Rat Pack Mythology Overshadows ‘Ocean’s 11’ 1960

 

Dean Martin, Frank Sinatra, Peter Lawford, & Sammy Davis, Jr. are the key players
 in 1960's heist film, "Ocean's 11."

There's much heavyweight Hollywood talent involved in the lightweight 1960 version of Ocean’s 11.

Right at the start—and closing—legendary Saul Bass designed the Vegas-bright opening titles for Ocean’s 11. Lewis Milestone (All Quiet on the Western Front) directed but really played traffic cop for the Rat Pack. Ocean’s 11 was a cakewalk compared to directing Marlon Brando in the notorious 1962 remake of Mutiny on the Bounty, Milestone's last feature film. William H. Daniels, who photographed nearly all of Garbo’s films, and 10 of Frank Sinatra’s from the late ‘50s through the ‘60s, contributed the stylish cinematography; Sinatra fave Nelson Riddle composed the lively score. 

Saul Bass created the neon bright titles for 1960's "Ocean's 11."

Then there were “The Three Crooners.” Frank Sinatra, Dean Martin, and Sammy Davis, Jr. were all iconic singers who could act and had a flair for comedy. And Peter Lawford provides the class as their wartime pal. This all helps the high-concept plot immensely. The pitch: WWII soldier pals reunite to knock over five Las Vegas hotels on New Year’s Eve and win big.

These five hotel/casinos are the New Year's Eve targets of the "Ocean's 11," from 1960.

An admirable plus about this movie is that it shows mega star Sinatra's generosity toward other performers. Dean and Sammy get musical numbers, plus a reprise, yet Sinatra doesn't sing a note. Most stars would demand equal time.

Ocean's 11 is unique because it represents a moment in time, much like the previous year's Pillow Talk. Both films were huge hits and a zeitgeist. Pillow Talk caught the wave of sex comedies with its iconic stars and is remembered as the prime example of the genre. And Ocean's 11 snapped the Rat Pack/Las Vegas era at its absolute peak. And yet, by the early '60s, both sex comedies and Rat Pack antics were already becoming passé. Each year of the '60s was like dog years in United States’ society. In the case of the Rat Pack, Marilyn's death, Frank falling out with the Kennedys and dumping Lawford, JFK’s assassination, the Beatles invasion, etc. all made these 40-something guys look increasingly irrelevant. Yes, Rat Pack fans will die on that sword that they were eternally cool cats. But seeing middle-aged men booze, chain smoke, chase broads, and making like frat boys got old really fast. Burt Reynolds did the same thing in the '70s with his hillbilly version of the Rat Pack, with all those car chase comedies and corny cop movies.

Frank Sinatra, far left in his favorite color orange, is Danny Ocean. The other 10 guys 
make up the "Ocean's 11," in this 1960 heist caper.

The surprise of Ocean's 11 is that while it is smoothly made, it's not very snappy, clocking in at a leisurely 2 hour and 8 minute movie. The “humorous” dialogue, supposedly improved by these real life pals, wasn't very funny or witty, even for its time. The lightly sexist, racist dialogue didn't bother me that much, as I know this came from 40-something men in 1960, more of an eye roll.

Laid back Dean Martin, with pal Frank Sinatra, who gives the look of when
he's been crossed, in 1960's "Ocean's 11."

Another drag is that it takes an hour just to introduce all the characters. They are not all that interesting, as written. While the stars are all charismatic, it feels like they are on autopilot. It's been said that the three crooners, plus Bishop and Lawford, performed in Vegas at night and made this movie during the day. If so, it shows. And you can practically smell the second hand smoke just from watching Ocean’s 11. The last half of the movie is setting up the heist and its outcome.

The main stars of 1960's "Ocean's 11" played on stage at night and before the cameras
 during the day, which may explain the laid back performances.

Frank is understated here. Dean offers his deadpan humor. Sammy is energetic and gets a great music number that echoes through Ocean’s 11. Peter as the charming waster has always left me cold, but he does well enough here. 

All the world's a stage for Sammy Davis, Jr. as a singer/trash collector,
in 1960's comedic heist, "Ocean's 11."

