0:00:02 > 0:00:07This programme contains some strong language
0:00:07 > 0:00:11He was an emotionally sensitive man that night.
0:00:11 > 0:00:14- This was a big night for him. - APPLAUSE
0:00:14 > 0:00:16It was a fabulous event.
0:00:16 > 0:00:19The who's who of celebrities were there.
0:00:20 > 0:00:24The night itself was exciting and a lot of mixed emotions.
0:00:25 > 0:00:28Ladies and gentlemen, Frank Sinatra.
0:00:28 > 0:00:31BAND PLAYS My Way by Frank Sinatra
0:00:31 > 0:00:36CHEERING AND APPLAUSE
0:00:36 > 0:00:40We are talking about the best pop singer who ever lived.
0:00:44 > 0:00:45For his retirement concert,
0:00:45 > 0:00:49Sinatra chose 11 songs to represent the story of his life and career.
0:00:49 > 0:00:55BAND CONTINUES TO PLAY
0:01:03 > 0:01:06He used the songs to tell the story of himself
0:01:06 > 0:01:11and he tells us our story through his story.
0:01:12 > 0:01:14This is what set him apart.
0:01:14 > 0:01:20This programme contains some strong language
0:01:20 > 0:01:23# You see a pair of laughing eyes
0:01:23 > 0:01:27# And suddenly you're sighing sighs
0:01:27 > 0:01:29# You're thinking nothing's wrong
0:01:29 > 0:01:32# You string along, boy, then snap!
0:01:34 > 0:01:39# Those eyes, those sighs They're part of the tender trap
0:01:42 > 0:01:46# You're hand in hand beneath the trees
0:01:46 > 0:01:50# And soon there's music in the breeze
0:01:50 > 0:01:55# You're acting kind of smart until your heart just goes wap!
0:01:58 > 0:02:02# Those trees, that breeze They're part of the tender trap
0:02:04 > 0:02:08# Some starry night
0:02:08 > 0:02:12# When her kisses make you tingle
0:02:12 > 0:02:15# She'll hold you tight
0:02:15 > 0:02:21# And you'll hate yourself for being single
0:02:21 > 0:02:25# And all at once it seems so nice
0:02:25 > 0:02:29# The folks are throwing shoes and rice
0:02:29 > 0:02:34# You hurry to a spot that's just a dot on the map
0:02:36 > 0:02:38# And then you wonder how
0:02:38 > 0:02:40# It all came about
0:02:40 > 0:02:42# It's too late now
0:02:42 > 0:02:44# There's no getting out
0:02:44 > 0:02:47# You fell in love
0:02:47 > 0:02:53# And love is the tender trap... #
0:02:53 > 0:02:55Thank you very much. I'm absolutely thrilled.
0:02:58 > 0:03:00# Boodley-a-boo-dee-boo-da
0:03:02 > 0:03:04# Ba-da-boo-dee-boo-dee-boo-da... #
0:03:06 > 0:03:10Frank Sinatra is, well, Frank Sinatra.
0:03:10 > 0:03:13In 20 years, he's travelled from Hoboken to Hollywood
0:03:13 > 0:03:15with stops in between.
0:03:15 > 0:03:18The Voice has become one of Hollywood's great stars.
0:03:18 > 0:03:21Recently, after a comparatively inactive period,
0:03:21 > 0:03:24Variety credited him with the greatest comeback
0:03:24 > 0:03:26in theatre history.
0:03:26 > 0:03:28He's now one of Hollywood's hottest properties.
0:03:46 > 0:03:47I can't imagine.
0:03:52 > 0:03:53Hello?
0:03:54 > 0:03:58In 1949, Frank Sinatra is still the crooner,
0:03:58 > 0:04:00the romantic ideal of the young.
0:04:00 > 0:04:02By the '50s,
0:04:02 > 0:04:03he is a different kind of singer
0:04:03 > 0:04:04and he is a different kind
0:04:04 > 0:04:06of screen personality.
0:04:06 > 0:04:07He's a grown-up.
0:04:07 > 0:04:10He's somebody who sings convincingly of suffering
0:04:10 > 0:04:12and who, we assume, has himself suffered.
0:04:14 > 0:04:18- OK, let's make a record. Let's go.- Right, rolling.
0:04:19 > 0:04:21I love recording.
0:04:21 > 0:04:23I think making records is a great fun of all times
0:04:23 > 0:04:26because it's current. It's right there.
0:04:26 > 0:04:29When you finish a recording, um,
0:04:29 > 0:04:32you blink your eye or your ear, so to speak, and boom.
0:04:37 > 0:04:42# It was just one of those things
0:04:45 > 0:04:50# Just one of those crazy flings... #
0:04:50 > 0:04:54When he gets to Capitol, it is a total picture of adulthood,
0:04:54 > 0:04:58of maturity and the country responded immediately.
0:04:58 > 0:05:01Women said, "This is a man you could go to bed with"
0:05:01 > 0:05:04and the men said, "I'd like to be this guy."
0:05:04 > 0:05:07# One of those nights... #
0:05:07 > 0:05:11In the '50s, the phoenix emerged from the ashes
0:05:11 > 0:05:14of a previous existence
0:05:14 > 0:05:17and the curly hair and the floppy bow ties
0:05:17 > 0:05:20suddenly gave way to the Cavanagh hat
0:05:20 > 0:05:22and the long, loosened tie.
0:05:22 > 0:05:24# Just one of those things... #
0:05:24 > 0:05:26And this was a change
0:05:26 > 0:05:29that very, very few musical personalities
0:05:29 > 0:05:31have been able to accomplish.
0:05:31 > 0:05:34Did Sinatra and Sinatra only select those songs
0:05:34 > 0:05:37or did he do it in collaboration with you and with a producer?
0:05:37 > 0:05:40Sinatra picked his own things.
0:05:40 > 0:05:42So, when you hear a Frank Sinatra album,
0:05:42 > 0:05:44it's a product of Frank Sinatra's head.
0:05:44 > 0:05:50# Was too hot not to cool down
0:05:50 > 0:05:54# So, goodbye, dear... #
0:05:54 > 0:05:55You think about Only The Lonely,
0:05:55 > 0:05:58Wee Small Hours Of The Morning, you know.
0:05:58 > 0:06:00# Here's hoping... #
0:06:00 > 0:06:02He invented concept albums.
0:06:02 > 0:06:06# It was great fun... #
0:06:06 > 0:06:08What he would do is to find a mood
0:06:08 > 0:06:13and then figure out what songs reflect that mood.
0:06:14 > 0:06:19# It was just, just one of those nights... #
0:06:20 > 0:06:22And then, when he walked into the studio,
0:06:22 > 0:06:26he was prepared to follow the arranger's orchestration.
0:06:27 > 0:06:30Listen, Lowe...
0:06:31 > 0:06:35..if there's any popping of Ps, let's stop
0:06:35 > 0:06:38because there were too many Ps popping
0:06:38 > 0:06:40and they should be past that.
0:06:40 > 0:06:42Can you clear those up a little bit?
0:06:42 > 0:06:43'I may be one of the few people
0:06:43 > 0:06:45'who performs in the middle of the orchestra
0:06:45 > 0:06:47'right in the studio...
0:06:47 > 0:06:50'No headphones and not a booth, a glassed-in booth.
0:06:50 > 0:06:53'..cause I need the drive of the orchestra.'
0:06:53 > 0:06:56# Although I'm not a great romancer
0:06:56 > 0:06:59# I know that you're bound to answer... #
0:06:59 > 0:07:03A good arranger is terribly vital because he's a recording secretary.
0:07:03 > 0:07:05For instance, if you brought a song to me
0:07:05 > 0:07:09and I said, "It's very good. Maybe we'll record it."
0:07:09 > 0:07:11Then we'd bring in, in those days, it was Axel
0:07:11 > 0:07:14and then we went to Billy May and Nelson and then Gordon Jenkins.
0:07:14 > 0:07:17We would sit down and we would pick the key
0:07:17 > 0:07:22and I would give him my thoughts on what the background should be,
0:07:22 > 0:07:24from eight measures to eight measures,
0:07:24 > 0:07:27then I would say, "How wrong am I?" HE CHUCKLES
0:07:30 > 0:07:33Well, he would conduct the orchestra sometimes. That's a lot of fun.
0:07:33 > 0:07:36But if not, say, comfortable with it,
0:07:36 > 0:07:38I became accustomed to it.
0:07:38 > 0:07:41Some of it was his need to assert himself.
0:07:41 > 0:07:44That was part of his performance. He was a showman.
0:07:44 > 0:07:48Sinatra respected Nelson Riddle so much, his musical talent.
0:07:48 > 0:07:52They made something in excess of 300 songs -
0:07:52 > 0:07:54300 separate arrangements -
0:07:54 > 0:07:56in the years that they worked together,
0:07:56 > 0:08:00including the song called (I've Got You) Under My Skin.
0:08:00 > 0:08:05# I've got you under my skin... #
0:08:06 > 0:08:10I stayed up at night to write that arrangement.
0:08:10 > 0:08:12I remember bringing it to the recording
0:08:12 > 0:08:15and everybody was very impressed.
0:08:15 > 0:08:17When they finished the first run through,
0:08:17 > 0:08:20the entire orchestra applauded for Nelson Riddle
0:08:20 > 0:08:23and whistled cos it was so gorgeous.
0:08:24 > 0:08:27That was according to Frank's specifications.
0:08:27 > 0:08:29He said, "I want a long crescendo."
0:08:29 > 0:08:32# Sacrifice anything come what might
0:08:32 > 0:08:35# For the sake of having you near
0:08:35 > 0:08:37# In spite of a warning voice
0:08:37 > 0:08:39# Comes in the night
0:08:39 > 0:08:42# It repeats, it repeats, it repeats, it repeats
0:08:42 > 0:08:45# Don't you know, you fool
0:08:45 > 0:08:48# Not going to win?
0:08:48 > 0:08:49# Use your mentality
0:08:51 > 0:08:54# Wake up to reality
0:08:54 > 0:08:57# And each time I do just the thought of you
0:08:57 > 0:09:01# Makes me stop before I begin
0:09:01 > 0:09:03# Cos I've got you
0:09:03 > 0:09:09# Under my skin... #
0:09:09 > 0:09:10Go get her.
0:09:12 > 0:09:13Get her!
0:09:29 > 0:09:30Ah!
0:09:41 > 0:09:43# I would sacrifice anything
0:09:43 > 0:09:45# Come what might
0:09:45 > 0:09:47# For the sake of having you near
0:09:47 > 0:09:49# In spite of a warning voice
0:09:49 > 0:09:51# Comes in the night
0:09:51 > 0:09:54# It repeats, how it yells in my ear
0:09:54 > 0:09:56# Don't you know, you fool
0:09:56 > 0:09:59# You ain't never going to win?
0:09:59 > 0:10:02# Why not use your mentality?
0:10:02 > 0:10:05# Wake up, step up to reality
0:10:05 > 0:10:10# And each time I do just the thought of you
0:10:10 > 0:10:13# Makes me stop just before I begin
0:10:13 > 0:10:18# Cos I've got you under my skin
0:10:19 > 0:10:24# And I love you under my skin. #
0:10:26 > 0:10:31CHEERING AND APPLAUSE
0:10:31 > 0:10:32Thank you.
0:10:37 > 0:10:39The first act was called Daily Life
0:10:39 > 0:10:41and this act is called Love And Marriage
0:10:41 > 0:10:43and since we're doing a little singing here tonight,
0:10:43 > 0:10:45Mr Leader, if you please.
0:10:46 > 0:10:49ORCHESTRA PLAYS
0:10:49 > 0:10:54# Love and marriage, love and marriage
0:10:54 > 0:10:58# Go together like the horse and carriage
0:10:58 > 0:11:02# This, I tell you, brother
0:11:02 > 0:11:06# You can't have one without the other
0:11:06 > 0:11:11# Love and marriage, love and marriage
0:11:11 > 0:11:15# It's an institute you can't disparage
0:11:15 > 0:11:18# Ask the local gentry
0:11:18 > 0:11:23# And they will say it's elementary... #
0:11:23 > 0:11:25That period in America
0:11:25 > 0:11:28was the greatest growth of individual wealth
0:11:28 > 0:11:30in the history of Western civilisation.
0:11:31 > 0:11:34There was money. There was money to buy records.
0:11:34 > 0:11:38There was money for kids to have their own subculture.
0:11:38 > 0:11:43# Love and marriage, love and marriage
0:11:43 > 0:11:44# Go together like... #
0:11:44 > 0:11:47For large numbers of white, middle class Americans,
0:11:47 > 0:11:50they never had it so good as in the '50s,
0:11:50 > 0:11:53but they also knew the whole thing could go bust
0:11:53 > 0:11:55if the bomb got dropped.
0:11:55 > 0:11:59Let us face, without panic, the reality of our times,
0:11:59 > 0:12:02the fact that atom bombs may someday be dropped on our cities.
0:12:02 > 0:12:05EXPLOSION
0:12:05 > 0:12:10That is a very awkward, uncomfortable set of oppositions
0:12:10 > 0:12:14and it shapes American culture in the Eisenhower era.
0:12:14 > 0:12:16There's a tremendous amount of economic stability,
0:12:16 > 0:12:19but it is accompanied by a tremendous amount of ferment.
0:12:19 > 0:12:21We continue to have a protest.
0:12:21 > 0:12:24We're at war with the communist half of the world.
0:12:24 > 0:12:26A man is either loyal or he's disloyal.
0:12:26 > 0:12:27Are you a member
0:12:27 > 0:12:30or have you ever been a member of the Communist Party?
0:12:30 > 0:12:33EXPLOSION
0:12:34 > 0:12:36Senator McCarthy, do you believe, sir,
0:12:36 > 0:12:39that at least 5,000 American soldiers
0:12:39 > 0:12:40have been slaughtered by the Reds?
0:12:40 > 0:12:43- I shall go to Korea. - CHEERING
0:12:43 > 0:12:44I called the head of the USO.
0:12:44 > 0:12:46I said to him, "I'd like to get over there
0:12:46 > 0:12:49"and do some shows for these guys" cos Hope had already been there
0:12:49 > 0:12:51and then they were sending over vaudeville actors.
0:12:51 > 0:12:53I said, "They need some names over there."
0:12:53 > 0:12:56The next thing I know, he calls me and he said,
0:12:56 > 0:12:59"There seems to be a problem in Washington in intelligence
0:12:59 > 0:13:02"about you're being involved with some youth organisation
0:13:02 > 0:13:03"and the Roosevelt campaign.
0:13:03 > 0:13:06"They're inclined to think you were part of the Communist Party."
0:13:06 > 0:13:08I said, "What? We're going to Washington," I said.
0:13:08 > 0:13:10"I ain't going to let them off the hook."
0:13:25 > 0:13:27I went to The Pentagon building.
0:13:27 > 0:13:30So, I was brought into a sumptuous room.
0:13:30 > 0:13:32It looked like a jury when I walked in.
0:13:32 > 0:13:35There were three or four grey-haired men -
0:13:35 > 0:13:38all true military guys - and a plain-clothes man.
