THE NIGHT WE CALLED IT A DAY

Australia, 2003, 95 minutes, Colour.
Dennis Hopper, Melanie Griffith, Joel Edgerton, Portia de Rossi, Rose Byrne, David Hemmings, Tony Barry.
Directed by Paul Goldman.

By the 1970s Frank Sinatra was, with Bing Crosby, the celebrity crooner of the century. He had made many films and had won an Oscar for From Here to Eternity. But, from the 1960s with the Rat Pack and the connection with the Kennedys and the Mafia, he had become something of an ambiguous figure with his bodyguards, his arrogance (and the suggestions from The Godfather that he was also connected with people who put horse's heads in executives beds).

In 1974 he began a concert tour of Australia but was picked at by journalists and angrily compared them with hookers. A hullabaloo ensued with concerts cancelled, apologies demanded and the Australian Council of Trade Unions becoming involved, future Prime Minister, Bob Hawke acting as mediator.

This is a fictionalised account of the visit, though David Field does a Hawke impersonation.

What is difficult for the audience is watching Denis Hopper as Sinatra. It is too difficult to move away from Hopper as Hopper. He does give a good performance, miming Ol Blue Eyes' songs which are sung by Tom Burlinson. And the abrasive character of the crooner definitely comes across, someone who is used to getting his own way, sometimes sentimental, sometimes hard, who eventually agrees to a compromise as long as he wins behind the scenes. Melanie Griffith is Barbara Marx who was to become Sinatra's fourth wife.

The screenplay is full of gibes at Sinatra including well-known criticisms of Mia Farrow by Ava Gardner. However, the principal focus is on a young would-be entrepreneur, played by Joel Edgerton, whose father is a Sydney criminal boss (Tony Barry) who manages to book the tour and has to fight desperately to make it a success. Rose Byrne as his assistant is made to be the voice of conscience and commonsense. The cast includes David Hemmings as Sinatra's agent and Portia de Rossi as the aggressive and insulted journalist. Definitely a curiosity item and one for Sinatra fans.

1. An Australian experience of the 70s? Australia, attitudes towards overseas celebrities, the image of Australia? The Aussie battler versus the American celebrity? Impact for Australian audiences, Americans, overseas?

2. The celebrity of Frank Sinatra, his reputation as a singer, in films, entertainer? Australian response, fans, journalists, criticism, trade unions?

3. Frank Sinatra and his songs (and Tom Burlinson's rendition and mimed by Dennis Hopper)? Frank Sinatra's reputation over the decades, by the 1970s, his age, experience, the need for concerts and comebacks? As a person, his reputation and links with the Mafia, with the Rat Pack? His controlling, listening in to the conversation with the entrepreneur? His relationship with his agent? The interest in Rod Blue, discussions with him, liking him, the deal? Taking Barbara on the Australian tour? The prospects of the tour? Sinatra seen in his American background, Los Angeles, the agents, the people working in the office? The contrast with Rod and his visit, the Australian style?

4. Sydney in the first part of the 70s, the completion of the opera house? Sydney and its growth? Rod Blue, his age, lack of experience, the influence of his father and his wanting to have nothing to do with him? Beginning with his waking up, the girl in his room, her pregnancy, his attitude towards the birth of the child, ignoring it, being urged on by Audrey? The relationship with Audrey, from schooldays, her assisting him? His being bashed by the thugs who wanted the money? His plan, the phone calls to the US, their hanging up, talking to the personnel, the agent, the deals? The party and his asking his father for money, his father's genial reaction and then refusal?

5. The tour being on, Frank Sinatra's arrival, the glamour, the questions at the airport, their intrusive nature, his referring to the demanding journalist as a hooker, on the television news, the demands for an apology, his refusal to give an apology? Press conferences, the media reaction? Sinatra on stage, his demands, his continuing the insults? His bodyguards? Bringing Barbara, his relationship with her, in love with her, her devotion to him?

6. Rod as a pleasant young man, the background of his family, his skill in getting the tour to go on, his diplomacy with Sinatra, his having to mediate? The friendship with Barbara - although the difficulties of Barbara taking control of the kitchen and making demands for Sinatra? His discussions with the journalist, her intransigence? His relationship with Audrey, her helping, his not seeing she was in love with him? The discussions with the agent?

7. The ACTU and the Australian response to Sinatra, the banning of the concerts? Bob Hawke and David Field's impersonation of him? His political stance at the time, with the trade unions? Small, cocky, a drinker? The allusion to his being prime minister in the future? Style, discussions, accent? The deals, the discussion (and his nightmare of finding a sheep dead in his bed)? Rod and his suggestions for a compromise, the reasons for Sinatra, the Americans, for Australia, for the trade unions? The agreement that the concert should go ahead, the television rights? The recording of the concert, Sinatra's control over the tape? Rod and his confrontation, the long fight, taking a tough stand, Sinatra's reaction?

8. The concert, on television, the powers-that-be very happy, Rod's father at the concert? The money deals and television rights? The contrast with what was happening behind the scenes? Audrey, leaving Rod, with her mother? Her mother urging her on and her acknowledging of being in love with Rod? Making demands that he go to the hospital for the birth of the baby? The mother of the child, hospital, Audrey, the baby? The deal and peace? The on-stage announcement that Sinatra would marry Barbara? Their bringing Rod and Audrey on stage? The discussion about love an affection? The journalist and her response - and the continued insults?

9. Everybody at the concert, the discussions about relationships, Barbara in herself, with Zeppo Marx, her explanation of her marriage, with Sinatra, mediating, supporting him, the kitchen sequence? Her support of Audrey and Rod?

10. This episode and its place in the Australian memory and consciousness? The difficulties - the smaller country standing up to the big one, the trading of insults, the flexing of muscles and power - but a happy ending?