Interesting that Sinatra fave Richard Conte ended up in The Godfather. Hope Frank didn’t hold that against him! And that Henry Silva always creeped me out after first seeing him in 1962’s The Manchurian Candidate.

One dud is Joey Bishop, who I always thought was the cliché of the unfunny Vegas comedian, and here he’s just as flat a film performer. A shame the film starts with Joey carrying the ball. His deadpan, hangdog demeanor reminds me of Norman Fell, who’s also in the film!

Joey Bishop, far left, uses his deadpan expression to convey the rest of his gang's
 feelings at the funeral finale of 1960's "Ocean's 11."

The real surprise is that Angie Dickinson is barely in Ocean’s 11. The then-rising starlet appears in the opening as Frank's ex-wife. She has a long scene with Dean Martin, who wants them to reconcile. Angie has a second scene with Sinatra, sporting a nifty chemistry; what a shame they didn't equally co-star in a film. That's it—except for a brief scene on the phone with Sinatra's most recent dame, which could have easily been cut in this overlong movie. The women in this movie are made up and coiffed like mannequins, a Vegas version of The Stepford Wives. 

Frank Sinatra as Danny Ocean & Angie Dickinson as Bea, his ex-wife,
in 1960's "Ocean's 11."

There's a great cast of supporting actors who give Ocean’s 11 some oomph, though they’re typecast: Cesar Romero, Richard Conte, George Raft, Ilka Chase, Patrice Wymore, etc. There are a couple of unfunny, unbilled cameos that last nearly as long as Angie Dickinson’s scenes: Red Skelton as himself, futilely trying to get his credit extended. Shirley MacLaine appears as a drunk. Both scenes meander, add nothing to this lengthy film, and could easily have been cut.

Ocean's 11 is the forerunner to the heist movie set at Christmas, like Die Hard. And the film's climax is at New Year's, when they pull off the heist. Of course human frailty and error fouls the perfect crime, with a twist ending.

That final scene, with Danny Ocean's crew walking away, is the Rat Pack so effortlessly cool. The finale is more than a bit bittersweet, when you think of the legends in their ensuing years, walking away here at their zenith. The ending’s morale is literally that you can't take it with you. And Rat Pack leads Sinatra, Martin, Davis, and Lawford all lost a lot in their last years. In 1960’s Ocean’s 11, the stars are captured at their peak, for posterity.

The bittersweet finale of 1960's "Ocean's 11."

Here’s a very entertaining melodrama featuring several of the Rat Pack, 1958’s Some Came Running. My look here:

https://ricksrealreel.blogspot.com/2019/04/stellar-cast-helps-some-came-running-go.html

Frank Sinatra & Peter Lawford were the best of friends when they made
1960's "Ocean's 11." 

All-Star Cast Can’t Save ‘The Chase’ 1966

Robert Redford as "Bubber" Jackson, the object of 1966's "The Chase."

The Chase was a slog of a southern melodrama that teemed with great talent, but was still a great big flop when it was released in 1966.

First a Horton Foote play and later a novel, the film version of The Chase came with a screenplay by playwright Lillian Hellman. Sounds so distinguished, right? You wouldn’t know judging from the amateurish results. Perhaps it was because neither Foote’s play nor novel was successful and Hellman hadn’t written a screenplay in two decades. Producer Sam Spiegel, after his successful epic Lawrence of Arabia, apparently desired a southern epic, Tennessee Williams slathered with some Edward Albee scathing social commentary. This was at odds with Foote's slice of life style and Hellman's biting political agenda. 

Marlon Brando is Sheriff Calder, who the small town disrespects, in "The Chase."

The center of the drama is around a bad boy loser, “Bubber” Jackson, who escapes from prison just before he's supposed to get out. This impetuous move is made worse when his escape partner kills a guy during their carjacking. Once again, Bubber's holding the bag.

James Fox is Jake Rogers, who's in love with best friend Bubber's wife, Anna,
played by Jane Fonda, in 1966's "The Chase."