0:13:38 > 0:13:42He was from what was then the OSS rather than CIA.
0:13:42 > 0:13:44Nobody smiled.
0:13:44 > 0:13:46One guy said to me,
0:13:46 > 0:13:48"Do you belong to a youth organisation that you joined?"
0:13:48 > 0:13:50I said, "I never joined a youth organisation."
0:13:50 > 0:13:52Witch hunting. That's what they were doing.
0:13:52 > 0:13:55Of course, after that came the blacklist
0:13:55 > 0:13:57and I started to get pissed off with these guys.
0:13:57 > 0:14:00I said, "Look, gentlemen, has anybody run a check on me?"
0:14:04 > 0:14:08General Kastner explained that, over a period of years,
0:14:08 > 0:14:11many items had appeared in the public press
0:14:11 > 0:14:14which identified Mr Sinatra with the communist line.
0:14:14 > 0:14:16As a result, serious questions existed
0:14:16 > 0:14:20as to Mr Sinatra's sympathies with respect to communism,
0:14:20 > 0:14:23communists and fellow travellers.
0:14:23 > 0:14:25Said this to Sinatra's face.
0:14:26 > 0:14:29I said, "Gentlemen, if you feel that I'm a risk,
0:14:29 > 0:14:31"then you can stick the Korean War in your ass
0:14:31 > 0:14:33"and that goes for all of you," I said.
0:14:33 > 0:14:34And I got up and I walked out. Fuck you.
0:14:34 > 0:14:37If you think I'm a risk to my nation, who the hell needs you?
0:14:37 > 0:14:39I said, "I don't need you."
0:14:46 > 0:14:51# Baby, you went and broke your faithful promise... #
0:14:51 > 0:14:53Frank Sinatra invited attention.
0:14:53 > 0:14:58# How could you do a thing like that to me? #
0:14:58 > 0:15:01He always complained that he was unfairly tagged as a Commie.
0:15:01 > 0:15:06# Didn't I give you everything I promised? #
0:15:06 > 0:15:11To his credit, he deftly avoided some of the more horrible things
0:15:11 > 0:15:14that happened to entertainers in those days.
0:15:15 > 0:15:18He was mentioned in the infamous
0:15:18 > 0:15:20House on Un-American Activities Committee hearings,
0:15:20 > 0:15:22but never called to testify.
0:15:24 > 0:15:29# When my back was turned on you... #
0:15:29 > 0:15:33He was just a liberal, left wing entertainer
0:15:33 > 0:15:37who was far ahead of his time in the positions that he took,
0:15:37 > 0:15:39one of which was speaking out against racism
0:15:39 > 0:15:42at a time when no-one was speaking out against racism,
0:15:42 > 0:15:46let alone a white crooner from Hoboken, New Jersey.
0:15:46 > 0:15:49- APPLAUSE - Thank you, ladies and gentlemen.
0:15:49 > 0:15:51Here's a couple of people we've never done on TV before.
0:15:51 > 0:15:54The first gentleman, Mr Frank Sinatra.
0:15:54 > 0:15:58ORCHESTRA PLAYS
0:16:00 > 0:16:04# It was just one of those things... #
0:16:06 > 0:16:09- APPLAUSE - # Yeah, it was just
0:16:09 > 0:16:11# One of those crazy things... #
0:16:11 > 0:16:13Yeah, Dad.
0:16:13 > 0:16:14# One of those... #
0:16:14 > 0:16:15People had helped Dad.
0:16:15 > 0:16:18Dad would help other people, you know, ascend.
0:16:18 > 0:16:19It wasn't easy.
0:16:19 > 0:16:22It was most difficult for Sammy, for obvious reasons.
0:16:23 > 0:16:26Sinatra, he did not like segregation.
0:16:26 > 0:16:29He didn't like that black people were treated
0:16:29 > 0:16:31as creatures of inferiority.
0:16:31 > 0:16:33He always rebelled against that.
0:16:33 > 0:16:36# Those fabulous flights
0:16:36 > 0:16:42# It was a trip to the moon on gossamer wings... #
0:16:42 > 0:16:45I really became conscious of segregation
0:16:45 > 0:16:48when I got involved in the entertainment business.
0:16:48 > 0:16:52I found that going through parts of the United States,
0:16:52 > 0:16:55travelling constantly and doing one-nighters
0:16:55 > 0:16:59with orchestras that were comprised of Negro musicians,
0:16:59 > 0:17:01there were a lot of problems. And not only the South,
0:17:01 > 0:17:04but in some quarters in the border states
0:17:04 > 0:17:06and I began to resent it.
0:17:06 > 0:17:08I think it's vile.
0:17:08 > 0:17:13I think it's the most indecent way to believe.
0:17:13 > 0:17:17I think that we're all created equal.
0:17:17 > 0:17:20It's just...it's wrong. It's just basically wrong.
0:17:21 > 0:17:24Sinatra felt that important to his life
0:17:24 > 0:17:28and to his art and to his whole style
0:17:28 > 0:17:31was what he had learned from black culture and black people.
0:17:31 > 0:17:35He was very, very close to the African-American scene.
0:17:35 > 0:17:40His closeness was never really fully recognised historically
0:17:40 > 0:17:43because he did that quietly behind the scenes.
0:17:43 > 0:17:46He opened up more doors than any other individual,
0:17:46 > 0:17:48black or white, in this business with me.
0:17:48 > 0:17:50He set my motion picture salary.
0:17:50 > 0:17:52He also was there for me
0:17:52 > 0:17:54on a personal basis when I needed him
0:17:54 > 0:17:56and without being asked.
0:17:56 > 0:17:58He was always there for me.
0:17:59 > 0:18:01Sammy is now only 29 years old,
0:18:01 > 0:18:03but he spent most of his life in show business -
0:18:03 > 0:18:05from Harlem to Hollywood,
0:18:05 > 0:18:07with its attendant successes and crises,
0:18:07 > 0:18:09the worst about a year ago.
0:18:09 > 0:18:11When he was coming back from Vegas
0:18:11 > 0:18:13at the latter part of the night after his show
0:18:13 > 0:18:15in order to get some sleep in LA
0:18:15 > 0:18:17and do a title song for a picture at Universal,
0:18:17 > 0:18:19he was coming around the turn on a highway
0:18:19 > 0:18:22and two old gals backed a car out of a driveway
0:18:22 > 0:18:23and in order not to hit them,
0:18:23 > 0:18:25he went across the road and hit a tree.
0:18:28 > 0:18:31He had an old Cadillac with the egg in the middle of the steering wheel.
0:18:31 > 0:18:34- You know the thing you see that looks like an egg?- Yeah, sure.
0:18:34 > 0:18:36And his eye was popped right out of his head.
0:18:38 > 0:18:39I never said goodbye to anybody.
0:18:39 > 0:18:41I jumped in my car and I drove to San Bernardino.
0:18:41 > 0:18:43I flew down there.
0:18:43 > 0:18:44And it's a coloured hospital
0:18:44 > 0:18:48and I found out later that they drove around for 40 minutes
0:18:48 > 0:18:50- to get a hospital that would take him.- Oh.
0:18:52 > 0:18:57I went to his place in Palm Springs and recuperated with friends, chums.
0:18:57 > 0:19:00Sammy never learned to swim in his life.
0:19:00 > 0:19:02Deathly afraid of the water.
0:19:02 > 0:19:03So, I taught him to swim
0:19:03 > 0:19:06and then I said to him, "Sam, I'm not a physician,
0:19:06 > 0:19:09"but the loss of your eye is going to cause you to have an imbalance.
0:19:09 > 0:19:11"I think you ought to teach me to Time Step."
0:19:11 > 0:19:13And he's looking at me.
0:19:13 > 0:19:17Toe, heel, toe, heel, toe, heel.
0:19:17 > 0:19:21Next afternoon, I said to him, "OK, it's your turn."
0:19:21 > 0:19:23And, you know, we had trouble for about a half-hour
0:19:23 > 0:19:25because he was trying to make moves and he was tilting.
0:19:25 > 0:19:27He was tipping the other way.
0:19:27 > 0:19:29I took a guess. I didn't know. What the hell did I know?
0:19:30 > 0:19:31Your friends rally around you,
0:19:31 > 0:19:34psychologically, there's a time when that can happen
0:19:34 > 0:19:37and it picks you up and it gives you the strength you need
0:19:37 > 0:19:38to take that second start.
0:19:38 > 0:19:41Timing is everything and he knew that.
0:19:41 > 0:19:47# Just remember that sunshine always follows the rain
0:19:47 > 0:19:50# So, wrap your troubles in dreams
0:19:50 > 0:19:58# And dream, dream your troubles away. #
0:20:04 > 0:20:08Frank, you do have a great presence. There's no question about it.
0:20:08 > 0:20:12You seem to be in command of yourself and the situation.
0:20:12 > 0:20:17Is that a facade? Do you feel in command?
0:20:17 > 0:20:20Are you ever in a situation where you feel inadequate?
0:20:20 > 0:20:23Oh, I think that happens to me about ten times a day.
0:20:23 > 0:20:26CHEERING
0:20:26 > 0:20:28No matter where she might appear,
0:20:28 > 0:20:33they all worshipped the face, the fame, the figure
0:20:33 > 0:20:36of the world's most beautiful Ava.
0:20:41 > 0:20:43It wasn't much of a secret.
0:20:43 > 0:20:45Frank had heard about it in New York.
0:20:45 > 0:20:48He knew I was dating Luis Miguel Dominguin.
0:20:48 > 0:20:49Luis Miguel
0:20:49 > 0:20:52was the most famous bullfighter in the world.
0:21:03 > 0:21:05He was still in love with Ava Gardner.
0:21:05 > 0:21:09It was the first and only time that someone else had done the leaving.
0:21:09 > 0:21:15# I'm a fool to want you... #
0:21:15 > 0:21:16We were sort of reluctant to go.
0:21:16 > 0:21:19I mean, he had been building such a head of steam
0:21:19 > 0:21:23for this visit with Ava that it seemed sort of intrusive.
0:21:23 > 0:21:29# To want a love that can't be true
0:21:30 > 0:21:35# A love that's there for others too... #
0:21:35 > 0:21:38And she arrived with three or four men,
0:21:38 > 0:21:41none of whom spoke English, dressed to the nines.
0:21:41 > 0:21:42She looked smashing.
0:21:44 > 0:21:46And she disappeared
0:21:46 > 0:21:48and there was much giggling and carrying on.
0:21:48 > 0:21:50This was clearly going to be a romantic night.
0:21:50 > 0:21:56# To seek a kiss Not mine alone
0:21:57 > 0:22:02# To share a kiss the devil has known... #
0:22:02 > 0:22:05So, after due time, they rejoined us.
0:22:05 > 0:22:07Dinner was wonderful
0:22:07 > 0:22:11and she left the table after the first course, excused herself.
0:22:11 > 0:22:14And her purse was there and her gold cigarette box
0:22:14 > 0:22:16and I guess I thought she was going to the powder room.
0:22:18 > 0:22:21Well, she didn't come back, didn't come back, didn't come back
0:22:21 > 0:22:24so someone went to check. "Oh, she left."
0:22:25 > 0:22:28She just walked out
0:22:28 > 0:22:31and when he caught on, it was devastating.
0:22:31 > 0:22:34I mean, devastating.
0:22:38 > 0:22:40# Pity me
0:22:40 > 0:22:44# I need you... #
0:22:44 > 0:22:48What his music finally evolved into after Ava,
0:22:48 > 0:22:50it's got a note of stoicism in it.
0:22:50 > 0:22:52"All right, I've lost you.
0:22:52 > 0:22:56"I got knocked on my ass. I'm getting up now."
0:22:56 > 0:23:00# I can't get along
0:23:00 > 0:23:04# Without
0:23:04 > 0:23:09# You. #
0:23:23 > 0:23:26Why don't you want to talk about Sinatra?
0:23:26 > 0:23:28Well, I don't want to talk about Sinatra
0:23:28 > 0:23:30because Frank and I
0:23:30 > 0:23:33have not had a relationship
0:23:33 > 0:23:36since 1959.
0:23:36 > 0:23:37I think that's quite a while ago.
0:23:39 > 0:23:42I can't really remember how it all began.
0:23:42 > 0:23:44There must have always been a special feeling alive
0:23:44 > 0:23:46between Frank and me from earlier days.
0:23:46 > 0:23:48Humphrey Bogart and Lauren Bacall
0:23:48 > 0:23:52are among the better-known husband and wife acting teams in Hollywood.
0:23:52 > 0:23:54Bogie always liked Frank.
0:23:54 > 0:23:57He enjoyed his fighting windmills and Frank made him laugh.
0:23:59 > 0:24:03When Bogart passed away,
0:24:03 > 0:24:06Dad was devastated cos he loved him so much.
0:24:08 > 0:24:12He felt loss harder than anyone else I know
0:24:12 > 0:24:18and maybe it made him face his own mortality, you know.
0:24:20 > 0:24:24# She may be weary
0:24:24 > 0:24:27# Women do get weary
0:24:28 > 0:24:32# Wearing the same shabby dress... #
0:24:32 > 0:24:33Toward the very end of Bogie's illness,
0:24:33 > 0:24:36Frank seemed instinctively to be there at the key moments.
0:24:36 > 0:24:39# And when she's weary
0:24:41 > 0:24:47# Try a little tenderness... #
0:24:47 > 0:24:50Having lived the better part of a year in the atmosphere of illness,
0:24:50 > 0:24:52I guess I not only began to depend on his presence,
0:24:52 > 0:24:54but look forward to it.
0:24:54 > 0:24:56I wanted something to look forward to.
0:24:56 > 0:24:59I hated feeling that my life was over at 32.
0:24:59 > 0:25:06# Things she may never possess... #
0:25:06 > 0:25:08Certainly, he was then at his vocal peak
0:25:08 > 0:25:11and was wildly attractive, electrifying.
0:25:11 > 0:25:15In 1958, he proposed marriage and she accepted.
0:25:15 > 0:25:17They agreed to keep it a secret,
0:25:17 > 0:25:19but word leaked out and it hit the headlines.
0:25:21 > 0:25:23Clearly, he thought I'd given it away.
0:25:23 > 0:25:29# It's not just sentimental
0:25:31 > 0:25:37# She has her grief and her care... #
0:25:38 > 0:25:40Foolishly, I was pleading to be forgiven
0:25:40 > 0:25:42for something I'd had no part in.
0:25:42 > 0:25:45He couldn't deal with the press. They were driving him crazy.
0:25:45 > 0:25:46His attitude remote
0:25:46 > 0:25:48and under this circumstance, the pressure was too great.
0:25:48 > 0:25:50He felt trapped.
0:25:54 > 0:25:58- Do you think your boiling point is low?- Always. Always.
0:25:58 > 0:26:01I have apologised a great many times in my life
0:26:01 > 0:26:03and I will continue to do so, obviously,
0:26:03 > 0:26:10because the blow-ups are just valves going off here and there.
0:26:10 > 0:26:13I suppose they have to go off. I suppose it's necessary.
