Meet Danny Wilson () - Rotten Tomatoes
Meet Danny Wilson is a film directed by Joseph Pevney with Frank Sinatra, Shelley Original title: Meet Danny Wilson; Year: ; Running time: 88 min. Movie Still from Meet Danny Wilson A FILM BY: Joseph Pevney Please allow extra time when arriving by car, and consider using public transportation. View all showtimes for the movie Meet Danny Wilson playing in cinemas, for today and for upcoming days.
Both crisp, black and white dramas do not claim to be classics of any kind but they are diverting enough. Let's start with a movie whose plot begs to be pored over for subtext so anti-subtextural, you can smell the leather in the courtroom and the sweat off the hired goons in the dock Meet Danny Wilson Frank Sinatra was a legend.
I don't think this is easily refuted.
Another Forgotten Classic: Frank Sinatra in Meet Danny Wilson () | The Classic Film Show
How he became a legend is another story entirely. Like someone said of Steven Spielberg, "You don't get to be Steven Spielberg by just being a good director Now he's singing celestial duets with Crosby, the evidence can seep out like blood from a fresh hit.
And according to some reports, the evidence is damning and as irrefutable as his legend status. But we're not here to talk about Sinatra's chronic perjuring his denials of shadowy relationships were nullified by his big time, powerful friends who made sure 'Ol' Blue Eyes' never had fresh spaghetti sauce on his shoes.
I am not saying Frank Sinatra was innocent or guilty of any mob related crime or arrangement. The trouble with Frank is that he liked a certain lifestyle and as most people like to be by the fire, it was a mutually beneficial arrangement. These light conjectures work like eyebrow jacks given the plot of his film directed by our man in journeyman-land.
Danny Wilson is a honey voiced, highly strung, chip-on-the-shouldered, wiry short guy who likes to act tough and invariably gets the wrong end of a fist.
With his best friend and pianist partner, Mike Alex Nicolthe wise guys play the nightclubs scraping by from one disgruntled manager to the next. Wilson's temper keeps both men on the hop until they run into Joy Shelley Winters who's out for a boozy night and needs 'guys' to walk into a bar with. Her boss, the wonderfully stone-faced thug, Nick a deliciously malevolent Raymond Burr sans wheelchair recognises talent when he hears it and in exchange for a break, he makes a deal to take fifty percent of the pair's earnings.
Of course, Sinatra being Sinatra, he gets big quickly and starts to despise the mobster in the background and in jail during some of the running time taking such a hefty chunk. In the meanwhile, Sinatra falls for Winters while Winters falls for his partner, Nicol. So far, so relatively predictable. People fall out, get back together but all the while Sinatra is played for a sap until he finds his closest friends in a clinch.
So what's the moral of the story? It's OK to have a violent thug bankroll your first stabs at fame but if you become too famous, the thug becomes a liability and it's best for all that he's mercilessly gunned down.
Morally, this movie's all over the place. Whether the horse's head in the bed in The Godfather was a dramatisation of the real reason he was given that roll is not for me to say. So I won't say it. Pevney's direction is workmanlike and entirely in keeping with the visual style of the day. It opens up a little during the chase at the end but not in a hugely notable way. As Pevney says, chases not his thing Oh, I forgot to mention. Sinatra sings a lot and I guess that would be a significant percentage of the appeal of this movie as far as Sinatra fans are concerned.
I mean that voice After all in the early fifties, Sinatra's star was burning very brightly. However, on the movie and acting front, Wilson is one for completists only. Flesh and Fury In the nightclub when Sinatra embarrasses himself in Meet Danny Wilson, a young, dark haired boy with striking good looks, encourages Frank to leave.
I knew that face uncredited from a TV show I adored as a child but something about the boy must have appealed to Joe Pevney.
Meet Danny Wilson (film)
He cast him in the lead of Flesh and Fury. Although already a leading man but by no means a star, Tony Curtis does very well, undercutting his chiselled, boyish good looks and athlete's body with a disability he's mute throughout most of the film. A boy from the Bronx, Curtis aka Bernie Schwarz has always managed to keep a buoyant career bobbing but making the widest and most eclectic of choices.
It's a testament to his career that there are very few movies where his star wattage threatens to outshine the work. He's a charming performer with quite a range and he was often something of a rogue who traded on his Hollywood persona and to a degree still does.
He's now billiard ball bald but there's still that twinkle in his eye. But it was at the age of forty-six that Curtis came strolling into my life and talk about role models. I suspect most readers of this site can not go so far back in TV history as unless there's a 'star' or 'trek' in the title.
The Persuaders were two self-made men actually I believe Roger Moore's Sir Brett Sinclair was landed gentry who were teamed up by a retired judge to undo his own profession's short comings. Crime fighters, mismatched and both seemingly women magnets of the first order, they strolled through twenty-four episodes propelled by an iconic theme tune from Mr.
John Barry and beloved by all ten year olds that wanted their adventurers safe, half-American and just so full of life. Curtis' Danny Wilde memories of those absurd holey driving gloves abound was a cad and a rogue but what a devilishly attractive one.
At that time, my film education was not fulsome enough to recognise that smarmy reporter from The Sweet Smell of Success or the split screen terror, The Boston Strangler, nor the hero of The Great Race, nor the hapless musician at the centre of the fire in Some Like It Hot. Elvis would take an identical path in Jailhouse Rock.
One scene finds the popular Danny on-stage, the victim of a crowd of screaming and hysterical girls. The twist in this movie is that the girl Sinatra is in love with played by Shelly Winters does not actually love him back, as would be the case in any other film. She is actually in love with his modest best friend, the supporting player. It is set in the urban world that was exploited by noir movies, but here the city spaces are not filled with an excess of shadow.
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The film itself sparkled in a black-and-white print that was full of clarity and depth. The film is also peppered with references to Hollywood contemporaries: Jeff Chandler, Dean Martin and Jerry Lewis, and a brief one-shot, one-line cameo from Tony Curtis who only the week before I had seen live at that very screen.
One of the first things you learn from watching and studying many films of the past is that the history of film is not set in stone.
In many ways people believe that all the greatest films have been discovered and that the book is closed, but I am constantly surprised by those films considered as inbetweeners.
The compositions, the performances, the tone and the sharp, punchy story really do rival any other similar films of the period.