Novak, Sinatra locks himself up and goes "cold turkey"-a still-harrowing sequence, despite the glut of "doper" films that followed in the wake of this picture. After Parker herself is killed in a suicidal fall, the path is cleared for Frankie to pursue a clean new life with Novak. ~ Hal Erickson, All Movie Guide
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CinemaRianCinemaRian The Man With the Golden Arm (19 ...
by CinemaRian in CinemaRian Blog
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"The Man With the Golden Arm was the beginning of the end for the production code. The code wouldn't allow Preminger to make the film at all, so he made it anyway and United Artists released it with the code approval. It was a box-office sucess, so it proved the code was not neccessary to make money. The first two acts of this film are brillant, showing why people become addicted to drugs and why it's so hard to quit without cheesy speeches. These parts of the film as relevant then as they were today. But Preminger chooses to close the film with a last act that is melodramtic and redicoulus. Every plot element is perfecty resolved. It's his own fault to, as he changed the ending of the novel (which I have not read) to make it more uplifting. He just made it stupid. It stars Frank Sinatra as Frankie, who has just been released from a court-orderd drug rehabiltiation program to kick his herion addiction. While in rehab he discoverd that he had musical talent, and made the go ... " [More]
SpoutBlogSpoutBlog If Saul Bass Designed the Star ...
by SpoutBlog in SpoutBlog on spout.com
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"Star Wars may have the most famous opening title sequence in film history, but in terms of influence it’s got nothing on the work of Saul Bass. He’s the brilliant graphic designer who gave us the animated credits for Hitchcock’s Vertigo, North by Northwest and Psycho and Scorsese’s Casino, Cape Fear, The Age of Innocence and Goodfellas and most of Otto Preminger’s work, including Exodus, Anatomy of a Murder and The Man With the Golden Arm. You’ve also seen his work at the beginning of West Side Story and Alien and Big and The Seven Year Itch and Spartacus. But what if he had designed the opening credits to Star Wars? Well, it might have looked something like this video, which was created for a school project. Interesting, yes. Creative, yes. Entertaining, yes. Memorable, no. It just goes to show how significant some credit sequences can be, because this is hardly appropriate for George Lucas’ film. And I don’t just mean because the music is all wrong. If this student wanted to go w ... " [More]
Review by All Movie Guide
All Movie Guide
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Groundbreaking and controversial when it was first released, The Man With the Golden Arm seems relatively tame by modern standards. The sequence in which Frankie kicks drugs still has power because of the strength of Frank Sinatra's performance, and the film isn't necessarily less effective because it doesn't show explicit details of drug use (e.g., it shows Frankie's face when he injects himself instead of showing the actual needle going into his arm). However, the story is weighed down by Hollywood melodrama and a particularly hokey ending. Also, the film's pacing is slow -- around a half hour could have been trimmed without harming the film -- and the discrepancy between the minimal, artificial-looking sets and the "realistic" subject matter is somewhat jarring. Nelson Algren himself said that he was displeased with the adaptation of his novel, and many modern viewers will probably find the movie to be somewhat dated. It's still a fairly entertaining yarn, nonetheless, and Sinatra's high-strung, fidgety performance is one of the highlights of his film career. Also, Darren McGavin gives a magnetic performance as the drug pusher Louie; Elmer Bernstein contributes a fine, albeit somewhat intrusive, jazzy score; and Saul Bass does a great job with the titles. ~ Todd Kristel, All Movie Guide
 



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