0:26:13 > 0:26:14# It's all so easy
0:26:16 > 0:26:21# Try a little tenderness. #
0:26:22 > 0:26:25Well, needless to say, I mean, if I had ended up with Sinatra,
0:26:25 > 0:26:28we would have lasted for about 20 minutes.
0:26:35 > 0:26:40# She gets too hungry for dinner at eight
0:26:42 > 0:26:44# She likes the theatre
0:26:45 > 0:26:47# Never comes late
0:26:49 > 0:26:51# She'd never bother
0:26:52 > 0:26:54# With people she'd hate
0:26:55 > 0:26:59# That's why the lady is a tramp... #
0:27:03 > 0:27:06Lady Is A Tramp he did, as Nelson Riddle said,
0:27:06 > 0:27:09with a particular kind of salaciousness,
0:27:09 > 0:27:12which fit the image that he was wearing in 1957.
0:27:12 > 0:27:15# Dressed up in ermine and pearls
0:27:15 > 0:27:17# She won't dish the dirt
0:27:19 > 0:27:21# With the rest of those girls
0:27:22 > 0:27:25# That's why this chick is a tramp... #
0:27:26 > 0:27:29Frank was a womaniser.
0:27:29 > 0:27:32He wanted to be in the sack with everybody.
0:27:34 > 0:27:37# Her life's without care
0:27:37 > 0:27:40# She's broke, but it's oke... #
0:27:40 > 0:27:42I think the public is constantly putting itself
0:27:42 > 0:27:44in the position of the performer.
0:27:44 > 0:27:45They want to think about him
0:27:45 > 0:27:47as they believe him to be or they'd like to be.
0:27:47 > 0:27:49# That's why the lady is a tramp
0:27:51 > 0:27:54# She gets much too hungry, babe
0:27:54 > 0:27:57# To wait there for dinner at eight... #
0:27:58 > 0:28:02Do you think the moral standards have dropped,
0:28:02 > 0:28:05lowered considerably, in this country?
0:28:05 > 0:28:06Yes, I do.
0:28:06 > 0:28:08Have you had any part to play,
0:28:08 > 0:28:10do you think, in that, by any chance?
0:28:11 > 0:28:13I don't believe so.
0:28:13 > 0:28:17What I do with my private life, having been divorced,
0:28:17 > 0:28:21I don't think leant that much to the demoralisation of a nation.
0:28:21 > 0:28:24# Never makes the trip up to Harlem
0:28:24 > 0:28:27# Pushing shiny Lincolns and Fords
0:28:27 > 0:28:30# And she doesn't mess
0:28:31 > 0:28:33# With those other broads
0:28:34 > 0:28:37# That's why this chick is a tramp
0:28:38 > 0:28:43# She loves the free, fine, wild, groovy, knocked-out
0:28:43 > 0:28:44# Wind in her hair
0:28:46 > 0:28:48# Her life's without care
0:28:48 > 0:28:52# She's broke, but it's oke
0:28:52 > 0:28:56# She hates California because it's cold and it's damp
0:28:58 > 0:29:00# That's why the lady
0:29:00 > 0:29:04# That is why the lady
0:29:04 > 0:29:08# That's why the lady is a tramp. #
0:29:09 > 0:29:13CHEERING AND APPLAUSE
0:29:13 > 0:29:14Thank you.
0:29:17 > 0:29:20# When they said you was high-class
0:29:20 > 0:29:22# Well, that was just a lie
0:29:22 > 0:29:25# Yeah, they said you were high-class
0:29:25 > 0:29:26# Well, that was just a lie
0:29:27 > 0:29:29# Well, you ain't never caught a rabbit
0:29:29 > 0:29:32# And you ain't no friend of mine
0:29:32 > 0:29:36# You ain't nothing but a hound dog crying all the time
0:29:37 > 0:29:41# You ain't nothing but a hound dog crying all the time... #
0:29:41 > 0:29:45Frank Sinatra was never a fan of rock music. Not at any time.
0:29:49 > 0:29:50Rock and roll was on the ascendancy
0:29:50 > 0:29:54and, of course, the kind of music that Frank was identified with
0:29:54 > 0:29:55was on the decline.
0:29:59 > 0:30:01He didn't like the songs. He thought they were silly.
0:30:01 > 0:30:02He didn't like the rhythms.
0:30:02 > 0:30:04# When they said you was high-class... #
0:30:04 > 0:30:07You don't see a danger, then, that that little grey-haired couple
0:30:07 > 0:30:11in 1995 is going to grab hands and weep a little tear
0:30:11 > 0:30:13when they play I'm Nothing But A Hound Dog
0:30:13 > 0:30:15- and say, "That's our song"? - No, no, I don't think so.
0:30:16 > 0:30:18There's a market for that and the kids like it. Fine.
0:30:18 > 0:30:21My kids are the same way. They buy all of the records.
0:30:21 > 0:30:24Years later, when I first brought him Yesterday,
0:30:24 > 0:30:25threw it on the floor.
0:30:25 > 0:30:28The Beatles. You must be kidding! You know?
0:30:30 > 0:30:32So contemptuous, you couldn't believe it.
0:30:34 > 0:30:38Mr Sinatra, over a period of time, even from your very early days,
0:30:38 > 0:30:41- you still carry out this policy of singing standards.- Mm.
0:30:41 > 0:30:44Have you found that this has paid off?
0:30:44 > 0:30:45I know that, by the sales of our albums,
0:30:45 > 0:30:48it's really paid off. It's been marvellous.
0:30:49 > 0:30:52He was such a big artist to Capitol
0:30:52 > 0:30:54and, of course, that got him thinking about
0:30:54 > 0:30:57maybe doing his own thing and starting a record company.
0:30:59 > 0:31:02# Blue moon
0:31:02 > 0:31:06# You saw me standing alone
0:31:06 > 0:31:09# Without a dream in my heart
0:31:09 > 0:31:11# Without a love... #
0:31:11 > 0:31:13He was very, very unhappy with the way
0:31:13 > 0:31:17then existing labels treated their artists.
0:31:17 > 0:31:20He wanted to create an environment
0:31:20 > 0:31:25which would be creatively and economically attractive to artists.
0:31:25 > 0:31:27Frank, I understand that you're going to release
0:31:27 > 0:31:28a new record label out here.
0:31:28 > 0:31:32- Is that correct? - Reprise, yes. Reprise Records.
0:31:32 > 0:31:34I met with Frank's manager
0:31:34 > 0:31:37and he asked me to head up Reprise,
0:31:37 > 0:31:39but I also had to get approval from Frank.
0:31:39 > 0:31:42Frank was doing The Devil At 4 O'clock
0:31:42 > 0:31:43with Spencer Tracy.
0:31:44 > 0:31:47And they took me out on the set to meet him for the first time.
0:31:47 > 0:31:51Well, you could imagine how anxious and nervous I was.
0:31:51 > 0:31:52And when I walked up on the set...
0:31:54 > 0:31:58..there was Frank engaged in an enormous argument
0:31:58 > 0:31:59with the director.
0:31:59 > 0:32:01I mean, Frank in a tantrum
0:32:01 > 0:32:05displaying all of his anger
0:32:05 > 0:32:07- is scary. - HE CHUCKLES
0:32:07 > 0:32:10And I then went on to Frank's dressing room
0:32:10 > 0:32:11and waited for him
0:32:11 > 0:32:16and he came in and he did, like, a 180 degree turnaround.
0:32:16 > 0:32:19He was up, he was positive, he was charming.
0:32:19 > 0:32:22He could not have been more excited
0:32:22 > 0:32:24about the prospect of the record company.
0:32:24 > 0:32:27Then I went around and I think I talked to all my chums
0:32:27 > 0:32:30and suddenly we had a stable of names this long.
0:32:30 > 0:32:32Each person who came along with me
0:32:32 > 0:32:34had the option to buy their own masters.
0:32:34 > 0:32:38We have on the label Sammy Davis and Mort Sahl and Joe E Lewis,
0:32:38 > 0:32:40a nightclub comic in the States.
0:32:40 > 0:32:46We started Reprise primarily with a lot of Frank's friends.
0:32:47 > 0:32:51People who were out of the big band era
0:32:51 > 0:32:54who did the same kind of music that Frank did.
0:32:54 > 0:32:56# Like the wallpaper sticks to the wall... #
0:32:56 > 0:33:00Frank forbade us to sign any rock and roll artists
0:33:00 > 0:33:04and so we were struggling because we weren't being competitive.
0:33:04 > 0:33:06# Never get rid of your shadow
0:33:06 > 0:33:09# You'll never get rid of me... #
0:33:09 > 0:33:11And finally, I said to him,
0:33:11 > 0:33:14"Frank, unless we end up signing artists
0:33:14 > 0:33:18"from the rock and roll scene, we're not going to compete
0:33:18 > 0:33:21"and I don't think we're going to be able to survive."
0:33:21 > 0:33:24And to his credit, even though he hated that kind of music,
0:33:24 > 0:33:27he had good enough business instincts
0:33:27 > 0:33:30to recognise that what I was saying had some validity.
0:33:30 > 0:33:33APPLAUSE
0:33:33 > 0:33:35The Frank Sinatra Timex Show.
0:33:35 > 0:33:41CHEERING AND APPLAUSE
0:33:41 > 0:33:44Elvis, right in the thick of his up-and-coming fame,
0:33:44 > 0:33:45was put into the army
0:33:45 > 0:33:48and that was the welcome back show, 1960.
0:33:48 > 0:33:51- # When the kissing starts... # - SCREAMING
0:33:51 > 0:33:55# A team of wild horses couldn't tear us apart. #
0:33:55 > 0:33:59Elvis...I tell you something, it was great.
0:33:59 > 0:34:01It was great and I'm glad to see the army hasn't changed you.
0:34:01 > 0:34:03- Wasn't it great?- Thank you, Frank.
0:34:03 > 0:34:06It's the first time I ever heard a woman screaming at a male singer.
0:34:06 > 0:34:09- LAUGHTER - Oh, I'm sorry.
0:34:09 > 0:34:11Well, do you remember me there, Charlie?
0:34:11 > 0:34:13- LAUGHTER - I'm sorry, Mr Presley,
0:34:13 > 0:34:17but would you think it presumptions of Frank to join you in a duet?
0:34:17 > 0:34:21And it was a great coup
0:34:21 > 0:34:23to put the heart-throb of the new generation
0:34:23 > 0:34:26and the heart-throb of the current generation
0:34:26 > 0:34:28on television together.
0:34:28 > 0:34:31You do Witchcraft, OK? And I'll do one of the other ones.
0:34:31 > 0:34:34LAUGHTER OK, Nelson.
0:34:34 > 0:34:37ORCHESTRA PLAYS
0:34:41 > 0:34:44We work in the same way, only in different areas.
0:34:44 > 0:34:47LAUGHTER
0:34:47 > 0:34:51# Love me tender Love me sweet
0:34:51 > 0:34:53# Never let me go
0:34:54 > 0:34:58# You have made my life complete
0:34:58 > 0:35:00# And I love you so
0:35:00 > 0:35:04- # Those fingers in my hair... # - SCREAMING
0:35:04 > 0:35:07# That sly, come-hither stare
0:35:07 > 0:35:10# That strips my conscience bare
0:35:10 > 0:35:12- # It's witchcraft... # - SCREAMING
0:35:12 > 0:35:16# Love me tender Love me true
0:35:16 > 0:35:18# All my dreams fulfilled
0:35:19 > 0:35:23# For, my darling, I love you
0:35:23 > 0:35:25# And I always will
0:35:25 > 0:35:29- # It's such an ancient pitch - SCREAMING
0:35:29 > 0:35:32# But one I wouldn't switch
0:35:32 > 0:35:37# Cos there's no nicer witch than witchcraft... #
0:35:37 > 0:35:40HE CHUCKLES # I love you
0:35:40 > 0:35:42# And I always will
0:35:44 > 0:35:51- BOTH:- # For, my darling, I love you... #
0:35:51 > 0:35:53Man, that's pretty. LAUGHTER
0:35:53 > 0:36:00- BOTH:- # And I always will. #
0:36:00 > 0:36:02We have this notion that,
0:36:02 > 0:36:04when Elvis Presley came along, the world changed.
0:36:05 > 0:36:09But Sinatra had a really good run in the early '60s.
0:36:12 > 0:36:14Las Vegas, Nev.
0:36:14 > 0:36:16You know why I fly up there so often?
0:36:16 > 0:36:19I go to look at money. And here's living proof.
0:36:19 > 0:36:23The place - the Sands. The time - in the wee small hours.
0:36:29 > 0:36:33# Luck be a lady tonight
0:36:35 > 0:36:39# Luck be a lady tonight
0:36:42 > 0:36:47# Luck, if you've ever been a lady to begin with
0:36:47 > 0:36:51# Luck be a lady tonight... #
0:36:51 > 0:36:55Frank put a flavour to that town and practically made Vegas
0:36:55 > 0:36:58and because he went, others went.
0:36:58 > 0:37:00They'd say, "Hey, let's go to Vegas. Frank's there."
0:37:00 > 0:37:04There's Frank, there's Dean, Bing Crosby and...somebody else.
0:37:04 > 0:37:05Oh, yeah, me.
0:37:05 > 0:37:08We have Frank Sinatra and Ernie Kovacs,
0:37:08 > 0:37:11Eddie Fisher, Sammy Davis Jr and Tony Curtis.
0:37:11 > 0:37:14Every celebrity in the world and VIP was there.
0:37:14 > 0:37:19They were in Las Vegas on opening night with their friends
0:37:19 > 0:37:21on home ground
0:37:21 > 0:37:23and it's what the Rat Pack,
0:37:23 > 0:37:27or the Clan, as Sinatra called it, was all about.
0:37:27 > 0:37:32# Luck be a lady... #
0:37:32 > 0:37:35There was a Rat Pack prior to the Sinatra Rat Pack.
0:37:35 > 0:37:40Humphrey Bogart and his cronies, including Sinatra,
0:37:40 > 0:37:42had been in Las Vegas for a kind of debauched weekend
0:37:42 > 0:37:44and Lauren Bacall walked in on them
0:37:44 > 0:37:46after they'd been partying for a few days and said,
0:37:46 > 0:37:49"Jeez, you all look like a rat pack."
0:37:49 > 0:37:52After Bogart's death, Sinatra drew on that energy
0:37:52 > 0:37:54and put together his own coterie of friends.
0:37:57 > 0:37:59Frank Sinatra, Dean Martin, Sammy Davis Jr,
0:37:59 > 0:38:02Peter Lawford and Joey Bishop.
0:38:02 > 0:38:05It was dizzying, the glamour of it all.
0:38:05 > 0:38:07Ladies and gentlemen...
0:38:07 > 0:38:11When they started to perform, they were masters of the universe.
0:38:11 > 0:38:13They sucked the air out of the room.
