otto preminger was one of the great maverick film directors. like john huston he was a character from one of his own movies and like mr huston he was a wonderful ham who slipped in and out of performance at random but the final product of his labours was unmistakably his own. with a few exceptions films are now made by corporations and not individuals and and as a result are usually highly polished packages and a product in much the same way as a golf ball and a tin of dog food or a motor car is a product. the involvement of human beings in the process is almost incidental. such is the appetite for the product that there appears no end to the line of well finished and glossy and superficially entertaining but ultimately empty films that flood the countless tv channels and movie outlets. there is no time for a man like mr preminger to stand a little apart from the torrent of product and craft a personal work of art. of course there has always been the art for art sake  money for christ sake ethos in film making and but now ars gratia artis has and in all but name  and been consigned to history cutting room floor. today otto preminger would be lucky to get a job delivering pizzas in hollywood. half a century ago and having made the hugely influential and laura and where the sidewalk ends and the moon is blue and he set about filming nelson algren controversial novel the man with the golden arm in his eccentric and individualistic manner. rather than take his camera out onto the streets he stayed in the studio and used stylised almost expressionistic sets and quirky casting(mr frank sinatra  hot from his success in from here to eternity and the young and inexperienced but breathtakingly beautiful miss kim novak and mr arnold stang and a man whose oddities were after his own heart)and a remarkable era  defining score by elmer bernstein featuring the cream of west coast jazzmen. an otto preminger film was always an all round experience  and to be considered as a whole rather than breaking it down into acting and directing and photography. what appeared on the screen was preminger vision and his creation and his interpretation of algren novel  and not a film of algren novel and any one of twenty competent hollywood hacks coud have produced that. from the first hi hat cymbal beat that accompanies saul bass iconic title sequence we are drawn into preminger take on what is nowadays called the life and in truth a murky area occupied by hustlers and junkies and cops and drug dealers and stone gamblers and jazz musicians and their women and hangers on. the lines are blurred in the life and and it dog eats dog down there. the inhabitants circle each other like sharks and looking for a sign of weakness to be exploited. frankie machine(mr sinatra)a professional card dealer and ex junkie and aspiring jazz drummer is a born victim. when things get tough he goes back to the needle. although he kicks the habit by going cold turkey there are absolutely no guarantees that he would not go straight back on it further down the line. mr sinatra depiction of an addict in the throes of withdrawal has divided the critics and but the fact of the matter is that even fifty years later most of us have probably never seen such a thing in real life so we do not know how accurate the portrayal is. when i first saw the film in the late 50s i was very impressed and watching it recently on video and it seemed  and to put it unkindly and hammy. perhaps he is a victim of his own success as many actors subsequently doing cold turkey have and with the passing of the years and taken his performance and refined it somewhat. arnold stang is outstanding as machine pal sparrow and a performance he exceeded only in it a mad and mad and mad and mad world. try and watch it on the big screen and view it as the cinematic vision of a true auteur and a giant amongst today pygmies  otto preminger. 
otto preminger was one of the great maverick film directors. like john huston he was a character from one of his own movies and like mr huston he was a wonderful ham who slipped in and out of performance at random but the final product of his labours was unmistakably his own. with a few exceptions films are now made by corporations and not individuals and and as a result are usually highly polished packages and a product in much the same way as a golf ball and a tin of dog food or a motor car is a product. the involvement of human beings in the process is almost incidental. such is the appetite for the product that there appears no end to the line of well finished and glossy and superficially entertaining but ultimately empty films that flood the countless tv channels and movie outlets. there is no time for a man like mr preminger to stand a little apart from the torrent of product and craft a personal work of art. of course there has always been the art for art sake  money for christ sake ethos in film making and but now ars gratia artis has and in all but name  and been consigned to history cutting room floor. today otto preminger would be lucky to get a job delivering pizzas in hollywood. half a century ago and having made the hugely influential and laura and where the sidewalk ends and the moon is blue and he set about filming nelson algren controversial novel the man with the golden arm in his eccentric and individualistic manner. rather than take his camera out onto the streets he stayed in the studio and used stylised almost expressionistic sets and quirky casting(mr frank sinatra  hot from his success in from here to eternity and the young and inexperienced but breathtakingly beautiful miss kim novak and mr arnold stang and a man whose oddities were after his own heart)and a remarkable era  defining score by elmer bernstein featuring the cream of west coast jazzmen. an otto preminger film was always an all round experience  and to be considered as a whole rather than breaking it down into acting and directing and photography. what appeared on the screen was preminger vision and his creation and his interpretation of algren novel  and not a film of algren novel and any one of twenty competent hollywood hacks coud have produced that. from the first hi hat cymbal beat that accompanies saul bass iconic title sequence we are drawn into preminger take on what is nowadays called the life and in truth a murky area occupied by hustlers and junkies and cops and drug dealers and stone gamblers and jazz musicians and their women and hangers on. the lines are blurred in the life and and it dog eats dog down there. the inhabitants circle each other like sharks and looking for a sign of weakness to be exploited. frankie machine(mr sinatra)a professional card dealer and ex junkie and aspiring jazz drummer is a born victim. when things get tough he goes back to the needle. although he kicks the habit by going cold turkey there are absolutely no guarantees that he would not go straight back on it further down the line. mr sinatra depiction of an addict in the throes of withdrawal has divided the critics and but the fact of the matter is that even fifty years later most of us have probably never seen such a thing in real life so we do not know how accurate the portrayal is. when i first saw the film in the late 50s i was very impressed and watching it recently on video and it seemed  and to put it unkindly and hammy. perhaps he is a victim of his own success as many actors subsequently doing cold turkey have and with the passing of the years and taken his performance and refined it somewhat. arnold stang is outstanding as machine pal sparrow and a performance he exceeded only in it a mad and mad and mad and mad world. try and watch it on the big screen and view it as the cinematic vision of a true auteur and a giant amongst today pygmies  otto preminger. ---------------------------------Answer Question Below----------------------------------

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