Eine Nummer zu groß

The 1950s had a number of strong films, and this is one of them. It's not what most people would call a black comedy, but I do. I agree with the previous poster who called this an under-rated gem.

First of all, I like Sinatra better as an actor than as a singer; he's also really strong in the original version of the Manchurian Candidate and in The Man With the Golden Arm.

This film reminds me a bit of the much more recent "Full Monty," with a middle-aged father who acts like a young adolescent who is essentially being parented by a pre-teen son who has had to grow up too fast. That's what I mean by black comedy; it's a situation that is so sad (and, alas, so common) that you have to laugh to keep from crying. (Another comparison, but not quite as apt, is to "A Thousand Clowns.") Sinatra's character is matched by that of his girlfriend, who says, without a trace of irony to the idea of having a baby, "I'm a baby myself."

It wasn't until I came here just now that I realized this was directed by Frank Capra; I should have been able to guess it.

Everyone mentions "High Hopes," and rightly so, as a terrific (and award-winning) song. But you gotta love any movie that has a tune about how "The monkeys have no tails in Zamboanga."

This is film is a rare commodity as a Hollywood product - a wonderful "little" film. By little, I mean unpretentious. Perhaps this is because Frank Capra had a talent for telling inspirational, uplifting or "message" stories without seeming to preach. We all know the Ralph Cramden character - the botched hero with "high hopes". This is Frank Sinatra's Tony Maneta. Unlike Jimmy Stewart's George Bailey in Capra's "It's a Wonderful Life," Tony Maneta isn't beset by problems circumstantial so much as personal. Yet, whether the antagonist is an ungrateful world or a character flaw, Capra and playwright/screenwriter Arnold Schulman recognize the abiding nobility of the human spirit's determination to overcome the odds.

I love the setting in "Hole in the Head". It's a treat to see South Miami Beach during a period when formerly glamorous hotels had gone to seed, knowing that they would one day rise again. I don't think anyone would have given them a chance at the time of the story, just like Tony Maneta's prospects. But "Hole in the Head" makes us want to believe, that just by surviving, like South Beach, Tony will one day triumph.

By the way, there's a wonderful performance by the underappreciated Eddie Hodges, whose minor billing is unjustified, considering his character's major part in the story.

I keep saying that Hollywood can't go wrong when it picks a PLAY as the basis for movies. This film is one more illustration of the correctness of this thesis. It's full of charm, humor, warmth, relevance and STRUCTURE. It doesn't seek to impress, just to please. And pleasing is no mean accomplishment.

The subject is taboo in most movies: economic dependence on relatives. In most movies money is no object, a purely tangential issue, when in fact it plays a huge role in real life. Sinatra plays a "loser", and to make him less despicable, he is adorned with a lovely young son. I find that a bit too manipulative, as if the writer weren't sure that a childless "loser" would be likable enough. Sinatra is very good in the role, but I would have picked an unknown actor, to make the role more believable. And, wonderful as Eddie Hodges always is, I think a childless "loser" would have been more poignant.

I liked the ending very much. It is happy, but not in the trite and trivial way. The main character does NOT overcome his limitations! This film is in the wonderful tradition of "Harvey", which also deals with an embarrassing family member. I can't recommend both films highly enough.

I had never seen this movie before renting it the other night and was surprised to see it was directed by Frank Capra. Once I watched it, I wasn't surprised anymore. This was a wonderful film driven by characters rather than plot devices and an example of vintage Capra.

The performances are what make the film. Frank Sinatra was great as a self-centered dreamer with a new idea every minute and some method of working the system. The guy's a heel but he still manages to keep our sympathy. Edward G. Robinson is hilarious as his much-put-upon brother who is constantly making social gaffes and never figures out how to sit in that rocking chair! Despite the fact that his character is a comic figure, there are some scenes of real poignancy between him and Sinatra. The ever reliable Thelma Ritter is also very funny as Robinson's caring and weepy wife. Eleanor Parker! Wow! I never saw her look so good. There wasn't enough of her in this film but perhaps that's when you know a character succeeds, when you wish to see more of them. Her gentle elegance was a perfect contrast to Carolyn Jones' character's unabashed self-absorption. And Eddie Hodges was perfect as the boy old beyond his years who stubbornly loves his father no matter what.

And the ending is happy (Hey, it's a Capra film!)without resorting to any schmaltzy plot devices.

It was well worth my time.

Maybe it's me but I think this movie, Frank Capra's second-to-last, has aged really well. It seems very relevant today. Frank Sinatra is very convincing in the lead role as Tony Manetta, a ne'er-do-well struggling to keep his head above water, but the key character in the film is Edward G. Robinson's Mario, Tony's uptight, shopkeeping brother, who's come down to Miami to bail him out, but not without conditions. While Tony will always be Tony, it's Mario who will have to learn to appreciate him. There is great supporting work all around, by Thelma Ritter, Eleanor Parker, Eddie Hodges (unfairly buried in the credits), Carolyn Jones (remember The Munsters?), and my personal favorite, Keenan Wynn, as an old buddy of Tony's who knows him too well to be conned by him. Features the famous song "High Hopes", sung by Frank and Eddie.