0:38:20 > 0:38:22- # This is my first affair... # - # I've got you... #
0:38:22 > 0:38:25LAUGHTER
0:38:25 > 0:38:28- # Please be kind... # - # Please be kind... #
0:38:28 > 0:38:31- Wait for me. Wait for me. - LAUGHTER
0:38:31 > 0:38:34You've got a beat like a cop. LAUGHTER
0:38:34 > 0:38:36# Please be kind
0:38:36 > 0:38:40# Cos if you leave me, dear
0:38:40 > 0:38:45# I know my heart will lose its mind
0:38:45 > 0:38:47# If you love me
0:38:49 > 0:38:51- # Please be kind - # Yeah, please be...
0:38:51 > 0:38:56# Oh, yeah! Oh, yeah! Yeah!
0:38:56 > 0:38:59# This is my first affair, so
0:39:00 > 0:39:03# Please be kind
0:39:03 > 0:39:07# Cos if you leave me, babe
0:39:07 > 0:39:11# I know my heart's going to lose its mind... #
0:39:11 > 0:39:15You already lost it. You lost it! Yeah! Yeah!
0:39:15 > 0:39:17THEY LAUGH
0:39:17 > 0:39:25# Baby, please be kind
0:39:25 > 0:39:27# Be kind
0:39:27 > 0:39:33# Be kind. #
0:39:33 > 0:39:35APPLAUSE
0:39:35 > 0:39:37Yeah!
0:39:37 > 0:39:40Yeah! Sing it again. I didn't hear it.
0:39:41 > 0:39:44How many more do you think he's going to do, Sam?
0:39:44 > 0:39:48I don't know, but he sure sing good for a white fella, don't he?
0:39:48 > 0:39:50Frank doted on Dean,
0:39:50 > 0:39:52thought he was the funniest guy in the world.
0:39:52 > 0:39:54Dean was like water running downhill -
0:39:54 > 0:39:58cool and relaxed, no ego.
0:39:58 > 0:40:00This is only a gag. I don't drink any more.
0:40:00 > 0:40:03I...I freeze it now and I eat it like a popsicle.
0:40:03 > 0:40:05LAUGHTER
0:40:05 > 0:40:07APPLAUSE
0:40:07 > 0:40:10You know, I wanted to say one thing in all seriousness.
0:40:10 > 0:40:14I feel sorry for you people that don't drink. I mean it.
0:40:14 > 0:40:15Cos when you wake up in the morning,
0:40:15 > 0:40:17that's as good as you're going to feel all day.
0:40:17 > 0:40:19LAUGHTER
0:40:19 > 0:40:22APPLAUSE
0:40:22 > 0:40:24Not only we were on stage.
0:40:24 > 0:40:28While we were on stage, such notables as Rickles,
0:40:28 > 0:40:31Red Skelton, Milton Berle
0:40:31 > 0:40:34all came and got up on stage with us.
0:40:34 > 0:40:38- The crowd must have gone wild. - Oh, they went crazy.
0:40:38 > 0:40:41- Yeah! - ALL:- # Gave birth to the blues... #
0:40:41 > 0:40:45And people, comics of all sorts, came to see what we were doing.
0:40:45 > 0:40:46We never had a writer.
0:40:46 > 0:40:49We didn't have anybody have jokes written for us.
0:40:49 > 0:40:50It all came together.
0:40:51 > 0:40:54- ALL:- # Gave birth to the blues. #
0:40:54 > 0:40:57We always had the rule to ad-lib on stage,
0:40:57 > 0:41:00but, for instance, Dean picking me up, saying...
0:41:00 > 0:41:02I'd like to thank the NAACP for this wonderful trophy.
0:41:02 > 0:41:04- Put me down! - LAUGHTER
0:41:04 > 0:41:06Well, that was an ad-lib.
0:41:06 > 0:41:09That night, when we came off, we all turned to each other.
0:41:09 > 0:41:12I said, "Dynamite." Frank said, "Lock it in."
0:41:12 > 0:41:14So, that's how we found the material,
0:41:14 > 0:41:16since our minds were fertile at that time
0:41:16 > 0:41:18and everybody was thinking, "What can I do?
0:41:18 > 0:41:21"This, that and the other. What can we do to break them up?"
0:41:22 > 0:41:24If you speak to old-timers in Vegas,
0:41:24 > 0:41:27they all credit the Rat Pack with saving the town.
0:41:28 > 0:41:32In the mid-'50s, Vegas became built up very quickly,
0:41:32 > 0:41:35but the tourism wasn't matching the construction
0:41:35 > 0:41:38and suddenly, there was this big tourist attraction
0:41:38 > 0:41:40in Las Vegas - the Rat Pack.
0:41:40 > 0:41:42And these guys would walk around the casino.
0:41:42 > 0:41:44The idea you could go to Las Vegas
0:41:44 > 0:41:47and maybe Sammy would show up at the Riviera
0:41:47 > 0:41:51and get on stage with the lounge act drew a lot of people to the city.
0:41:53 > 0:41:58It was also, on a serious basis, it was the very first time
0:41:58 > 0:42:03that we saw the decline of racism in Vegas.
0:42:03 > 0:42:05# Hey-oh!
0:42:06 > 0:42:08# Hey-ey-ey-oh... #
0:42:09 > 0:42:13At the beginning, you just were not permitted to play there. Period.
0:42:13 > 0:42:14And then, eventually,
0:42:14 > 0:42:18when the star power became so inordinate,
0:42:18 > 0:42:22they knew that they had to begin to invite black stars to participate
0:42:22 > 0:42:26because the revenue was not to be ignored.
0:42:26 > 0:42:28But they lay down very strict rules.
0:42:33 > 0:42:37Lena Horne and Fats Domino had to eat in the kitchen.
0:42:37 > 0:42:39They couldn't go in the casino.
0:42:39 > 0:42:42They had to live across town cos it was racist as hell.
0:42:43 > 0:42:48Frank wasn't having that, so he was assigning one rumba to each guy,
0:42:48 > 0:42:50so that if anybody looks at him funny,
0:42:50 > 0:42:51he'd break both of their legs.
0:42:53 > 0:42:55When I found that all of the black performers
0:42:55 > 0:42:58were living on the other side of the town,
0:42:58 > 0:43:01I began to make noise about it.
0:43:01 > 0:43:05A few threats, like, "I'll walk. I'll go back to LA."
0:43:05 > 0:43:09And I think a few other entertainers began to pick up on that too
0:43:09 > 0:43:11and they hollered.
0:43:11 > 0:43:14But I guess I had the biggest mouth in the town.
0:43:15 > 0:43:18When asked about it, he said, "Any of my Negro friends
0:43:18 > 0:43:20"have a right to live where they want.
0:43:20 > 0:43:22"And especially if they're bringing in the pokie,
0:43:22 > 0:43:24"why shouldn't they live there?"
0:43:24 > 0:43:29Frank was always there to give a boost to our cause.
0:43:29 > 0:43:31He stepped to the table
0:43:31 > 0:43:34and not only gave money for the civil rights movement,
0:43:34 > 0:43:37well, he went to the mob and they gave money because he said so.
0:43:37 > 0:43:40That was no secret to anybody.
0:43:40 > 0:43:45Even the KGB knew about the mob and the Rat Pack.
0:43:45 > 0:43:47- They boasted about it. - GUNFIRE
0:43:47 > 0:43:49# And my gun will hum
0:43:49 > 0:43:52# While I'm blasting some rival gang out... #
0:43:52 > 0:43:54GUNFIRE
0:43:54 > 0:43:58# Well, there's no-one I know gets oh, such a glow
0:43:58 > 0:44:04# Out of bang, bang like me. #
0:44:04 > 0:44:06- GUNFIRE - What he said to me was,
0:44:06 > 0:44:08look, did I know these guys?
0:44:08 > 0:44:10Of course I knew these guys.
0:44:10 > 0:44:12I worked in saloons in the '30s and '40s.
0:44:12 > 0:44:14They were the old bootleggers
0:44:14 > 0:44:17who now were doing legitimately what used to be illegitimate.
0:44:17 > 0:44:21Um, he kept knowing them because of Las Vegas.
0:44:21 > 0:44:23I don't think Sinatra was the kind of guy
0:44:23 > 0:44:26who would have loved hanging around with a dope peddler,
0:44:26 > 0:44:30but that old bootlegger, I think he liked that.
0:44:30 > 0:44:33What were the qualities about him that you liked, Frank?
0:44:33 > 0:44:35Strange kind of warped sense of humour.
0:44:35 > 0:44:37- Funny jokes.- Yeah, right.
0:44:37 > 0:44:41A nice guy. Generous. Generous son of a bitch.
0:44:41 > 0:44:44You like it? Boom, give you the ring off his finger
0:44:44 > 0:44:45- with a sapphire in it.- Right.
0:44:45 > 0:44:48- They were all like that, all those guys.- Right, right.
0:44:52 > 0:44:57We were all individually as big as we were to ever get
0:44:57 > 0:45:01and when we did the Summit meetings while we were working on Ocean's 11,
0:45:01 > 0:45:05it created something a town still takes vows for.
0:45:06 > 0:45:09Peter owned Ocean's 11.
0:45:09 > 0:45:12He found it, brought it to Frank, Frank bought it.
0:45:12 > 0:45:14You know, that kind of thing.
0:45:14 > 0:45:16They knew each other under contract at MGM.
0:45:16 > 0:45:19MGM. They were...they were friends.
0:45:19 > 0:45:20Sergeant Ocean.
0:45:20 > 0:45:24DRUM ROLL
0:45:24 > 0:45:29BUGLE CALL
0:45:29 > 0:45:32This is our objective. Las Vegas, Nevada.
0:45:32 > 0:45:35Mission - to liberate millions of dollars.
0:45:37 > 0:45:40The movies were very disciplined.
0:45:40 > 0:45:43I mean, these guys came on set, nobody blew a line.
0:45:43 > 0:45:47It's just the energy was a teenage energy.
0:45:47 > 0:45:48It was, "Let's have fun."
0:45:50 > 0:45:52And then, in the evening, after they did their shows,
0:45:52 > 0:45:55they stayed up gambling and playing
0:45:55 > 0:46:00and making the casino guys go crazy and never, ever sleeping.
0:46:00 > 0:46:04All these girls would walk up to give us a room key.
0:46:04 > 0:46:06God, it was good.
0:46:08 > 0:46:11When the movie was cut together, he enjoyed it.
0:46:11 > 0:46:15He would screen it at his house over and over again for all his friends
0:46:15 > 0:46:17and he really loved it
0:46:17 > 0:46:21because this was the first film that was kind of his production.
0:46:21 > 0:46:23I think that's why it was so close to him.
0:46:25 > 0:46:30It really did depict America at the time.
0:46:30 > 0:46:32Pretty happy, pretty optimistic about...
0:46:33 > 0:46:37..perhaps a young, beautiful new president.
0:46:39 > 0:46:41When he started running for president,
0:46:41 > 0:46:44Jack Kennedy came to Las Vegas to do some fundraising,
0:46:44 > 0:46:47but ended up hanging out with Sinatra at the Sands.
0:46:54 > 0:46:58# I've got the world on a string
0:46:58 > 0:47:02# And I'm sitting on a rainbow
0:47:02 > 0:47:08# Got the string around my finger
0:47:09 > 0:47:13# What a world, what a life I'm in love... #
0:47:13 > 0:47:17His grandfather was mayor of Boston. His father was ambassador to London.
0:47:17 > 0:47:20Studied at Harvard. Football star. Navy skipper. Newspaper reporter.
0:47:20 > 0:47:23Senator. Married to a most attractive bride.
0:47:23 > 0:47:26# What a world
0:47:26 > 0:47:29# This is life
0:47:29 > 0:47:31# And now
0:47:31 > 0:47:39# I'm in love. #
0:47:40 > 0:47:44APPLAUSE
0:47:44 > 0:47:48I met the then Senator Kennedy
0:47:48 > 0:47:54and, of course, I'd known Pat Lawford and Mrs Lawford a good many years.
0:47:54 > 0:47:57From early on, Sinatra was introduced to Kennedy
0:47:57 > 0:48:00by Peter Lawford, who was a Kennedy in-law.
0:48:00 > 0:48:02This is in the late 1950s.
0:48:02 > 0:48:04And eventually, I got to know the rest of the family
0:48:04 > 0:48:10and Mr Kennedy Sr and we became rather close friends.
0:48:10 > 0:48:14Consequently, I did what I could for the election of Kennedy.
0:48:21 > 0:48:24# Everyone is voting for Jack
0:48:24 > 0:48:27# Cos he's got what all the rest lack
0:48:27 > 0:48:31# Everyone wants to back Jack
0:48:31 > 0:48:33# Jack is on the right track
0:48:33 > 0:48:36# Cos he's got high hopes
0:48:36 > 0:48:40# He's got high hopes
0:48:40 > 0:48:46# 1960's the year for his high hopes
0:48:46 > 0:48:47# Come on and vote... #
0:48:47 > 0:48:50The Kennedy motorcade was preceded by a sound truck
0:48:50 > 0:48:54playing Frank's revised recording of his hit High Hopes.
0:48:54 > 0:48:55This particular year,
0:48:55 > 0:48:58you've taken a very strong stand in favour of Kennedy.
0:48:58 > 0:49:01Don't you run a career risk in taking a political side?
0:49:01 > 0:49:03I don't think so, Paul.
0:49:03 > 0:49:05Every individual has a right to say what he thinks
0:49:05 > 0:49:08and to speak up for the candidate of his choice.
0:49:09 > 0:49:12Dad gets a phone call from the old man Joe Kennedy.
0:49:12 > 0:49:13He said, "I need a favour.
0:49:13 > 0:49:16"I'm going to ask you to give me some help
0:49:16 > 0:49:18"in Illinois and West Virginia."
0:49:18 > 0:49:20They needed those two states and he said,
0:49:20 > 0:49:24"I want you to talk to the guys that you know, the mob,
0:49:24 > 0:49:28"to get the unions in both states to vote for John Kennedy."
0:49:28 > 0:49:33Dad got it and he went off and called Sam Giancana.
0:49:34 > 0:49:39As a boss, no-one promoted Giancana because they liked his blue eyes
0:49:39 > 0:49:41or his personality
0:49:41 > 0:49:42or anything like that.
0:49:42 > 0:49:46It was because he had simply killed enough people
0:49:46 > 0:49:51that he moved up through the mob and eventually got to the top.
0:49:51 > 0:49:54He was, in almost every respect, a savage.
0:49:55 > 0:49:58The mobster liked to hang out with Sinatra because he was famous
0:49:58 > 0:50:02and Sinatra liked to hang out with mobsters because he was a bad boy.
0:50:02 > 0:50:05# Should I reveal exactly how I feel?
0:50:05 > 0:50:08# Should I confess I love you? #
0:50:08 > 0:50:11Giancana had a vested interest in courting Sinatra
0:50:11 > 0:50:15because he wanted to get the FBI to back off its crack down on the mob.
0:50:16 > 0:50:20All of the goons around Giancana
0:50:20 > 0:50:24were all concerned about pressure from the FBI.
0:50:24 > 0:50:27The agents were around there all the time
0:50:27 > 0:50:29and were surveilling him night and day.
