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It was reported that Frank Sinatra required eight weeks to learn the dance routine for this number. In filming it, 72 takes were needed to get the right footage, although this was more likely due to Gene Kelly’s eye for perfection rather than Sinatra’s inexperience as a dancer. Sinatra...

90,954 görüntüleme • 7 ay önce •via X (Twitter)

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The trauma of divorcing his young wife, Mia Farrow hit Frank Sinatra hard early in 1968 when he was filming 'Lady in Cement' (1968) in Florida during the day and performing at the Fontainebleau at night.(...) Refusing to do more than one take and ripping out handfuls of the script to save time, Sinatra treated the director, Gordon Douglas, like a lackey who was on the film simply to accommodate him. At Frank’s insistence Douglas scheduled his scenes so that he never had to come to work before noon; the sets were pre-lit, and his double plotted every move so that by the time Frank arrived, he could complete action on one set and proceed to the next without delay. The film was finished within six weeks and the post-production details fell to Michael Viner, the twenty-one-year-old assistant to the producer. Michael Viner said, “At the end of the film there were a couple of problems involving Sinatra. One night he was so mad at the scriptwriter, he ripped a fire ax out of its casing and chopped down the door to his room, which cost us a few hundred dollars. Then there was a pr0st!tute who complained that Frank and his pals had not treated her quite right. She said that after an all-night party, Frank had invited her to stay for breakfast and called for an order of ham and eggs, which he then ate off her chest with a knife and fork. She threatened to sue Twentieth Century Fox because of that incident, but we settled before it got to court.” ("His Way - The Unauthorised Biography of Frank Sinatra", Kitty Kelley, 1986)

DepressedBergman

129,155 görüntüleme • 1 ay önce

Ronald Reagan once roasted Frank Sinatra by pretending to endorse him for President of the United States: Reagan opens by acknowledging that Sinatra had been a loyal political ally: "This is Frank Sinatra's night and I'm here out of gratitude. Frank worked for me in all my campaigns. He was with me all the way to the governor's mansion. Without his help, who knows? I might have been president." He then jokes about the rivalry he had lost to be there that night: "When this program was being planned, the producer hadn't decided what political figures would participate. It was a choice between me and Governor Brown, and I lost again." From there, Reagan pivots into the central bit, mock-arguing that Sinatra would make an excellent Commander-in-Chief. On cabinet appointments: "He has many friends, and I'm sure he'd appoint only the most qualified to his cabinet. Who better than Sammy Davis Jr. as Secretary of Health, Education, and Jewelry?" On scandal management: "Of course, in politics, there's always gossip and ugly rumors. I'm happy to expose one for the falsehood that it is. He has not granted a Pizza Hut franchise at Camp David. It'll be in the White House where it belongs." On national defense: "Frank Sinatra will make a president who is strong on defense, but again will have concern for humanity. Scientists at his urging have developed an intercontinental ballistics missile that is not a weapon of mass destruction. It only hits photographers." On fiscal policy: "I asked him what he thought of the energy bill. He didn't hesitate a second. He said, 'Pay it.'" On working with Congress: "He won't have any trouble with Congress. They'll pass all the legislation he sends over just to get his autograph." And on foreign policy: "He'll settle that canal business, too. Panama wants a canal, he'll give them Venice." Reagan closes with the punchline that lands the whole bit. Sinatra wouldn't take the job anyway: "As you probably gathered by now, I think Frank Sinatra would make a fine president. But I don't know whether we can get him to run. Is it worth it? If you have to give up being a king?" The genius of the roast is its structure. Every "endorsement" doubles as an affectionate jab, and the final line elevates Sinatra above the presidency itself, delivering the ultimate compliment disguised as a joke.

History Nerd

252,619 görüntüleme • 3 ay önce

Gene Kelly screened "The Red Shoes" (1948) at least fifteen to twenty times to different executives at MGM to persuade them to accept the script for Vincent Minnelli's "An American in Paris" (1951). He was told by the executives that the success of "The Red Shoes" was mainly due to the lead actress being foreign & if it were an American actress in that part, the movie would have bombed. Here is Michael Powell talking about it: "The American distributors put our films on their shelves, saying they were too British: a calculated insult, difficult to refute, because they were British. That was the point of a picture like 'The Red Shoes' (1948). It could never have been made in Hollywood in 1947. Hollywood had made films about art and life and love, but I can't remember a single one, and I have total recall. Gene Kelly told me that he ran 'The Red Shoes' fifteen to twenty times for different executives at MGM before he got acceptance of his script for Vincente Minnelli's 'American in Paris', and then it was mainly because he had a foreign ballerina for the part- Leslie Caron. He was told that the success of 'The Red Shoes' was due to the girl being foreign. An American girl in the same part would have bombed. He didn't argue, but took the money and Leslie Caron and ran. The film was a huge success. I never saw it, but Gene told me that it was full of quotes from 'The Red Shoes'. Art! But it had Gene Kelly." ("A Life in Movies", Michael Powell, 1986) P.S: On this day, 78 years ago, "The Red Shoes" (1948) premiered in London, UK.

DepressedBergman

26,181 görüntüleme • 20 gün önce