1957 Movie Review: PAL JOEY, 1957

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PAL JOEY,   MOVIE POSTERPAL JOEY, 1957
Movie Reviews

Directed by George Sidney
Starring: Frank Sinatra, Rita Hayworth, Kim Novak, Barbara Nichols, Bobby Sherwood, Hank Henry, Elizabeth Patterson
Review by Virginia De Witt

SYNOPSIS:

San Francisco nightclub singer, Joey Evans, is broke and finds himself working at a dive called The Barbary Coast where he meets and falls for dancer, Linda English. Joey’s dream is to be his own boss and after he meets wealthy socialite, Vera Simpson, he pursues her, and his desire to open his own night club, Chez Joey. Vera agrees to become his partner, both financial and romantic, but she quickly becomes jealous of Linda’s presence at the new club. Joey finds himself torn between the two women who can shape his future and has to decide which woman will help him fulfill his dream.

 

REVIEW:

Frank Sinatra rarely found musical roles on screen that matched his range as both a singer and an actor. With the exception of “The Joker Is Wild”, (1957) in which Sinatra plays singer/comedian Joe E. Lewis, and which is really more of a straight dramatic role than a studio musical, ‘Pal Joey” is the closest Sinatra came on screen to exploring the kind of life and character he knew so well. Far more typical were the early musicals he did with Gene Kelly, for instance, “Anchors Aweigh” (1945) or “Take Me Out To the Ballgame” (1949). These, along with his other early musicals, are enjoyably lighthearted and were meant to capitalize on Sinatra’s status as the American Idol of his day. These films were aimed straight at the heart of the swooning bobby soxers in the balcony and presented Sinatra in the most harmless possible light, most often as a guileless, love struck innocent. Joey Evans is, of course, anything but. He is an amoral hustler who takes nothing and no one seriously, except his own ambition. The character has been softened and sentimentalized for the screen adaptation, but Sinatra understands this man in his bones and conveys a great deal about Joey’s true nature through his delivery of both dialogue and song.

The film is an adaptation of a successful Broadway musical of the same name from 1940 which gave Gene Kelly his break out hit on stage. The original play had a book by John O’Hara and was adapted from short stories he had written for The New Yorker in the 1930s. Original music and lyrics were by Richard Rodgers and Lorenz Hart. The play waited nearly 20 years to be adapted to the screen because of its frankness in depicting sexual situations which were unacceptable according to the Hollywood

production code of the time, despite its having an even more successful stage revival in 1952. The play was considered a landmark musical in its day for bringing psychological depth to its characterizations, and a dramatic reality to its situations, rather than simply using stock romantic situations as excuses for performers to sing and dance to the popular numbers of the moment.

To this end, the success of “Pal Joey”, was aided greatly by the music and lyrics of Rodgers and Hart in providing songs that were not only witty and beautiful, but managed to complete the character’s thoughts and express their desires. Many of these songs are now standards in the American songbook – “If They Asked Me I Could Write a Book”, “The Lady Is A Tramp”, “My Funny Valentine”, “Bewitched, Bothered and Bewildered” – amongst them. Sinatra is in his element delivering these songs, all of which benefit from Nelson Riddle’s now canonic arrangements. Especially memorable is his rendition of “The Lady Is A Tramp”, sung as a slap in the face to the haughty Vera Simpson (Rita Hayworth). After hours and alone in a run down night club, Sinatra performs his magic trick of seeming to be both defiant and vulnerable at once.

Sinatra is joined by two of the great female stars of the era. Rita Hayworth, who was actually younger than Sinatra, while playing the middle aged Vera, is in great form here. Hayworth was an accomplished dancer who was a veteran of movie musicals, and while she doesn’t have any formal dance numbers in “Pal Joey”, she handles the quasi-burlesque number “Zip” with great style and skill. Vera is a former stripper who worked the same clubs as Joey. They understand each other and so do Sinatra and Hayworth. The relationship builds believably as these two befriend and yet use each other relentlessly, until the logic of it is betrayed by the requisite Hollywood ending.

Sinatra, is not so fortunate with his other leading lady, Kim Novak as Linda English. Due to Novak’s inability to be expressive either physically, even though she plays a dancer, or emotionally, there isn’t much for Sinatra to work off of with her. His presence and talent are so strong, however, that he glides over the spaces created by her vacant stare and manages to create the sense of a rapport with Linda.

George Sidney’s direction is straightforward and unobtrusive, if not especially imaginative. He allows the performers to have their moment in their musical numbers. Sidney frames Sinatra particularly well in his stage performances. The director understands that, in the end, “Pal Joey” is a showcase for this great singer and allows him plenty of space to move.