0:50:32 > 0:50:36Sinatra offered a way for them to get friendly with Kennedy
0:50:36 > 0:50:38when he started running for president.
0:50:38 > 0:50:41Sinatra liked power, whether it was legitimate or illegitimate
0:50:41 > 0:50:43and, um...
0:50:44 > 0:50:46..Kennedy and Sinatra both liked sex.
0:50:48 > 0:50:50It was Sinatra who introduced John Kennedy
0:50:50 > 0:50:53to a former girlfriend of his, Judith Campbell,
0:50:53 > 0:50:56who we now know became his mistress.
0:50:58 > 0:51:01Judy, she was an extremely beautiful young woman.
0:51:01 > 0:51:02I mean, there's no question.
0:51:02 > 0:51:05She was in the, you know, Liz Taylor class.
0:51:05 > 0:51:09Among his peers, Jack Kennedy was like...oh, my God.
0:51:09 > 0:51:12I mean, Marilyn Monroe would come and see him.
0:51:12 > 0:51:14He was so magnetic. He could get anybody.
0:51:14 > 0:51:19It also turns out that Judith Campbell was dating
0:51:19 > 0:51:20a guy named Sam Giancana.
0:51:20 > 0:51:22Once you start hanging out with mobsters,
0:51:22 > 0:51:25you're inviting attention to yourself
0:51:25 > 0:51:27and once you start hanging out with mobsters
0:51:27 > 0:51:29and the man who's to become president of the United States
0:51:29 > 0:51:33simultaneously, this is a problem.
0:51:33 > 0:51:35Of course, I called Jack right away.
0:51:35 > 0:51:38He would always say, "Don't worry about it.
0:51:38 > 0:51:40"You have nothing to be afraid of.
0:51:40 > 0:51:42"You've never done anything wrong in your life
0:51:42 > 0:51:46"and you know Sam works for us."
0:51:46 > 0:51:48Giancana dispatched an associate
0:51:48 > 0:51:51to get local sheriffs and powerful coal miners' unions
0:51:51 > 0:51:53to deliver votes
0:51:53 > 0:51:55and the election to Kennedy.
0:51:55 > 0:51:59January 20, 1961 saw Washington crowded
0:51:59 > 0:52:01with hundreds of thousands of visitors
0:52:01 > 0:52:04here to see Mr Kennedy take the oath of office,
0:52:04 > 0:52:07administered by the Chief Justice of the Supreme Court, Earl Warren.
0:52:07 > 0:52:09Then the new president is congratulated
0:52:09 > 0:52:11by vice president Johnson
0:52:11 > 0:52:13and the man he defeated, Richard Nixon.
0:52:14 > 0:52:17When the time came for the inaugural celebration,
0:52:17 > 0:52:20no better person could have been chosen to mount it
0:52:20 > 0:52:23and to orchestrate it than Sinatra.
0:52:23 > 0:52:24So, it was very classy.
0:52:27 > 0:52:31The Kennedys had a very specific way of thinking and doing things
0:52:31 > 0:52:35and at one point, Dad's friendship with Sammy Davis Jr,
0:52:35 > 0:52:37who was soon to marry May Britt,
0:52:37 > 0:52:41became a political rub for them.
0:52:41 > 0:52:45She was a beautiful, white, blonde actress
0:52:45 > 0:52:48and they didn't like the idea of the interracial marriage.
0:52:48 > 0:52:50This is the Kennedys.
0:52:50 > 0:52:52You would have thought the reverse of them.
0:52:54 > 0:52:55Dad got a phone call
0:52:55 > 0:53:01and he was asked to disinvite Sammy Davis to the inaugural gala
0:53:01 > 0:53:04and he actually had to do it.
0:53:06 > 0:53:09I know we're all indebted to a great friend, Frank Sinatra.
0:53:09 > 0:53:13APPLAUSE
0:53:13 > 0:53:15Long before he could sing,
0:53:15 > 0:53:19he used to poll a Democratic precinct back in New Jersey.
0:53:19 > 0:53:22That precinct has grown to cover a country.
0:53:22 > 0:53:25But long after he has ceased to sing,
0:53:25 > 0:53:28he's going to be standing up and speaking for the Democratic Party
0:53:28 > 0:53:31and I thank him on behalf of all of you tonight.
0:53:31 > 0:53:33- APPLAUSE - The son of an immigrant,
0:53:33 > 0:53:35Dad had risen from the streets of Hoboken
0:53:35 > 0:53:38to become the biggest and most powerful star in show business.
0:53:38 > 0:53:42It was a moment to savour for a lifetime.
0:53:42 > 0:53:44# Fly me to the moon
0:53:44 > 0:53:47# Let me play up there with those stars
0:53:49 > 0:53:55# Let me see what life is like on Jupiter and Mars
0:53:55 > 0:54:00# In other words, hold my hand
0:54:01 > 0:54:06# In other words, I do love you
0:54:07 > 0:54:11# Why don't you fill my heart, fill it up with song?
0:54:11 > 0:54:14# Let me sing forevermore
0:54:14 > 0:54:18# Because you are all I long for
0:54:18 > 0:54:21# All I worship and do adore
0:54:21 > 0:54:23# In other words
0:54:24 > 0:54:28# Please be true
0:54:28 > 0:54:30# In other words
0:54:31 > 0:54:35# In other words
0:54:35 > 0:54:38# I, I love
0:54:41 > 0:54:43# You. #
0:54:43 > 0:54:48APPLAUSE
0:54:52 > 0:54:54Word got out that the election was fixed.
0:54:54 > 0:54:55# When I walk through a jam... #
0:54:55 > 0:54:57Republicans were screaming for an investigation.
0:54:57 > 0:54:59# No-one knows who I am... #
0:54:59 > 0:55:04Joe Kennedy tells Jack to appoint Bobby as attorney general.
0:55:04 > 0:55:06# And I'm Mr Success... #
0:55:06 > 0:55:09He said, "Who do you think we are? We don't fix elections.
0:55:09 > 0:55:11"We don't do that kind of stuff!"
0:55:14 > 0:55:17After the election, the mob expected Frank Sinatra
0:55:17 > 0:55:20to get the Kennedys to go easy on them.
0:55:20 > 0:55:23Instead, President Kennedy appointed his brother,
0:55:23 > 0:55:26who was an anti-mob crusader from way back,
0:55:26 > 0:55:29as attorney general and the crack down only intensified.
0:55:29 > 0:55:33Would you tell us if you have opposition from anybody,
0:55:33 > 0:55:36that you'd dispose of them by having them stuffed in a trunk?
0:55:36 > 0:55:38- Is that what you do, Mr Giancana? - I decline to answer
0:55:38 > 0:55:40cos I honestly believe my answer might incriminate me.
0:55:40 > 0:55:42Can you tell us anything about any of your operations
0:55:42 > 0:55:45or will you just giggle every time I ask you a question?
0:55:45 > 0:55:47I decline to answer cos I honestly believe
0:55:47 > 0:55:48my answer might incriminate me.
0:55:48 > 0:55:50I thought only little girls giggled, Mr Giancana.
0:55:50 > 0:55:52HE GIGGLES
0:55:52 > 0:55:54In the Chicago gangster world,
0:55:54 > 0:55:57everybody was just bashing Giancana for this,
0:55:57 > 0:56:00that he didn't, you know, put it all together properly.
0:56:00 > 0:56:01He should have had a guarantee
0:56:01 > 0:56:04they weren't going to appoint somebody like Bobby Kennedy.
0:56:04 > 0:56:07Sam Giancana and his associates can be heard on tape
0:56:07 > 0:56:10just fuming that Sinatra hadn't made good
0:56:10 > 0:56:13on his promise to get the FBI to back off.
0:56:13 > 0:56:16Later, these underworld figures
0:56:16 > 0:56:20are fantasising about assassinating Sinatra,
0:56:20 > 0:56:21maybe his friend Dean Martin.
0:56:21 > 0:56:25At one point, they talk about poking Sammy Davis Jr's other eye out
0:56:25 > 0:56:28and one mobster actually fantasises
0:56:28 > 0:56:31about throwing a bomb in the face of Bobby Kennedy
0:56:31 > 0:56:34and says he'd gladly go to jail for the rest of his life
0:56:34 > 0:56:35if he had a chance to do that.
0:56:37 > 0:56:39Judith Campbell was associated with Sam Giancana,
0:56:39 > 0:56:41so the FBI started watching her.
0:56:41 > 0:56:45Then they noticed that not only was she talking to Sam Giancana
0:56:45 > 0:56:47and Frank Sinatra at the same time,
0:56:47 > 0:56:49that she was, on a fairly regular basis,
0:56:49 > 0:56:50calling the White House.
0:56:54 > 0:56:57J Edgar Hoover wrote a memo to Robert Kennedy.
0:56:57 > 0:56:59That started a chain of events
0:56:59 > 0:57:03that caused Robert Kennedy to finally confront his brother
0:57:03 > 0:57:05about basically his relationship
0:57:05 > 0:57:07with both Sinatra and Judith Campbell
0:57:07 > 0:57:09and as a result of that,
0:57:09 > 0:57:11President Kennedy backed off Sinatra.
0:57:13 > 0:57:16There was some reaction among those who...
0:57:16 > 0:57:22That apparently small group that's in the anti-Sinatra area.
0:57:22 > 0:57:25Criticism that perhaps this was going to hurt Kennedy.
0:57:25 > 0:57:26Did you get any of that?
0:57:26 > 0:57:31No, I must say that that sounds rather ridiculous, actually,
0:57:31 > 0:57:35because nobody imposed themselves anywhere
0:57:35 > 0:57:36that I can remember.
0:57:36 > 0:57:43I'd never been a witness to anything either visually or audibly.
0:57:43 > 0:57:46I'd never been aware of anything like that.
0:57:46 > 0:57:47Um...
0:57:48 > 0:57:51What was ridiculously called a clan
0:57:51 > 0:57:56were several people who had only goodness in their hearts
0:57:56 > 0:57:58wanting to help, if they could,
0:57:58 > 0:58:00and they did whenever they were asked to,
0:58:00 > 0:58:02which was many times.
0:58:02 > 0:58:05And that's about the extent of what we did.
0:58:05 > 0:58:09At one point, in March of 1962,
0:58:09 > 0:58:13Sinatra was supposed to host Kennedy at his home in Palm Springs.
0:58:13 > 0:58:17Sinatra actually built a separate structure for him...
0:58:17 > 0:58:19He used to call it the little White House. I saw it.
0:58:19 > 0:58:22..and was so proud, you know.
0:58:22 > 0:58:27Suddenly, Jack got cold feet about Frank
0:58:27 > 0:58:30and he ended up staying with Bing Crosby in Palm Springs,
0:58:30 > 0:58:32who was a Republican!
0:58:32 > 0:58:37They said it was due to security factors.
0:58:37 > 0:58:39You know, it was some lame excuse
0:58:39 > 0:58:41and Dad knew it was Bobby and said so
0:58:41 > 0:58:46and it was pretty clear that Bobby was looking to sever any ties
0:58:46 > 0:58:49with the very people that helped get his brother in office.
0:58:49 > 0:58:54And it was a very low point in my dad's life.
0:58:54 > 0:58:58He felt very hurt, very let down, very disappointed.
0:58:58 > 0:59:00He never...
0:59:00 > 0:59:03He never blamed Jack for it.
0:59:04 > 0:59:09But I think he thought that there was a betrayal.
0:59:09 > 0:59:14It was Joseph P Kennedy who was calling the shots
0:59:14 > 0:59:17and he could not depend on John F Kennedy
0:59:17 > 0:59:18to be the hatchet man.
0:59:19 > 0:59:23On the other hand, his third son, Bobby Kennedy,
0:59:23 > 0:59:26was perfectly willing to smile at you
0:59:26 > 0:59:29and stick a knife in your stomach at the same time.
0:59:30 > 0:59:33It bothered Jack too because that was a retreat.
0:59:33 > 0:59:36The president always had great fun there because there was a pool.
0:59:36 > 0:59:38There were always girls.
0:59:38 > 0:59:40If he wanted to smoke a joint, he could do it there.
0:59:40 > 0:59:41It was a real...a haven for him.
0:59:43 > 0:59:46The thing about Kennedy that's so important -
0:59:46 > 0:59:48his love affair was never with women.
0:59:48 > 0:59:51It was always with men. Men loved him.
0:59:54 > 1:00:00# Don't worry 'bout me
1:00:01 > 1:00:05# I'll get along
1:00:07 > 1:00:11# Forget about me
1:00:12 > 1:00:17# Be happy, my love
1:00:19 > 1:00:22# Look out for yourself
1:00:24 > 1:00:28# Should always be the rule
1:00:32 > 1:00:39# Give your heart and your love to whomever you love
1:00:39 > 1:00:42# Don't you be a fool. #
1:00:42 > 1:00:48He was being excluded from the aristocracy of success.
1:00:48 > 1:00:50He was frozen out of power.
1:00:52 > 1:00:56The very thing that success is meant to access.
1:01:00 > 1:01:03# If you can forget
1:01:04 > 1:01:12# Don't you worry 'bout me. #
1:01:17 > 1:01:19With all the contradictions like that.
1:01:19 > 1:01:23On the one hand, emptiness, on the other hand, adoration.
1:01:23 > 1:01:26He was, as all great stars are, incredibly charming.
1:01:26 > 1:01:30He was also incredibly violent. He was incredibly generous.
1:01:30 > 1:01:35He was also incredibly dismissive and tyrannical.
1:01:43 > 1:01:45Al. Al.
1:01:53 > 1:01:55# The summer wind
1:01:55 > 1:02:00# Came blowing in from across the sea
1:02:03 > 1:02:06# It lingered there
1:02:06 > 1:02:11# To touch your hair and walk with me
1:02:13 > 1:02:18# All summer long we sang a song
1:02:18 > 1:02:19# And then... #
1:02:19 > 1:02:21That period of the '60s,
1:02:21 > 1:02:27it was certainly the beginning of his entrepreneurial business life
1:02:27 > 1:02:29and he loved it!
1:02:29 > 1:02:31What are your interests today?
1:02:31 > 1:02:34Well, aside from having an independent picture corporation,
1:02:34 > 1:02:38we have, uh, a recording company.
1:02:38 > 1:02:40We have several music publishing companies.
1:02:40 > 1:02:44We've gone into a titanium manufacturing business.
1:02:44 > 1:02:48We've recently put together an airplane charter service.
1:02:48 > 1:02:50# Come fly with me
1:02:50 > 1:02:53# Let's fly, let's fly away. #
1:02:53 > 1:02:56One of the things that defined Sinatra is his inability
1:02:56 > 1:02:57to stop moving.
1:02:57 > 1:03:00# Let's float down to Peru. #
1:03:01 > 1:03:05He was always on the move. He was so restless. It's 12 o'clock.
1:03:05 > 1:03:07He was bored. Let's get on a plane.
1:03:07 > 1:03:09His plane will fly to Las Vegas, we'll do something there.
