Un trou dans la tête

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."

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.

A Hole in the Head is based on a Broadway play that ran for 156 performances during the 1956 season by Arnold Schulman. So popular and enduring has it proved that a full musical version was done on Broadway in 1968-1969 that starred Steve Lawrence and Eydie Gorme in the parts done here by Frank Sinatra and Eleanor Parker. High Hopes didn't make it to Broadway, but the song I've Got To Be Me was introduced there by Steve Lawrence and made popular by fellow Rat Packer Sammy Davis, Jr.

In Frank Capra's autobiography he says that Schulman was not happy with the change of characters from Jews to Italians, but Capra brought him around to his point of view on this and other things. The ending in the film version is not as upbeat as in the original play.

Capra had heard a lot of stories about how disagreeable Sinatra could be to work with, but he says that Sinatra was nothing, but cooperative during the entire work. His biggest difficulty was the fact that Sinatra likes to do things in one take because he becomes bored with repeated efforts. Whereas Edward G. Robinson likes to go over things repeatedly until it was perfect. Capra did work out a compromise where Robinson did his rehearsing, but without Sinatra.

The story is about a widower who owns a ramshackle motel in a not popular area of Miami Beach and he's got money problems. Sinatra as the widower also has a son, Eddie Hodges and they are devoted to each other.

Edward G. Robinson and Thelma Ritter are his brother and sister-in-law who are visiting from New York and Sinatra is hoping for a touch from him. Robinson's bailed him out a few times and he puts a lot of conditions on future help. Like maybe a remarriage for instance and Ritter tries to hook him up with an old friend, Eleanor Parker. They actually hit it off. But there's still a whole lot of complications.

High Hopes which is sung by Sinatra and Eddie Hodges sold a few platters for Frank back in 1959 and won the Oscar for best movie song. Sinatra also sings All My Tomorrows over the opening credits and that song did not catch on at first. Later in the mid Sixties, Sinatra recorded it again this time for his own Reprise label, before it had been done for Capitol as had High Hopes and this time it became a minor hit for him. It's quite a poignant ballad.

Keenan Wynn has a small, but important part as a real estate kingpin promoter who came down with Sinatra to Miami Beach, but made a big success. Sinatra also tries to hit him up with not so good results. Funny thing is that his big idea was a Walt Disney like park for Florida and life imitated art there, though the park got located in the Orlando area.

Frank Sinatra is not as noble as some of Capra's populist heroes, but he's also down to earth and likable. It's one of his best screen performances in one of his best films.

Though I have to say with that red hair Eddie Hodges looked a whole lot more like Eleanor Parker's son than Frank's.

Tony Manetta (Frank Sinatra) hitchhiked to make it big in Florida with his two best friends, Jerry Marks and Mendy. Jerry became a rich promoter while Mendy ended up driving a cab. Tony is still trying to make it big with his girlfriend Shirl (Carolyn Jones) and his young son. He needs rent money. In desperation, he calls his estranged brother Mario Manetta (Edward G. Robinson) who insists on setting him up with Eloise Rogers (Eleanor Parker).

This is based on a play and directed by Frank Capra. It has the great "High Hopes" song which won an Oscar. It's also notable for being a colored Capra film. He would soon retire early from filmmaking. The cinematic world is changing in many ways and he's missing the train. As for this movie, the story is a darker one although Capra still leaves his mark. I have to say that Tony does not deserve either women. He is the worst when it comes to the fairer sex. I like the steady decline with Tony's journey. That's why I don't like the ending. I don't know how the play ends. I don't like this ending. If Capra is willing to do a sad ending, I can see him continuing to work and adding another chapter to his legacy. I like this movie except the ending.

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.