PAL JOEY

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Happy Birthday: Orson Welles

orsonwelles.jpgHappy Birthday Director/Actor legend Orson Welles

Born: George Orson Welles
May 6, 1915 in Kenosha, Wisconsin, USA

Died: October 10, 1985 (age 70) in Hollywood, Los Angeles, California, USA

Married to: Paola Mori (8 May 1955 – 10 October 1985) (his death) (1 child)

Rita Hayworth (7 September 1943 – 1 December 1948) (divorced) (1 child)

Virginia Nicolson (14 November 1934 – 1 February 1940) (divorced) (1 child)

Read reviews and watch videos of the best of the actor:

CitizenKaneCitizen Kane
1941
dir. by Orson Welles
starring
Orson Welles

THE STRANGERThe Stranger
1946
dir. by Orson Welles
starring
Edward G Robinson
Loretta Young

TOUCH OF EVILTouch of Evil
1958
dir. Orson Welles
starring
Charleton Heston
Janet Leigh

The Long Hot Summer, dir. Martin Ritt, starring Paul Newman, Orson Welles, Joanne WoodwardThe Long, Hot Summer
1958
dir. Martin Ritt
starring
Paul Newman
Orson Welles
Joanne Woodward

The Transformers The MovieThe Transformers The Movie
1986
dir. Nelson Shin
Voices by:
Corey Burton
Orson Welles

MOVIE POSTERTHE THIRD MAN
1949
dir.
Stars:
Joseph Cotten
Alida Valli

WATCH TOP 10 ORSON WELLES FILMS MOVIE SCENES

10. MR ARKADIN, 1965 – A clip from Oscon Welles’ film “Mr. Arkadin”, 1955 (aka “Confidential Report”). Mr. Arkadin (Orson Welles) on the short life-span of friendships.

9. CITIZEN KAN ROSEBUD, 1941 – Watch opening scene of the film. ROSEBUD scene

8. TOUCH OF EVIL TRACKING SHOT, 1958 – Watch opening crane tracking shot from Orson Welles’ 1958 Touch of Evil film

7. TOUCH OF EVIL OPENING SCENE, 1958 – Apartment scenes – one take

6. OTHELLO, 1952 – Othello’s final speech, as directed by Orson Welles. Actors include Orson Welles, Micheál MacLiammóir, Suzanne Cloutier, Robert Coote. 1952

5. THE LADY FROM SHANGAI, 1947 – The beach picnic scene from the classic film Lady From Shanghai where “Black” Michael O’Hara (Orson Welles) describes shark fishing off the hump of Brazil.

4. THE STRANGER, 1946 – Orson Welles, as an undercovered war criminal, talking about german mesiah, cartaginian peace.

3. THE MAGNIFICENT AMBERSONS, 1942 – The scene from Orson Welles’ The Magnificent Ambersons where Georgie gets his comeuppence. Arguably the most powerful scene in the film.

2. F FOR FAKE, 1973 – Welles last film – Opening scene

1. CITIZEN KANE ENDING, 1941 – Watch Orson Welles directed film. The ROSEBUD moment. Greatest movie endings

ALSO –

ORSON WELLES INTERVIEW – Watch Orson Welles directed film. The ROSEBUD moment. Greatest movie endings

ORSON WELLES COMMERCIAL – These are some original takes for the legendary Orson Welles “We Will Sell No Wine Before Its Time” commercial, and show that working with the legendary Mr. Welles could be…memorable.

#2 Greatest Film Directors
ORSON WELLES

by Joshua Starnes

He was so good he almost lived up to his own publicity. And that’s saying something.

Welles biography is almost as familiar as his movies; his rise to prominence and just as sudden fall, the inescapable comparisons to his most famous creation. But that has nothing to do with him being a great director, let alone the second best ever.

The other director’s on this list are all here for their body of work and what that offered up to filmmaking, even Griffith. And Welles’ is certainly great; like Griffith he never stopped experimenting or innovating. But really, he’s on it for “Citizen Kane.”

Considered by many to be the greatest film of all time, it’s innate greatness is not as relevant to Welles directorial skill as it’s innovations. Film wasn’t stagnant until “Kane” came along, but not since “Birth of a Nation” have so many new ideas been crammed into such a small space.

Like Chaplin, Welles was an actor and a director, though unlike him it’s likely he was always a director first, even before he became one. It probably had something to do with the gargantuan ego. But it was that ego that made him think he could pull of something like “Kane.”

Unlike “Nation” it’s more than just the innovation that makes “Kane” so great, which is also why Welles is so much further up the list. Possibly more than any other director on this list, he was keenly aware of the various parts and how they fit together. Many director’s have their own unique strengths, but Welles seems to be the only one–for this one film anyway–who had no weaknesses.

Most likely the best actor to ever turn to directing, and certainly the most successful at it, Welles came up in the theater where he learned how important all of the different pieces were at moving an audience. There will likely always be a great deal of controversy over whether he actually deserved his shared writing credit with Herman Mankeiwicz, but there’s no doubt who the author of the “Kane” was.

The testament to its power, the proof that calling it isn’t the cliche it sounds, is just how influential it has been, and through it Welles himself. Almost every single director who’s come after “Kane” has imitated it in some way. And, like Ford, the ones who haven’t have done so deliberately.

For all of these reasons Orson Welles is probably the most influential, most imitated director on this list. And very nearly the best.