1:03:09 > 1:03:14# Come fly with me, let's take off in the blue. #
1:03:15 > 1:03:17Shalom.
1:03:17 > 1:03:20I just completed my world tour on behalf of underprivileged children
1:03:20 > 1:03:23and back home in Hollywood I've gone over the films we took on this trip.
1:03:23 > 1:03:27Tokyo, Hong Kong, Athens, it's all very exciting.
1:03:33 > 1:03:39# Around the world
1:03:39 > 1:03:43# I've searched for you. #
1:03:43 > 1:03:49In 1962, Sinatra visited many countries and raised millions
1:03:49 > 1:03:51and millions of dollars for charity.
1:03:53 > 1:03:57He called himself an over-privileged adult
1:03:57 > 1:04:01and he decided it was time to put something back.
1:04:02 > 1:04:04# Somehow... #
1:04:04 > 1:04:07I went to all of the hospitals for which I performed.
1:04:07 > 1:04:10I went to see the kids and that's the biggest...
1:04:10 > 1:04:13Actually, that's the biggest kick of doing this kind of thing,
1:04:13 > 1:04:16in all the nations, to go to see the children themselves.
1:04:16 > 1:04:23# No more will I go all around. #
1:04:23 > 1:04:25International tours happen all the time
1:04:25 > 1:04:27and the singers make a lot of money on it.
1:04:27 > 1:04:34# For I have found my world in you. #
1:04:34 > 1:04:37He didn't make a nickel. He paid for everything.
1:04:39 > 1:04:42'There's no scheduled airline that would take Sinatra
1:04:42 > 1:04:43'to the unlikely places he goes
1:04:43 > 1:04:46'at the unlikely times he wants to go there.'
1:04:49 > 1:04:52'One of the unlikely places Sinatra wanted to get to recently was
1:04:52 > 1:04:55'Lorton Penitentiary near Washington DC.'
1:04:57 > 1:05:01# Now they call you Lady Luck
1:05:02 > 1:05:05# But there is room for doubt. #
1:05:05 > 1:05:07I remember it like it was yesterday.
1:05:09 > 1:05:13We played that prison, it was a black prison in Washington DC.
1:05:13 > 1:05:15Frank just wanted to let the White House know he was in town
1:05:15 > 1:05:17and didn't say hello.
1:05:17 > 1:05:19- LAUGHING:- And they were so upset.
1:05:19 > 1:05:26# And so the best that I can do is pray. #
1:05:28 > 1:05:31You ought to say hello to my man here.
1:05:31 > 1:05:33The Count Basie and his wonderful orchestra.
1:05:33 > 1:05:35And Mr Quincy Jones. Thank you.
1:05:36 > 1:05:39# Luck be a lady tonight
1:05:42 > 1:05:44# Luck be a lady tonight. #
1:05:44 > 1:05:46And the musicians loved Frank.
1:05:46 > 1:05:50They just loved him cos he was like a jazz musician, you know?
1:05:50 > 1:05:52# ..a lady to begin with
1:05:52 > 1:05:55# Luck be a lady tonight. #
1:05:59 > 1:06:04Back then, the only singers that anybody considered a real singer
1:06:04 > 1:06:09was the ones that knew how to sing like a jazz saxophone player played.
1:06:09 > 1:06:15# I know the way you treated other guys you've been with
1:06:15 > 1:06:19# Luck be a lady. #
1:06:20 > 1:06:23Pap! You know, he used to trick me on that all the time to see
1:06:23 > 1:06:25if he could sing it faster than I could hit those backgrounds.
1:06:25 > 1:06:27# Luck be a lady... #
1:06:27 > 1:06:30- CHUCKLING:- You know? And he'd test me out every time.
1:06:30 > 1:06:36# Tonight
1:06:36 > 1:06:39# Tonight
1:06:39 > 1:06:40# 11! #
1:06:42 > 1:06:45I watched him through the years as he became more deeply
1:06:45 > 1:06:50involved with black music, certainly with jazz.
1:06:50 > 1:06:53And all the things that he did in relationship to race
1:06:53 > 1:06:56and progressive social agenda.
1:06:56 > 1:07:00He did a huge benefit at Carnegie Hall in an evening
1:07:00 > 1:07:02with Lena Horne.
1:07:02 > 1:07:06Sinatra at the time was filming in Los Angeles.
1:07:06 > 1:07:11They wanted him to appear to raise money for the NAACP.
1:07:11 > 1:07:15He finally got himself away from the film, got on an airplane and flew
1:07:15 > 1:07:18to New York and from the airport
1:07:18 > 1:07:23he went on the stage, no warm-up, and he sang Ol' Man River.
1:07:25 > 1:07:29# Ol' man river
1:07:29 > 1:07:32# That ol' man river
1:07:33 > 1:07:36# He must know sumpin'
1:07:36 > 1:07:39# But he don't say nothin'
1:07:39 > 1:07:41# He just keeps rolling
1:07:41 > 1:07:46# Keeps on rolling along. #
1:07:46 > 1:07:52I was up in the balcony and I recognised Dr King sitting there
1:07:52 > 1:07:55and here was very moved by this.
1:07:55 > 1:07:57# And he don't plant cotton
1:07:58 > 1:08:03# And them what plants 'em are soon forgotten
1:08:04 > 1:08:07# But ol' man river
1:08:07 > 1:08:13# He just keeps rollin' along. #
1:08:13 > 1:08:17Now, you would have considered they would have had one of the black
1:08:17 > 1:08:18operatic stars do it.
1:08:18 > 1:08:22But here is Frank Sinatra singing this song
1:08:22 > 1:08:26and Martin Luther King, he wept.
1:08:26 > 1:08:29# Tote that barge and lift that bale
1:08:29 > 1:08:33# You get a little drunk then you land
1:08:33 > 1:08:41# In jail
1:08:45 > 1:08:51# I gets weary
1:08:51 > 1:08:54# And sick of trying
1:08:56 > 1:09:00# I'm tired of living
1:09:00 > 1:09:04# But I'm scared of dying
1:09:04 > 1:09:09# And ol' man river,
1:09:09 > 1:09:14# He just keeps rollin'
1:09:14 > 1:09:21# Along. #
1:09:28 > 1:09:31The concert that they did was a huge success.
1:09:31 > 1:09:35And he declared himself for Dr King and for our movement.
1:09:37 > 1:09:39With this faith
1:09:39 > 1:09:42we will be able to transform the jangling discords
1:09:42 > 1:09:44of our nation
1:09:44 > 1:09:46into a beautiful symphony of brotherhood.
1:09:46 > 1:09:50With this faith, we will be able to work together,
1:09:50 > 1:09:52to pray together, to struggle together,
1:09:52 > 1:09:54to go to jail together,
1:09:54 > 1:09:56to stand up for freedom together,
1:09:56 > 1:09:59knowing that we will be free one day.
1:10:02 > 1:10:05- Hey, why don't you have a little snack?- What is it?- Sandwiches.
1:10:06 > 1:10:09All right, folks, put on your sheets and we'll start the meeting.
1:10:09 > 1:10:11Oh, come on!
1:10:11 > 1:10:13Go bore a few holes in that and be somebody.
1:10:15 > 1:10:17Then there came a time,
1:10:17 > 1:10:21when for reasons that were never quite understood,
1:10:21 > 1:10:24Sinatra and Joey Bishop and Dean Martin
1:10:24 > 1:10:28began to do these outrageously racist jokes with
1:10:28 > 1:10:31Sammy Davis Jr as the brunt.
1:10:32 > 1:10:35He's just, you'll excuse the expression, a carbon copy.
1:10:39 > 1:10:42Sammy Davis Junior half danced his way through it
1:10:42 > 1:10:48and played second banana and went into a period of buffoonery.
1:10:48 > 1:10:51And the rest of us were very critical of Sammy for not
1:10:51 > 1:10:55resisting and behave in a manner that we considered more dignified.
1:10:55 > 1:10:58I thought since we're all on the same label of reprieve we might
1:10:58 > 1:11:03- possibly...- Zelda. Zelda, look. I'll go out and I'll drink with you.
1:11:03 > 1:11:06I'll go pick cotton with you. I'll eat oranges with you.
1:11:06 > 1:11:09I'll go to school with you, but don't touch me.
1:11:15 > 1:11:20It was out of step, but you have to understand that humour,
1:11:20 > 1:11:25as offensive as it may have been, it didn't disturb all of America.
1:11:25 > 1:11:28It disturbed the black segment of America.
1:11:28 > 1:11:32The rest of white America had this dynamic with racist behaviour
1:11:32 > 1:11:34and opinions.
1:11:34 > 1:11:36So there was a country divided.
1:11:38 > 1:11:40Ladies and gentlemen...
1:11:40 > 1:11:44I give you the next president of the United States!
1:11:51 > 1:11:53PRESIDENT SPEAKS IN BACKGROUND
1:12:06 > 1:12:08GUNSHOT
1:12:12 > 1:12:14'Here's a bulletin from CBS News.'
1:12:18 > 1:12:22From Dallas, Texas, the flash apparently official,
1:12:22 > 1:12:27President Kennedy died at 1pm Central Standard Time.
1:12:27 > 1:12:32Two o'clock Eastern Standard Time, some 38 minutes ago.
1:12:37 > 1:12:41VP Lyndon Johnson has left the hospital...
1:12:41 > 1:12:45Dad went to Palm Springs after that and virtually disappeared.
1:12:45 > 1:12:47Even I couldn't reach him.
1:12:47 > 1:12:51For three days, while the Kennedys and the nation publicly mourned,
1:12:51 > 1:12:54my father grieved alone, locked away in his bedroom.
1:13:00 > 1:13:03Afterward he said of John F Kennedy,
1:13:03 > 1:13:06"For a brief moment he was the brightest star in our lives."
1:13:06 > 1:13:12# I'll never smile again
1:13:14 > 1:13:20# Until I smile at you
1:13:23 > 1:13:27# I'll never love again
1:13:31 > 1:13:35# What good would it do? #
1:13:50 > 1:13:52'This is the North Lodge of Harrah's Club straddling
1:13:52 > 1:13:54'the California Nevada border.
1:13:54 > 1:13:56'From this building, nearly 48 hours ago,
1:13:56 > 1:13:58Frank Sinatra Jr was kidnapped.
1:13:58 > 1:14:03Approximately nine or a few minutes before,
1:14:03 > 1:14:05there was a knock on the door.
1:14:05 > 1:14:08Frank said, "Come in."
1:14:08 > 1:14:11The fellow entered wearing a hooded parka,
1:14:11 > 1:14:13said he had a package for Mr Sinatra.
1:14:13 > 1:14:16As he straightened up, he had a revolver in his hand.
1:14:16 > 1:14:20The kidnapping happened on a Sunday night, the second week of December.
1:14:20 > 1:14:22It was dark and cold
1:14:22 > 1:14:25and my mother came running down our hallway yelling,
1:14:25 > 1:14:27"Your brother's been kidnapped!"
1:14:27 > 1:14:29So I said, "What do we do?" She said, "I don't know.
1:14:29 > 1:14:33"Your father's just called and he's on his way to Reno."
1:14:33 > 1:14:38I get the chills when I think about it. I was a basket case.
1:14:38 > 1:14:42I get a call the next morning from Edgar Hoover.
1:14:42 > 1:14:47"Frank!" "Yes, sir, Mr Director, how are you?"
1:14:47 > 1:14:49He said, "I'm fine, but I'm pissed off about these little
1:14:49 > 1:14:51"rat clown bastards," he said.
1:14:51 > 1:14:53"We'll get them, Frank. Don't worry about it."
1:14:53 > 1:14:55About an hour later I get a call from Bobby Kennedy saying to me...
1:14:57 > 1:15:00"Frank, everything is being done. Just want you to know that.
1:15:00 > 1:15:02"We'll get your son back," he said. "Don't worry about it.
1:15:02 > 1:15:04"Don't have any cares, we're going to get him back."
1:15:04 > 1:15:09For such a traumatic moment, did it bring Frank
1:15:09 > 1:15:11and Frank Jr closer together?
1:15:11 > 1:15:13You know, their relationship was actually always
1:15:13 > 1:15:16very warm and loving. They were never not close.
1:15:16 > 1:15:21But there was something about the nature of their lifestyles
1:15:21 > 1:15:23that kind of kept them apart.
1:15:23 > 1:15:25Because he was doing his thing all the time,
1:15:25 > 1:15:26I was growing up.
1:15:26 > 1:15:29And then when I became an adult, I was doing my thing.
1:15:29 > 1:15:31We do a Sinatra song in every show, ladies and gentlemen.
1:15:31 > 1:15:34I come from a very unusual family, you see.
1:15:34 > 1:15:35Did he come to see you?
1:15:35 > 1:15:38Sure. I was singing with the Tommy Dorsey Orchestra at that time.
1:15:38 > 1:15:41I had to sing the same songs that he had made famous.
1:15:41 > 1:15:43- # All - All, all
1:15:43 > 1:15:47# Or nothin' at all
1:15:47 > 1:15:49- # Half a love - Half a love
1:15:49 > 1:15:51# Never appealed to me. #
1:15:51 > 1:15:54I was singing I'll Never Smile Again.
1:15:54 > 1:15:56I was singing There Are Such Things.
1:15:57 > 1:16:00Night And Day. Stuff he did with Tommy Dorsey.
1:16:00 > 1:16:03# Rather have nothing at all. # Thank you, sir.
1:16:04 > 1:16:06# All
1:16:06 > 1:16:08# Or nothing at all... #
1:16:08 > 1:16:12You know, the father-son thing can be difficult at best.
1:16:12 > 1:16:17Primarily, as a boy, everyone of us, we need our father.
1:16:17 > 1:16:20# ..begin and cry for something... #
1:16:20 > 1:16:22Dad had been joined in Reno by his lawyer Mickey Rudin,
1:16:22 > 1:16:24Jack Entratter of the Sands Hotel
1:16:24 > 1:16:28and Dean Elson, special agent in charge of the FBI in Nevada.
1:16:28 > 1:16:30"I had two questions for him.
1:16:30 > 1:16:33"One was, would Frank Jr do this for the publicity?
1:16:33 > 1:16:35"'No, Dean,' he says.
1:16:35 > 1:16:38"'Not because of me but because he would never do that to his mother.'
1:16:38 > 1:16:42"The other question was, is there any connection or reason that the
1:16:42 > 1:16:44"mob would want to kidnap him
1:16:44 > 1:16:46"to get even with you or anything like that?"
1:16:46 > 1:16:48"And he said, 'No, there's nothing.'"
1:16:48 > 1:16:52A mob connection made sense, but the truth was much crazier.
1:16:52 > 1:16:55Sane people don't wake up one day
1:16:55 > 1:16:57and decide they are going to raise money to start a business
1:16:57 > 1:17:01by kidnapping the son of the most famous entertainer in the world.
1:17:02 > 1:17:04But that's what happened.
1:17:05 > 1:17:07The kidnapper's name was Barry Keenan.
1:17:07 > 1:17:09He grew up in Southern California
1:17:09 > 1:17:12and went to high school with the children of movie stars.