The locals of a small town in Tarl County, Texas are alternately excited, angry, or scared that Bubber is heading their way. It all climaxes over a Friday night where everyone's emotions boil over, southern style. With a sheriff that nobody respects, the town meltdown feels like High Noon meets Twin Peaks.

Angie Dickinson, center, plays Brando's wife Ruby. E.G. Marshall, left, is Val Rogers,
 the town's rich man in 1966's "The Chase."

Hellman disavowed the final script and her criticism was apt, but her imprint still seems to be in the mix. Like many mid-60s movies that seemed to have one foot stuck in the ‘50s, this all feels very back lot, glossy, and overdramatic. The foot that’s in the ‘60s is very obvious in its “frankness.” Whoever really wrote the final script seemed to lift some juicy stuff from Who’s Afraid of Virginia Woolf? Speaking of which, why on earth did Redford turned down Nick to play Bubber!

Robert Redford chose "The Chase" & "This Property is Condemned" over
"Who's Afraid of Virginia Woolf?" as his 1966 films.

As often the case with these big budget bombs, the allure of some legendary talents got other big names to sign on: The combo of Brando as star, playwrights Foote and Hellman, Sam Spiegel producing, enticed many to come on board.

The Chase’s four leads do well despite the dreary script: Marlon Brando, Jane Fonda, Robert Redford, and Angie Dickinson are all solid and natural. Brando’s performing could be quite variable from the '60s on, but as Sheriff Calder he underplayed and is believable as a good man in a mean small town. Fonda is good as the town bad girl, Anna, estranged wife of Bubber. Dickinson, playing a normal woman instead of her usual man trap, is straightforward as Brando's wife, Ruby. And Robert Redford, often remote as an actor, is intense as Bubber.

Another telltale sign that 1966's "The Chase" was stuck in Hollywood's earlier era:
 Even though Jane Fonda's playing poor white trash, her hair and makeup are fab.

I laughed when I read that Brando chose to gain weight to play the southern sheriff who’s in a rut. Considering Marlon’s physique immediately before and after, I’d compare the tale with Elizabeth Taylor being ordered to gain weight for Virginia Woolf . Despite that and claims that he became bored during shooting, his performance is consistent and controlled, without Marlon’s excessive mannerisms.

Marlon Brando as the sheriff & Miriam Hopkins as the convict's mother in
"The Chase." Director Arthur Penn had to tread lightly with both--surprise!

The Chase should have taught Jane Fonda a lesson to let the script be the deciding factor in her film career. But Fonda hadn’t learned from an earlier southern camp classic Walk on the Wild Side, nor did this keep her from rushing to Hurry Sundown shortly after The Chase. The difference is Jane's actually good in the latter two movies, instead of being amateurishly hammy in Wild Side.

Jane Fonda looking just great in the junkyard scene of  1966's "The Chase."
Much later, a friend told Jane her hair should have gotten its own credit!

Redford, who doesn’t interact with the other stars till the climax of the film, actually shows subtle emotion as Bubber, whereas he often played it cool to come off like an anti-hero. And while playing Marlon Brando’s loyal wife wasn’t really the role of a lifetime, Angie Dickinson wanted to work with Brando and play a serious role.

It's not easy wearing this shade of green! Angie Dickinson as the sheriff's wife,
wearing a dress that the town's rich man bought her, in 1966's "The Chase."

Then there's the supporting cast. Robert Duvall is empathetic and underplays as the bespectacled wimp Edwin to Janice Rule's brazen, slutty wife Emily. They are a Texas-style twosome ala Virginia Woolf’s George and Martha. Janice Rule, who boozily taunts him with another man, comes off more like Bette Davis in Beyond the Forest than Martha! Martha Hyer is basically a middle-aged Honey from Virginia Woolf, and is utterly amateurish as the wife who can’t handle her booze or hubby. Richard Bradford makes a great villain, as her creep husband Damon Fuller. E.G. Marshall as rich guy Val Rogers and James Fox as his married son Jake, who’s in love with Fonda’s Anna, are solid in cliché roles.

Was Tobey Maguire inspired by Robert Duvall's dazed expressions in "The Chase?"

