'Come Blow Your Horn' lets 1963-vintage Sinatra toot his own horn as a swinging bachelor! |
There’s something fascinating about '60s
Sinatra, his legend already in place, as Frank’s film roles rapidly morphed
into his off-screen persona.
I'm
of the school who thinks Frank Sinatra was a refreshingly natural actor,
especially in an era when movie acting was still theatrical. Sinatra could be
cynical yet romantic, wise-cracking, sincere, with a tough but tender approach that
was most appealing—not unlike his idol, Humphrey Bogart. Though he possessed
great eyes and smile, I never thought Frankie was that handsome and for most of
his career, he was a runt of a guy. Yet, watching him in his heyday, I totally
get why women were wild for Old Blue Eyes. My maternal grandmother was one of
them!
Frank has all of "Horn's" horny ladies under his spell. Barbara Rush, left, is the good girl with footie jammies! |
Once
the Rat Pack era reigned, films like The
Manchurian Candidate were fewer, and lazy genre movies that were
self-referential were the name of the game. And like many post-war superstars
who started resting on their laurels later, Sinatra’s movie star status dropped
fast after mid-60s cinematic game changers like Blow Up and Bonnie and Clyde.
Sinatra on the set of 'Horn': Note the bike's signature. Nobody ever said Sinatra was PC! |
Come Blow Your Horn
was Neil Simon's first hit play, and the only one for which he didn't write the
screenplay. Though commercially successful, Simon wasn't pleased with the way Horn was shoe-horned into fitting
Frank's own living large bachelorhood. After this, Simon wrote a string of
smashes, starting with Barefoot in the
Park, and “Doc” was able to main control over subsequent screen adaptations
of his plays.
Sinatra as the swinging bachelor, with Barbara Rush as the patient good girl friend. |
Not
that the role of freewheeling bachelor wasn’t suited to Frank. Sinatra seems to
be having fun here, shows his flair for comedy, and is warm and sexy as hell. But
the role of Alan Baker, a Jewish guy, as played by the world's most famous
Sicilian, Francis Albert Sinatra?! The discrepancy is more obvious when Lee J.
Cobb and Molly Picon excruciatingly play Sinatra’s cliché Jewish parents, who
worry about their swinging older son, as he takes his “kid” brother under his
wing. It’s strange enough that swinger Sinatra has a kid brother who's just turned
21 and he’s supposed to be in his late 30s. This is compounded by the fact that
Frank was actually in his late 40s—and looking it. Any time callow Tony Bill
shares a scene with Sinatra, one thinks of Frank Jr., with a little of junior
playboy Warren Beatty thrown in!
Even artful lighting couldn't hide the fact that Sinatra wouldn't get away with playing "younger" much longer. |
Even
stranger still is Lee J. Cobb as the father, who was only four years older than
Sinatra. And Jill St. John, as the bimbo bombshell, like Tony Bill, was a
quarter of a century younger than Frank. With Sinatra the Superstar dropped into
the middle of all this Simon sitcom silliness, it feels like a future SNL sketch.
No, this isn't Frank Sinatra starring in 'Fifty Shades of Orange!' It's just Old Blues favorite color. |
Also,
the Baker family business is plastic fruit sales, yet the family lives in a lavish
'60s modern house, and Frank lives in a swanky pad worthy of Sinatra himself,
right down to the Chairman of the Board's favorite shades of orange.
All
of this did not go unnoted at the time, especially by the New York Times’ resident grumpy critic, Bosley Crowther. However, a
number of critics gave it a passing grade at the time—and a few even now!—but Come Blow Your Horn seems blaringly obvious,
dated, and nonsensical today.
There's
a lot of talent here: Norman Lear and Bud Yorkin at the helm; a great cast;
William Daniels' cinematography and Edith Head costumes; a lavish set design; some snappy lines; even
Frank’s stopping the picture while singing the title tune. Still, it's all so over
the top, that it smothers Simon's simple story.
Jill St. John sports this Edith Head get up as she phones in a Marilyn Monroe impersonation for 'Horn.' |
The
women are all Playboy-era stereotypes, wearing tons of hair and makeup: Jill
St. John, doing a one-dimensional Marilyn Monroe impersonation (much better
later as the wisecracking divorcee in Sinatra’s Tony Rome); Phyllis McGuire, looking and acting like a fierce drag
queen, as the Texas store shopper; and lovely and intelligent Barbara Rush, as
the simpering girlfriend, waiting for Frank propose. Rush is so goody-goody,
she even sleeps in pajamas with footies! This was also one of the first films
where EVERY woman who crosses Sinatra’s path is entranced by him.
The cast of 1963's 'Come Blow Your Horn.' |
The
sexual attitudes and social humor of Come
Blow Your Horn are the last hurrah of a more “innocent” time, when this
farce was released in the summer of ‘63. In fact, there's a party scene where a
guest is hypnotized into seeking out John F. Kennedy. She approaches Sinatra as
JFK, to berate him about some of his policies, with Frank replying in a clever
Kennedy impersonation. This was the last gasp of the post-war ring-a-ding era—when
good times meant drinking, smoking, living large, and chasing women. To me, Come Blow Your Horn is more of a
perversely fascinating time capsule, than timeless entertainment.
'Come Blow Your Horn' is Frank's show all the way. |
As always, gorgeously written and illustrated. Frank was an icon by now, and he is a ntural with the Neil Simon zingers in this one. You are right, he was not classically handsome, but star aura all the way, even in non-singing roles. Just watched him again as the tragic Maggio in From Here to Eternity...my favorite singing role is the title role of Pal Joey...also very very charming in Hole in the Head. As I get older, I appreciate Sinatra's many talents more.
ReplyDelete-Chris
This is art imitating life in that every woman that met Sinatra was really entranced especially a young 20 year old meeting him when he was in his sixties who happened to have been me! I was a secretary at Columbia Pictures in NYC which was the home office at the time and Frank Sinatra made a picture for TV called Contract on Cherry Street (now that's one to review!) and he came to CP where I got to meet him. Still charismatic in his 60's.
ReplyDeleteWhen watching Come Blow Your Horn it's such a silly movie but enjoyable to watch - Sinatra, 1960's and of course his singing. He did seem too old to be Tony Bill's brother more like his son I would say. Barbara Rush is too goody goody I can't picture him settling down with her she's so boring in this. Jill St. John is more believable. Still if this is on TV I'll watch it because, well, Sinatra and the 60's. A time long gone.
I totally get watching Frank's movies why he charmed women so! Even as an older man, he had the mix of bad boy and sentimental softie... irresistible combo! And Horn is certainly watchable. but like taking a time travel trip!
ReplyDeleteI loved Frank's pad!
Rick