1:17:12 > 1:17:15But after some brief business success,
1:17:15 > 1:17:18he started drinking heavily and got hooked on Percodan
1:17:18 > 1:17:19and other painkillers.
1:17:19 > 1:17:22After losing all of his money and most of his mind,
1:17:22 > 1:17:25he panicked and hatched a kidnapping plot.
1:17:28 > 1:17:32He looked in his old high school yearbook for wealthy people he knew.
1:17:32 > 1:17:35He spotted Nancy Sinatra and then settled on her brother.
1:17:37 > 1:17:40Frank Sinatra would offer 1 million to get his son back,
1:17:40 > 1:17:45but Keenan would only ask for exactly 240,000.
1:17:45 > 1:17:47In his fevered mind,
1:17:47 > 1:17:50Keenan imagined it was a loan he would ultimately pay back.
1:17:54 > 1:17:56At 9:26 PM on the 10th,
1:17:56 > 1:17:59Dad was instructed to go to a gas station in Beverly Hills.
1:17:59 > 1:18:02There, another phone call ordered him to have a courier
1:18:02 > 1:18:04bring the money to a phone booth
1:18:04 > 1:18:07to Los Angeles International Airport at 11pm.
1:18:09 > 1:18:14We get out there, we got there long before I was supposed to be there.
1:18:14 > 1:18:17And finally he said, "Go back to your wife's house," he said,
1:18:17 > 1:18:19"and we'll call you sometime in, I don't know, half hour,
1:18:19 > 1:18:21"hour and a half."
1:18:21 > 1:18:25He said, "And we'll tell you where you bring the money."
1:18:25 > 1:18:28When the phone would ring, everybody would freeze.
1:18:28 > 1:18:31Dad would answer all the phones.
1:18:31 > 1:18:36Dad listened, he didn't speak much, he asked to talk to his son.
1:18:36 > 1:18:40"I want my son. I want to talk to my son." It was surreal.
1:18:40 > 1:18:43It was unbelievably weird and surreal.
1:18:43 > 1:18:48I remember hours fleeting by. None of us slept. Mom never slept.
1:18:48 > 1:18:51I remember the satchel of money coming in.
1:18:51 > 1:18:53In the predawn hours of this morning,
1:18:53 > 1:18:58a courier dropped 240,000 in small bills at a service station
1:18:58 > 1:19:01on Wilshire Boulevard in Beverly Hills here.
1:19:01 > 1:19:04At the same time, a car stopped on the San Diego Freeway up
1:19:04 > 1:19:06here near Mulholland Drive
1:19:06 > 1:19:10and blindfolded Frank Sinatra was set free after 48 hours
1:19:10 > 1:19:12as a captive, most of that time
1:19:12 > 1:19:14spent in the trunk of his kidnapper's car.
1:19:14 > 1:19:17Frank Jr was released not too far from his home.
1:19:17 > 1:19:20Each time a car came by, he would duck in behind a hedge.
1:19:20 > 1:19:22Finally, he saw a patrol car
1:19:22 > 1:19:24that covered the neighbourhood of Bel Air.
1:19:24 > 1:19:26He hailed him down and told him who he was.
1:19:26 > 1:19:29The officer put him in the trunk and drove to the house.
1:19:29 > 1:19:34So, when the door opened, two men, apparently FBI, open the door
1:19:34 > 1:19:37and about that time Mr Sinatra came walking from the living room.
1:19:37 > 1:19:40I said, "Mr Sinatra, Frankie's out in the trunk of the car,"
1:19:40 > 1:19:43and I said, "He's OK." He just looked and he just...
1:19:43 > 1:19:44I mean, he was really serious.
1:19:44 > 1:19:47And he said, "Well, let's get that trunk open."
1:19:47 > 1:19:51And he jumped out of the trunk and they embraced and my mother,
1:19:51 > 1:19:54I don't know, she let out a sound I'd never heard before.
1:19:54 > 1:19:58Actually, his first words when he saw me was, "I'm sorry."
1:19:58 > 1:20:02That's exactly what he said. Which threw me down on the ground.
1:20:02 > 1:20:04I was scared, I was a little bit nervous, naturally,
1:20:04 > 1:20:07but the only thing I could do was hope for the best.
1:20:07 > 1:20:10Mrs Sinatra, when did you first know he was safe?
1:20:10 > 1:20:12I never knew that he was safe until I saw him.
1:20:12 > 1:20:15- How do you feel now, Mrs Sinatra? - Just beautiful, thank you.
1:20:15 > 1:20:17And may we be excused?
1:20:17 > 1:20:21- When will you go back to work, Frank?- We don't know that.
1:20:21 > 1:20:22We are keeping him home for a while.
1:20:22 > 1:20:25I'm sorry, sir. I'm not at liberty to release that information.
1:20:25 > 1:20:28Fellas, do mind if we go now? Because I want to feed him.
1:20:39 > 1:20:47# Blow, ill wind, blow away
1:20:49 > 1:20:53# Let me rest today
1:20:54 > 1:21:00# You're blowing me no good. #
1:21:02 > 1:21:07Young Frank was the, for the first time it seemed to me, he was just...
1:21:09 > 1:21:12..so struck by the efforts that had been
1:21:12 > 1:21:15involved in getting his release.
1:21:15 > 1:21:19# Ill wind, go away... #
1:21:22 > 1:21:26He was trying to thank his father in his own way
1:21:26 > 1:21:29and that awkward thing that I think fathers
1:21:29 > 1:21:34and sons sometimes have, Frank not quite knowing how to reply
1:21:34 > 1:21:38but, you know, "Well, son, what else would I do, you know?
1:21:38 > 1:21:40"I mean, you're my son."
1:21:43 > 1:21:49# So, ill wind, blow away... #
1:21:49 > 1:21:51More often than not, you refer to your dad as
1:21:51 > 1:21:54Frank Sinatra rather than "my father" or "dad".
1:21:54 > 1:21:56He is two people.
1:21:56 > 1:21:59The professional is Sinatra as everyone knows him.
1:21:59 > 1:22:01The personal, the side at home, is father.
1:22:03 > 1:22:05And this, I believe, shows a respect.
1:22:07 > 1:22:13# No good. #
1:22:13 > 1:22:17This is the continuing story of Peyton Place.
1:22:24 > 1:22:27Starring Mia Farrow as Allison MacKenzie.
1:22:27 > 1:22:31PHONE RINGS
1:22:31 > 1:22:34- Hello?- Alex?- Mia?- It's me, yes.
1:22:34 > 1:22:38So...so tell me, describe if you would the first time you met Frank.
1:22:38 > 1:22:44I was at Fox Studios and I was making a TV series, Peyton Place.
1:22:44 > 1:22:49I think on roller skates when I noticed a big set was open
1:22:49 > 1:22:51and I saw a train.
1:22:51 > 1:22:55And somebody tapped me on the shoulder and said,
1:22:55 > 1:22:58"Do want to come and say hello to Frank Sinatra?"
1:22:58 > 1:23:02# The likes of you
1:23:02 > 1:23:05# May never be... #
1:23:05 > 1:23:09And I went up and he was sitting in a chair and he was very sweet.
1:23:09 > 1:23:12He got up and I dropped my purse.
1:23:13 > 1:23:16Everything went rolling every which way.
1:23:16 > 1:23:19My retainer on his shoe, tampons...
1:23:19 > 1:23:23I mean, just mortifying and I was scrambling to grab everything.
1:23:23 > 1:23:28And he asked if I wanted to go to a movie with him the following night.
1:23:28 > 1:23:32# They'll be no-one else but me... #
1:23:32 > 1:23:35That was a movie that he himself had directed called None But The Brave.
1:23:35 > 1:23:38And I don't remember much about the movie.
1:23:38 > 1:23:41What I remember was that at some point he held my hand.
1:23:44 > 1:23:46I didn't know what to do because...
1:23:46 > 1:23:48I immediately started sweating.
1:23:49 > 1:23:53It was such a quandary that I mentally
1:23:53 > 1:23:54amputated from the wrist down.
1:23:57 > 1:24:00And when the lights went on, he said, "Did you like the movie?"
1:24:00 > 1:24:03And I'm like, "Oh, yes. I loved it."
1:24:03 > 1:24:06And he said did I want to come to Palm Springs.
1:24:06 > 1:24:10And I heard myself saying, "I don't have my pyjamas or my toothbrush
1:24:10 > 1:24:13"and I have this cat..." He just started laughing.
1:24:13 > 1:24:17He said, "How about this - I will send the plane for you tomorrow.
1:24:17 > 1:24:19"You can bring your cat."
1:24:21 > 1:24:26# Whenever skies look grey to me
1:24:28 > 1:24:32# And trouble begins to brew
1:24:34 > 1:24:40# Whenever the winter winds they become too strong
1:24:40 > 1:24:45# I concentrate on you... #
1:24:49 > 1:24:51- Mia had gone to my high school. - SHE LAUGHS
1:24:51 > 1:24:53Two years earlier.
1:24:53 > 1:24:55I liked her very much. Dad liked her very much.
1:24:58 > 1:25:00Dad was looking at 50 and not loving it.
1:25:00 > 1:25:03Mia was looking for the father she never had.
1:25:03 > 1:25:06It's really kind of textbook, you know?
1:25:09 > 1:25:14At the time of their first meetings, I think they were very private.
1:25:17 > 1:25:19I found him irresistible.
1:25:19 > 1:25:23Those weekends that we were together I would be working
1:25:23 > 1:25:25and I would come to Palm Springs.
1:25:25 > 1:25:28We had these wonderful weekends where we took
1:25:28 > 1:25:32walks on the desert roads where his house was.
1:25:32 > 1:25:38The way I saw it, there was this person that was so, so shy,
1:25:38 > 1:25:42you can see it in pictures sometimes when you see him looking at me.
1:25:42 > 1:25:45We were both shy people.
1:25:45 > 1:25:48When I look back, the best of times because I was
1:25:48 > 1:25:52sort of a secret except to a very few people in his life.
1:25:53 > 1:25:55So there was this Frank
1:25:55 > 1:25:57and then there was another version.
1:26:10 > 1:26:15# Life is dull It's nothing but one big lull
1:26:15 > 1:26:21# Then presto you do a skull and find that your reeling... #
1:26:21 > 1:26:23In LA, there was the older crowd.
1:26:23 > 1:26:26You know, Rosalind Russell and it was Claudette Colbert.
1:26:26 > 1:26:33It was very respected members of the LA artistic community.
1:26:33 > 1:26:36In Las Vegas, these people who would show up I didn't know them
1:26:36 > 1:26:40from anywhere else and they came and they called women broads.
1:26:40 > 1:26:43They only related to each other, the men.
1:26:43 > 1:26:46They told jokes and they drank and they gambled.
1:26:46 > 1:26:48And I did meet mafia people.
1:26:48 > 1:26:51If the evening went on late enough, he might just say,
1:26:51 > 1:26:54"Let's go to London." And he would call his pilot
1:26:54 > 1:26:56and next thing, we'd be in an airplane.
1:26:56 > 1:26:59I learned to bring my passport to dinner.
1:27:03 > 1:27:08Before he made a record or before he opened in Las Vegas,
1:27:08 > 1:27:10he would stop smoking for six weeks.
1:27:10 > 1:27:14And he wouldn't drink, he wouldn't smoke.
1:27:14 > 1:27:17We would fly up to Vegas. We never drove.
1:27:17 > 1:27:20Then he would go in the bathroom
1:27:20 > 1:27:25and hang his tux on the shower curtain and turned the bath on hot
1:27:25 > 1:27:30so that steam would come up and take any wrinkles out of his tuxedo.
1:27:30 > 1:27:35And then before the show, he would breathe over the sink with steaming
1:27:35 > 1:27:39water and a towel over the back of his head just to clear himself up.
1:27:40 > 1:27:46# I've got a crush on you
1:27:47 > 1:27:51# Sweetie pie
1:27:51 > 1:27:55# All the day and night-time
1:27:55 > 1:27:57# Hear me... #
1:27:57 > 1:28:00A lot of the songs he sang in Vegas were the standards.
1:28:00 > 1:28:02You know, Chicago, the kind of swinging songs.
1:28:02 > 1:28:06But I liked the ballads best, by far.
1:28:06 > 1:28:10And I know every time he sang them he was 100% present.
1:28:10 > 1:28:13# ..so much emotion
1:28:14 > 1:28:19# Could you coo
1:28:19 > 1:28:22# Could you care... #
1:28:22 > 1:28:24I remember him telling me that he
1:28:24 > 1:28:27would never sing songs that were popular at the time.
1:28:27 > 1:28:29What Kind Of Fool Am I?
1:28:29 > 1:28:31And he said, "I would never sing that song."
1:28:31 > 1:28:35He said, "because I can't sing what I can't feel."
1:28:37 > 1:28:43# Cos I have got a crush
1:28:44 > 1:28:50# My baby, on you. #
1:29:00 > 1:29:04He thought it would be fun to go on a cruise along the Cape.
1:29:07 > 1:29:11And next thing you know, all around this ship were all these
1:29:11 > 1:29:15dinghies and everybody with cameras.
1:29:15 > 1:29:17I was fairly prepared for that.
1:29:17 > 1:29:19People saying, "Well, come up on deck.
1:29:19 > 1:29:20"We want to take your picture."
1:29:20 > 1:29:24Fine, I got up and let them take my picture and spoke to people.
1:29:24 > 1:29:26But then it got way out of hand.
1:29:26 > 1:29:31It became a scandalous thing because he was this swinger and I
1:29:31 > 1:29:35was in a TV series playing this very young high school kid, like 15, 16.
1:29:40 > 1:29:42Can I rip off my philosopher's beard
1:29:42 > 1:29:45and put on my battered grey fedora with the press credentials
1:29:45 > 1:29:48and the band and ask you, are you going to marry Mia Farrow?
1:29:50 > 1:29:51Well...
1:29:51 > 1:29:53I can't answer that, to begin with,
1:29:53 > 1:29:55and I don't think we're going to use this anyway.
1:29:55 > 1:29:56But I really can't answer it.
1:29:58 > 1:30:01# I'm getting married in the morning
1:30:01 > 1:30:04# Ding dong the bells are gonna chime
1:30:04 > 1:30:09# Pull out the stopper We'll have a whopper
1:30:09 > 1:30:11# Get me to the church on time. #
1:30:12 > 1:30:15And we got married in the Sands Hotel.
1:30:15 > 1:30:19And we cut the cake and Frank said, "Let's go outside.
1:30:19 > 1:30:22"There's press out there." And he said,
1:30:22 > 1:30:25"We give them a picture and then they'll leave us alone."
1:30:25 > 1:30:28And honestly, we never were left alone again.
1:30:28 > 1:30:30# Kick up a rumpus
1:30:30 > 1:30:32# Don't lose your compass
1:30:32 > 1:30:34# Get me to the church
1:30:34 > 1:30:36# Get me to the church
1:30:36 > 1:30:39# For Pete's sake, get me to the church
1:30:39 > 1:30:41# On time. #
1:30:42 > 1:30:46My problem only arose when they married
1:30:46 > 1:30:49without telling us, the children.
