西纳特拉，在他的电影，探讨了这个身份的主要原则。 但是，与他同时代的他 提供了一个引人注目的，另类的想法 的阳刚之气。
在1940s，很少有人会想到，弗兰克·西纳特拉的银幕生涯会有什么样的深远影响的。 西纳特拉往往局限于扮演RKO和米高梅音乐剧难以置信天真的人物，无一不工作室试图抑制性欲强效的西纳特拉已经利用，作为一个音乐家，诱导在他十几岁的粉丝群歇斯底里（被称为 鲍比soxers).
但即使在这些音乐剧，我们看到了他的非常规银幕形象的根源。 虽然军事胜利和男性勇敢的概念是在每个人的脑海中记忆犹新，西纳特拉演奏在上岸休假，其最大的担心就是异性（起锚，并在镇）水手。 在带我去看棒球赛，他刻画点燃观众的消费就像一个完全成熟的魅力女孩唱歌棒球运动员。
Sinatra的银幕形象不断挑战时期的准则，破坏了战后痴迷中产阶级的白人男性中的第一个赛季如此淋漓尽致布局 狂人。 他是格里高利·派克的人在灰色法兰绒西装，谁既象征的服饰角色的对立面 - 和陷阱 - 美国梦。
他主演的1955是男人与金臂，它测试的极限 Motion Picture Production Code censorship through its groundbreaking portrayal of heroin addiction. Playing a poker-dealing junkie named Frankie Machine, Sinatra presented a darker image of America, a world of urban losers who used drugs, alcohol and emotional blackmail as a means of escape, a place where – as one character puts it – “Everybody’s a habitual something.”
America’s postwar masculine ideal was always more myth than reality, and Sinatra reminds us of this in surprising places. Take the 1954 Warner Bros musical Young at Heart. For the first 30 minutes, it’s packed with optimistic self-assurance, as Doris Day and Gig Young court one another in an idyllic Connecticut setting. But the arrival of Sinatra’s working-class musical arranger – with a name changed from something “a little more Italian” – transforms the film into a feast of noir melodrama.
Vulnerable Loners On The Margins
Meanwhile, Sinatra’s portrayals of postwar outsiders are often tied to the war veteran’s vulnerability. Emotionally expressive male stardom in the 1950s is frequently connected to James Dean’s teenage angst or Marlon Brando’s “Hey Stella” yell, which depicted male vulnerability through a boyish intensity.
Sinatra instead has a more mature take, conveying a world-weariness borne of the veteran’s experience. In Some Came Running (1958) he plays a war hero author who, in desperation, marries Shirley MacLaine’s sweet floozy (“I’m just tired of being lonely, that’s all”). And in The Manchurian Candidate he skillfully portrays a Korean war veteran in the midst of a breakdown.
Even Sinatra’s playboy characters were a direct challenge to the middle-class male ideal that Playboy started promoting in its first issue in 1953. While the magazine repeatedly expressed its admiration for Sinatra’s sexually liberated male lifestyle, describing him as “surely the hippest of the hip,” it balked at the kind of working-class persona Sinatra exuded in a film like Pal Joey (1957).
For Playboy, a man’s refinement was marked by his education and an understated Ivy League style, alongside ownership of “the hi-fi set in mahogany console” and “the racy little Triumph.” Sinatra’s Joey Evans, on the other hand, is an MC who trades sex with Rita Hayworth’s wealthy widow for a share in a nightclub. But Joey’s attempt at sophistication – donning a smoking jacket and monogrammed slippers – ensures he remains no more than a gigolo.
Significantly, in a nod to America’s ultimate outsiders, Sinatra didn’t hesitate to tie his films to the burning issue of the time: civil rights.
While the US Army remained segregated, Sinatra’s 1945 short 房子我住在 aimed to teach racial tolerance to a younger generation. And only months after news cameras captured angry white southerners protesting the desegregation of a school in Little Rock, Arkansas, Sinatra’s Kings Go Forth suggested that racism and inequality weren’t just Southern problems – they were nationwide afflictions.
So as you celebrate Sinatra’s 100th birthday by popping in Songs for Swingin' Lovers or 在凌晨凌晨, it’s important to remember that his films and on-screen characters also form an essential part of his cultural legacy.
In peeling away the sanitized sheen of postwar, middle-class America, Sinatra largely succeeded in exposing (to borrow from Frankie Machine) a “down and dirty” side of masculinity that Hollywood largely ignored.
Karen McNally, Senior Lecturer in Film and Television Studies, London Metropolitan University. My publications include a variety of journal articles and book chapters and the following books: Billy Wilder, Movie-Maker: Critical Essays on the Films (McFarland, 2011) and When Frankie Went to Hollywood: Frank Sinatra and American Male Male Identity (University of Illinois Press, 2008).