The Good, The Bad and The Critic

Established on March 19th, 2012 and pioneered by film fanatic Michael J. Carlisle. The Good, The Bad and The Critic will analyze classic and contemporary films from all corners of the globe. This title references Sergei Leone's influential spaghetti western The Good, The Bad and the Ugly.

Monday, December 3, 2018

The Man With the Golden Arm (1955) Review

Title: The Man With the Golden Arm 
Year: 1955
Director: Otto Preminger
Country: US
Language: English

Filmstruck, Criterion/TCM's streaming channel, met an untimely face on Nov 29th as it ceased to continue offering services. Thankfully, before its demise Criterion announced that they will have their own channel with similar content out by Spring 2019. I thoroughly enjoyed having Filmstruck, and as a final farewell I decided to watch Man With the Golden Arm (1955). 

A strung-out junkie (Frank Sinatra) deals with a demoralizing drug addiction while his crippled wife and card sharks pull him down.

I was quite surprised that the strict Hays Code of the 1950's would allow a film this risque about drugs to be made. Indeed the MPAA (Motion Picture Association of America) originally refused to issue a seal for this movie, but the following year the code was adjusted to include drugs, kidnapping, abortion and prostitution. Frank Sinatra, who was nominated for an Oscar for his acting in this picture, does a terrific job in his role. Any other actor might ham it up, while Sinatra plays drug addiction with utmost sincerity. 

The jazzy score by Elmer Bernstein perfectly captures the tone of the film & the desperation of our main character. It gives us an insight into Frankie's fragile mind and effectly captures the tension created in every frame. Jazz in 50's film is a delight, especially when it fits with the theme.

While Man with the Golden Arm might not accurately capture the throes of drug addiction in a clinical sense, the film goes farther than most films of the era would with the sincerity of its subject matter. I appreciate its honesty. Also, this is a given, but Saul Bass' intro design is top notch as always. 



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