Janice Rule, as Duvall's trampy wife, is having an affair with town bad boy,
Richard Bradford, in 1966's "The Chase."

Miriam Hopkins really slices the ham thick as Bubber's guilt-ridden mother, but she's still effective in putting this over-baked drama over. Henry Hull, memorably awful as Gary Cooper’s mentor in The Fountainhead, is just as hammy here, as the town’s one-man Greek chorus, commenting on one and all as he takes an evening stroll. Jocelyn Brando is aged up to play his wife, but unfortunately she was just 45 to Hull’s 75, so it doesn’t work at all.

Despite a 30 year age difference, Jocelyn Brando played Henry Hull's wife in 1966's "The Chase." She would have been younger if she had been cast as Redford's mother!

There are not one but three parties depicted on the fateful night: a big birthday party for Marshall's big daddy; the trashy locals swinging bash; and the teens rockin' out next door. A measure of The Chase’s over the top dramatics is how ineptly these parties are depicted. The rich Val Rogers “colorful” party is filled with suck ups straight out of Cat on a Hot Tin Roof. The swingers’ soiree is like Virginia Woolf, but with guns. And the kids' rockin and rollin' looks like Peanuts' characters dancing like nobody's watching! Most hilarious of all is that a precocious teen is played by future munchkin singer/songwriter Paul Williams—remember him? Here, Paul looks like a bespectacled Chucky doll! Oh, and there’s a raucous dental convention in town—heck, everyone but the Hell’s Angels are here partying down.

Future singer/songwriter Paul Williams is center of the young crowd in "The Chase."

The Texan characters are nearly all trashy or rednecks. The allusion to the Kennedy assassination is clumsily made with a Jack Ruby-style act in the finale. Producer Sam Spiegel wanted to make an important statement film about the American dream going up in flames. Hellman specifically wanted to make Texas the target as an indictment on America, symbolized by the recent JFK assassination. Foote was brought back into the fold to beef up Hellman’s script, bewildered by how his intimate work was now blown out of proportion.

Janice Rule as the adulterous wife who comes between unhappy couple Martha Hyer
 & Richard Bradford in 1966's "The Chase."

The Chase, whatever the message is striving for, is quite muddled. That all Americans are violent and racist? That the capitalist system is rotten and had seeped down to all levels of the economic caste system? The case for the ills of US society is presented about as convincingly as the operatically absurd The Fountainhead. The big problem with making The Chase was too many egos using the film as a soapbox, with non-Hollywood director Arthur Penn not putting his foot down, like fellow neophyte Mike Nichols did on controversial Virginia Woolf.

Siblings Jocelyn and Marlon Brando on the set of 1966's "The Chase."

Arthur Penn, whose career had been pretty classy, but mostly on stage, had laid a few artsy bombs, like Mickey One. Penn claimed the cutting of the film by Spiegel was the culprit for The Chase’s failure. Well, that still leaves Arthur Penn to blame for the horrible acting by half the cast, accepting an overworked script without a fight, not insisting on location filming, and tip-toeing around difficult actors like Brando and Miriam Hopkins.

Producer Sam Spiegel toots his own horn in this ad for 1966's "The Chase."
Luckily for mere director Arthur Penn, he directed "Bonnie & Clyde" the next year!

Producer Sam Spiegel really played up his resume while presenting The Chase as his film. And what Hollywood type wouldn’t brag, with these producer credits: The African Queen; On the Waterfront; The Bridge on the River Kwai; Suddenly, Last Summer; and Lawrence of Arabia. Three won Best Picture Oscars. However, when you think of any of these films, do you think of Spiegel, like you would a Selznick? While he wanted Carte Blanche instead of collaboration, what Spiegel did inflamed the other talents’ egos, along with his own. Too many chefs stirred the pot, resulting in an overcooked film.

The Chase is worth watching once for the talent involved. But the difference between this and the following year’s Hurry Sundown is that the latter is watchable trash and The Chase is a dull, muddled message film.

Once again, Marlon Brando gets a beatdown on film, and he was all for it,
in 1966's "The Chase."