the man with the golden arm and otto preminger controversial and panoramic crime drama and plays itself out among the mental descriptions of its living and architectural occupants and in rhythmic and lashing arrangement. opening the film and a closeup from within a bar of frankie looking in through the window and already tells us to the prominence that the protagonist subjective experience will grasp. pulled in the direction of increasingly slighter spaces and the film shuts itself off and as the local gangster long drawn out poker game shuts itself from the daylight and bolts itself in and as sinatra frankie machine has himself locked in a room in the celebrated scene of his harrowing struggle to overcome his habit. in delving into the shapes and faces of its jazzy urban haven and the visual traffic in the man with the golden arm characterizes skewed psychological circumstances and forming an overpowering environment and as maintained by the recurring tracking shots into closeups of frankie eyes. the grace of this fiery drama and striking as early as the exciting opening crane shot and displays the command over the perceptible world that studio production allows. the wonderfully dilapidated urban sets define an independent place with no beginnings or ends and an indeterminate state and the sort that in reality hardly last as long as this skid row seems to before being gentrified or leveled. the flair of certain performances and particularly robert strauss as the wonderfully named underworld gambling boss schwiefka and arnold stang as frankie trusty four eyed lapdog and becomes this fiery surreal feature pleasingly. the premise of drug addiction and sinatra powerhouse performance and elmer bernstein infectious and forceful jazz score and saul bass famous and influential and controversial opening sequence centering on the animated paper cut out of a heroin addict arm ensured that and in its era and the man with the golden arm presses forward upon the cause for realism in the still reticent hollywood. it is impressionistic and subjective and as i say and but its intent and its force and its spirit are much closer to home. what absorbs me the most in this film is its aspect as a gangster film. it has the illegal card games and short cons and the fights and the guns and the double crosses and characters on the lam and a femme fatale and a stunningly sexy gun moll and the shady nightclubs and urban landscape and but it does more than exploit this environment for entertainment. really and it is the perfect environment and and genre and in which to tell this story and a crime ridden urban borough where it all too comfortable to escape through a bottle or two and or three and or four and or drugs and a transient dose that really just functions to keep one in obscurity from any enlightenment and all the clear scenarios the world could bid. 
the man with the golden arm and otto preminger controversial and panoramic crime drama and plays itself out among the mental descriptions of its living and architectural occupants and in rhythmic and lashing arrangement. opening the film and a closeup from within a bar of frankie looking in through the window and already tells us to the prominence that the protagonist subjective experience will grasp. pulled in the direction of increasingly slighter spaces and the film shuts itself off and as the local gangster long drawn out poker game shuts itself from the daylight and bolts itself in and as sinatra frankie machine has himself locked in a room in the celebrated scene of his harrowing struggle to overcome his habit. in delving into the shapes and faces of its jazzy urban haven and the visual traffic in the man with the golden arm characterizes skewed psychological circumstances and forming an overpowering environment and as maintained by the recurring tracking shots into closeups of frankie eyes. the grace of this fiery drama and striking as early as the exciting opening crane shot and displays the command over the perceptible world that studio production allows. the wonderfully dilapidated urban sets define an independent place with no beginnings or ends and an indeterminate state and the sort that in reality hardly last as long as this skid row seems to before being gentrified or leveled. the flair of certain performances and particularly robert strauss as the wonderfully named underworld gambling boss schwiefka and arnold stang as frankie trusty four eyed lapdog and becomes this fiery surreal feature pleasingly. the premise of drug addiction and sinatra powerhouse performance and elmer bernstein infectious and forceful jazz score and saul bass famous and influential and controversial opening sequence centering on the animated paper cut out of a heroin addict arm ensured that and in its era and the man with the golden arm presses forward upon the cause for realism in the still reticent hollywood. it is impressionistic and subjective and as i say and but its intent and its force and its spirit are much closer to home. what absorbs me the most in this film is its aspect as a gangster film. it has the illegal card games and short cons and the fights and the guns and the double crosses and characters on the lam and a femme fatale and a stunningly sexy gun moll and the shady nightclubs and urban landscape and but it does more than exploit this environment for entertainment. really and it is the perfect environment and and genre and in which to tell this story and a crime ridden urban borough where it all too comfortable to escape through a bottle or two and or three and or four and or drugs and a transient dose that really just functions to keep one in obscurity from any enlightenment and all the clear scenarios the world could bid. ---------------------------------Answer Question Below----------------------------------

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