Some Came Running (1958)

An entertaining drama with great chemistry amongst the main characters--Sinatra, Martin, and Maclaine. Sinatra's character is by far the most interesting; stuck for the most part in a twilight zone between academic respectability and the carefree underworld. The movie shows how he deals with his dilemma, represented by two women; Hyer would be the respectable 'catch', but Maclaine's blowsy character actually wants him. He spends most of the movie fending off Maclaine while fruitlessly pursuing Martha Hyer. Nonetheless, he dips futher into Martin's gambling, boozing, devil-may-care lifestyle. Hyer, though obviously drawn to Sinatra, can't break out of her self-imposed reticence. Sinatra's persistence with his writing parallels his steady courting of Hyer. At least he's ultimately successful with his writing.His decision to marry Maclaine seems sudden. But this is his epiphany: he realizes that, poorly matched as they are outwardly, Maclaine's devotion will actually satisfy his insecurities. Hyer only seems to confuse and anger him. Admittedly, we're dealing with the misogynistic 40s (50s by the time of the movie), in which Sinatra expects Hyer to melt just because he professes love for her. On the other hand, Maclaine tries the same tactic with Sinatra, which ultimately works. The last scene, with its noir overtones of evil invading a wholesome carnival, with its tragic results, first excites, then ends poignantly with Maclaine's murder.In addition, mixing the climactic elements--the wedding with the niece's departure, adding Martin's rescue attempt from the gangster, all literally highlighted by the carnival atmosphere, casts a mythic sheen. Also interesting is Martin's character. One has the impression that he essentially played himself: a likeable hedonist. He manages friendship without emotion--unable to accept Sinatra's marriage, as it implies joining society, instead of operating on its margins as his 'code' necessitates.It's also possible to see Sinatra's giving in to Maclaine as an abnegation. After all, he remains blase towards her, easing up just a bit, as they wander innocently through the carnival. Maybe he didn't make the right choice. The movie casts just this sliver of doubt, leaving us wondering if there is a right choice.The psyschological complexity of the theme, the scaffolding of the plot, and the performances from three fine actors, gives Some Came Running a must-see (and see again) quality.

This is a good drama set in the small town of Parkman, Indiana, in 1946 after the war. Frank Sinatra stars in this movie version of James Jones's second novel, as he had in Jones's first novel, From Here to Eternity (1953).This story depicts a post-war "Coming Home" type of story about a soldier trying adjust to a small gossipy town, where he was never really wanted in the first place--at least by his brother (Arthur Kennedy) and his family who view him as the black sheep of the family.On the one hand, Sinatra's character is viewed as an aspiring and gifted writer that is appreciated by a local school teacher (Martha Hyer) and her wealthy professorial father (Larry Gates). On the other hand, he is viewed by the local newspaper and town gossip, as a no-good drifting drinker and gambler who hangs around cheap bars with his floozy pickup girl (Shirley MacLaine) and his locally acquired gambling partner (Dean Martin). Torn between these two worlds threatens to tear him apart.

I always considered the 50's as a very creative time for Hollywood. The Bad and the Beautiful, All That Heaven Allows, The Sweet Smell of Success and other masterpieces enchanted me. If Some Came Running is not quite up to the level of the pictures mentioned above, it still provides many moments of great satisfaction. Minnelli's passionate approach to filmmaking, combining romance and sometimes vulgarity (Bama can't resist calling Ginny a pig) works very well for me. Sinatra is a fine Dave Hirsh, sour and cynical as well as tender, Arthur Kennedy is very effective as the guilty brother who can't quite live up to his rich wife's expectations, Dean Martin sails through his part as the boozy gambler, and Martha Hyer impresses me as the starchy teacher who fends off the volcanic Sinatra. He is like Hemingway in his forcefulness, she's like Edith Wharton in her reserve. Sparks fly. I have little to say about Shirley MacLaine's Ginny; she never moves me, never makes me believe in her vulnerability.The period is evoked by cars of the period 1946-48, and we see a marquee for The Courage of Lassie (1946), but the clothes suggest the late 50's. The feeling of anachronism is hard to shake off. Martin's hat gimmick was referenced in Godard's Contempt.

Soldier comes back to his small home town in Indiana after the war and disrupts some lives. Sinatra is solid as the disgruntled soldier and former writer. MacLaine is wonderful as a dim-witted floozy that swoons after Sinatra, who inexplicably wants to marry Hyer after spending a few hours with her. Sinatra's interest in Hyer, an attractive but cold-hearted and stuck-up schoolteacher, is never believable. Kennedy is fine as Sinatra's brother while Martin barely registers in an unsubstantial role. The finale feels contrived and out of place, an indication that Minnelli was out of his comfort zone with this material. Good score by Bernstein.