1:30:49 > 1:30:51It shouldn't have been a shock.
1:30:51 > 1:30:54It should've been something we were a part of,
1:30:54 > 1:30:58whether we agreed with it or believed in it or not.
1:30:58 > 1:31:01The truth is, none of us really did and I don't think Dad thought
1:31:01 > 1:31:03so for long.
1:31:03 > 1:31:09I think Mia, who was younger but very strong and career-driven,
1:31:09 > 1:31:11had faith that everything would work out.
1:31:11 > 1:31:15I think it was pretty obvious pretty quickly that it was not
1:31:15 > 1:31:16going to work out.
1:31:19 > 1:31:23MUSIC: Ball And Chain by Janis Joplin
1:31:32 > 1:31:37When I met Frank, girls were in miniskirts and hair was high,
1:31:37 > 1:31:39eye make-up was heavy.
1:31:39 > 1:31:42That was one part of the '60s, the middle part.
1:31:44 > 1:31:49And obviously that wasn't my mode of being or dressing.
1:31:53 > 1:31:55And then there was the Vietnam War.
1:31:55 > 1:31:59It's no small thing the impact it had on people my age.
1:32:04 > 1:32:07# Sittin' down by my window
1:32:07 > 1:32:12# Just lookin' out at the rain. #
1:32:14 > 1:32:18And there came the hippie garb and a different way of being.
1:32:19 > 1:32:24Which was a huge wave that changed the youth of the nation.
1:32:24 > 1:32:28# Just lookin' out at the rain. #
1:32:28 > 1:32:32Frank felt himself very distanced from their ideology,
1:32:32 > 1:32:35there attire, the whole thing.
1:32:35 > 1:32:40# Somethin' came along Honey, grabbed a hold of me... #
1:32:40 > 1:32:43My dad did not approve of looking divided.
1:32:43 > 1:32:46You've got to support the soldiers. You must support the veterans.
1:32:46 > 1:32:47He didn't want the war,
1:32:47 > 1:32:50but if you are in it, then we've got to do what we've got to do.
1:32:50 > 1:32:54Fundamental World War I and II philosophy.
1:32:54 > 1:32:56And he'd lived through both.
1:32:56 > 1:33:00Clearly he did not embrace the change.
1:33:00 > 1:33:03It was way different when girls looked like dolls.
1:33:03 > 1:33:05That, he could be comfortable with.
1:33:05 > 1:33:07But when girls looked like Janis Joplin...
1:33:07 > 1:33:11# And I say, oh, whoa, whoa... #
1:33:11 > 1:33:13..he seemed uncomfortable with that.
1:33:13 > 1:33:18# Oh, baby, it ain't fair what you do
1:33:18 > 1:33:23# Oh, darlin', no, no... #
1:33:25 > 1:33:28This was anathema to him.
1:33:29 > 1:33:31Perhaps he thought it would
1:33:31 > 1:33:34destroy the fabric of the country he loved.
1:33:34 > 1:33:40# Honey, why love is like It's like a ball...
1:33:40 > 1:33:43We just came up against walls.
1:33:44 > 1:33:47You know, just an ability to communicate after a certain point.
1:33:50 > 1:33:52- Yes? Doctor?- Mr Woodhouse?- Yes.
1:33:52 > 1:33:56Oh, thank you, thank you for calling me.
1:33:56 > 1:34:00'So, when Rosemary's baby came I gave him that script
1:34:00 > 1:34:03'and he was reading it and I said, "What do you think?"
1:34:03 > 1:34:06'And he said, "I can't see you in that part."'
1:34:06 > 1:34:09Unusual kinds of drinks and capsules.
1:34:09 > 1:34:10The baby is due on Tuesday.
1:34:10 > 1:34:14Remember you told me June 28? Well, I want you to deliver it.
1:34:14 > 1:34:15'But, you know, he said,
1:34:15 > 1:34:18'"If you want to do it, it's just a little horror movie."
1:34:18 > 1:34:20'He said, you know, "You got to be in The Detective."'
1:34:20 > 1:34:23We're going to be doing this big movie at Fox
1:34:23 > 1:34:24with Lee Remick and him.
1:34:24 > 1:34:27And so that was what was going to happen.
1:34:29 > 1:34:32The director, Roman Polanski, he would do his set-ups.
1:34:32 > 1:34:34If you look at that movie,
1:34:34 > 1:34:36they are truly masterful and they are not off-the-cuff.
1:34:36 > 1:34:41He didn't just do your, you know, group shot, two shot,
1:34:41 > 1:34:44over-shoulder and close-up.
1:34:44 > 1:34:48It took longer than Frank wanted it to take
1:34:48 > 1:34:53and The Detective was moving ahead and I had this horrifying feeling.
1:34:53 > 1:34:55I was in every shot and what would I do?
1:34:55 > 1:34:58And he said, "You show up when you're supposed to show up.
1:34:58 > 1:35:00"For The Detective. And if you don't,"
1:35:00 > 1:35:03he said, "I don't think we have a relationship."
1:35:03 > 1:35:06Did it all come to a head when she was doing Rosemary's Baby?
1:35:06 > 1:35:09That had nothing to do with what we were doing.
1:35:09 > 1:35:12My beef there was with Bobby Evans.
1:35:12 > 1:35:15My secretary comes in with an urgent message.
1:35:15 > 1:35:17"Frank Sinatra is on the horn.
1:35:17 > 1:35:20"He must speak with you." So I put him on speakerphone.
1:35:20 > 1:35:22He wasn't crooning.
1:35:22 > 1:35:26"Evans, that you?" "Yeah, Frank." "Pick the fucking phone up.
1:35:26 > 1:35:28"I don't like being on no speaker."
1:35:29 > 1:35:30I picked the phone up.
1:35:30 > 1:35:33"I'm pulling Mia from your fucking picture, Evans,
1:35:33 > 1:35:35"if she ain't finished by November 14.
1:35:35 > 1:35:38"She's starting in my picture on the 17th, got it straight?"
1:35:38 > 1:35:40"Frank, you don't understand something -
1:35:40 > 1:35:42"we're not going to be finished till mid February."
1:35:42 > 1:35:45"Ah. Then she's quitting. Got it clear, Evans?
1:35:45 > 1:35:47"Don't fuck around with me.
1:35:47 > 1:35:48"We go back too far.
1:35:48 > 1:35:50"She's my old lady, she'll do as I tell her."
1:35:50 > 1:35:53Before I could say anything he hangs the phone up.
1:35:53 > 1:35:57And then one day his lawyer appeared on the set with an envelope.
1:35:57 > 1:36:01A big envelope, a brown envelope full of papers and he said,
1:36:01 > 1:36:04"Mia, I have the papers for you to sign."
1:36:04 > 1:36:06I'm like, "What papers?"
1:36:06 > 1:36:09And he said, "The divorce papers." And that's how I found out.
1:36:11 > 1:36:14And I signed every single paper without reading it
1:36:14 > 1:36:16and just was crying so, so hard.
1:36:20 > 1:36:22I don't know how I finished the day. I don't know how I did.
1:36:26 > 1:36:27I was in such emotional pain
1:36:27 > 1:36:31and I just wanted to climb out of that so I went to India.
1:36:34 > 1:36:37SWING MUSIC PLAYS
1:36:44 > 1:36:46# Hey, that's life
1:36:48 > 1:36:50# That's what all the people say
1:36:51 > 1:36:54# You're riding high in April
1:36:54 > 1:36:57# Shot down in May... #
1:36:57 > 1:37:00That's Life was a title that he was very good about it.
1:37:00 > 1:37:01He sang it a lot.
1:37:03 > 1:37:07He didn't always want to but the public demanded it.
1:37:07 > 1:37:10# I said that's life
1:37:10 > 1:37:12# And strange as it may seem
1:37:13 > 1:37:16# I know a couple of cats get their kicks
1:37:16 > 1:37:20# Stomping on dreams
1:37:20 > 1:37:23# But I ain't never gonna let it get me down
1:37:23 > 1:37:29# Because this fine ol' world keeps going around and around
1:37:29 > 1:37:31# I've been a... #
1:37:31 > 1:37:35One day there was some dinner where they were giving an award to
1:37:35 > 1:37:37Sinatra about something.
1:37:37 > 1:37:40And one of the speakers that night was a marvellous actor named
1:37:40 > 1:37:42Charlton Heston.
1:37:42 > 1:37:47And Chuck Heston got up on the stage and he said,
1:37:47 > 1:37:52"Every song this man sings, in essence, is a four-minute movie."
1:37:52 > 1:37:55# That's life, that's life
1:37:55 > 1:37:58# And don't you ever deny it
1:37:58 > 1:38:00# I was going to pack my bags last month and leave town
1:38:00 > 1:38:03# But my, my fine heart wouldn't buy it
1:38:03 > 1:38:10# However, if there ain't nothing jumpin' this coming July... #
1:38:10 > 1:38:11Did you get any on you?
1:38:12 > 1:38:19# I'm going to roll myself up in a big ball
1:38:19 > 1:38:25# And die
1:38:26 > 1:38:30# My, my. #
1:38:37 > 1:38:39Nobody stays hip forever.
1:38:39 > 1:38:42Introducing the sixth dimension.
1:38:47 > 1:38:52There had been the most radical kind of sea change in the culture.
1:38:52 > 1:38:56Nobody in popular music was able to make that kind of transition.
1:38:56 > 1:39:00You either accepted that you were older
1:39:00 > 1:39:02or you could embarrass yourself.
1:39:03 > 1:39:05The ensemble is English modern.
1:39:05 > 1:39:07The ruffle is French traditional.
1:39:07 > 1:39:08And the face is Italian provincial.
1:39:08 > 1:39:10LAUGHTER
1:39:10 > 1:39:14And they told me if I do good I get to keep the suit. And away we go.
1:39:18 > 1:39:21Frank Sinatra recorded songs to which he could not
1:39:21 > 1:39:25possibly have had any kind of emotional relationship
1:39:25 > 1:39:27cos he was trying to find a way to stay afloat.
1:39:29 > 1:39:35- ALL:- # Oh, sweet blindness A little magic, a little kindness
1:39:35 > 1:39:40# Oh, sweet blindness All over me
1:39:40 > 1:39:43# Four leaves on a clover
1:39:43 > 1:39:45# I'm just a bit of a shade hung over... #
1:39:45 > 1:39:49I'm sure he thought, "I can find a way to get on top of this.
1:39:49 > 1:39:51"I can find a way of relating to it."
1:39:51 > 1:39:56- ALL:- # And ain't that sweet-eyed blindness good to me. #
1:40:03 > 1:40:05Sinatra was no longer
1:40:05 > 1:40:08and could not possibly be the hippest person in the room.
1:40:11 > 1:40:15Suddenly, he's not at the centre of the culture.
1:40:15 > 1:40:17Thank you, group.
1:40:17 > 1:40:20And don't look now, Francis Albert, but your generation gap is showing.
1:40:20 > 1:40:22LAUGHTER
1:40:24 > 1:40:28On January 24, 1969,
1:40:28 > 1:40:33the man I called dad had lost the man he called dad.
1:40:33 > 1:40:36Like many Americans, my father had been silently strong
1:40:36 > 1:40:39through the assassinations of JFK and Bobby
1:40:39 > 1:40:40and then Martin Luther King.
1:40:41 > 1:40:45But when his father died, something snapped.
1:40:45 > 1:40:52# I'm a little lamb who's lost in the wood
1:40:52 > 1:40:57# I know I could Could always be good
1:40:59 > 1:41:01# To one... #
1:41:01 > 1:41:05I never knew my father had that many friends. Boy, he had lots. Jesus.
1:41:05 > 1:41:08- He kept saying that.- They came from miles around, I couldn't believe it.
1:41:08 > 1:41:11Knowing that he was such an introvert, I guess people got to
1:41:11 > 1:41:16love him and they remained as close as they could to him all the time.
1:41:16 > 1:41:21# Although I may not be the man
1:41:21 > 1:41:24# Some girls.... #
1:41:24 > 1:41:27My father loved me, if possible, more than my mother.
1:41:27 > 1:41:29But it never showed.
1:41:30 > 1:41:33He never wanted to open up with me.
1:41:33 > 1:41:36He was a terrible introvert.
1:41:36 > 1:41:37For instance, I went to the firehouse
1:41:37 > 1:41:39when I appeared at the Paramount.
1:41:39 > 1:41:44I said, "My dad around?" They said, "We think he's upstairs."
1:41:44 > 1:41:45And when I came up,
1:41:45 > 1:41:49he was standing in front of the door of the locker, shaving.
1:41:51 > 1:41:56As I approached him, he apparently saw me and slammed the door.
1:41:56 > 1:41:59But I had already seen in the mirror.
1:41:59 > 1:42:03This thing was full of clippings that he had been saving or had
1:42:03 > 1:42:06guys cut out, cut them out of magazines and save them for him.
1:42:06 > 1:42:10DownBeat and Metronome and newspaper clippings.
1:42:10 > 1:42:14# Won't you tell her please to put on... #
1:42:14 > 1:42:16I could have wept when I saw it.
1:42:17 > 1:42:19# Follow my lead... #
1:42:21 > 1:42:23He loved my success but he had never mentioned it.
1:42:23 > 1:42:25He would never talk about it.
1:42:25 > 1:42:29# Someone to watch
1:42:29 > 1:42:35# Over me. #
1:42:35 > 1:42:38I believe in the two-party system.
1:42:38 > 1:42:42There come times when the issues are of a philosophical nature
1:42:42 > 1:42:45and people cross party lines.
1:42:45 > 1:42:49I think perhaps this is such a time, I'm sure of it.
1:42:49 > 1:42:53Democrats for Reagan, I think it was a huge success,
1:42:53 > 1:42:56and again, it was Dad's pleasure to believe in a candidate
1:42:56 > 1:42:59and work hard and hit the road and stomp.
1:43:00 > 1:43:04I think that his relationship with Ronnie Reagan and Nancy,
1:43:04 > 1:43:06he was moving in those circles more.
1:43:06 > 1:43:09When I came out for Reagan, a lot of my friends didn't even talk to me.
1:43:09 > 1:43:11They were angry with me.
1:43:11 > 1:43:13And I said to a few of them, "Wait a minute."
1:43:13 > 1:43:16I said, "I have a right to choose the man I want to vote for.
1:43:16 > 1:43:18"I don't tell you how to vote." They were wrong, really.
1:43:18 > 1:43:20You know, really wrong about it.
1:43:20 > 1:43:22- Are you a long-time friend of the Reagans?- Yes.
1:43:22 > 1:43:25Ronnie and I go back a long, long way.
1:43:25 > 1:43:29We've been friends a long time, since 1943 or '44.
1:43:29 > 1:43:32- Did you switch parties?- It's not a matter of switching parties.
1:43:32 > 1:43:35I'm a registered Democrat. I never changed my registration.
1:43:35 > 1:43:38If I think the Republican is a better man than the Democrat,
1:43:38 > 1:43:40I will vote for the Republican.
1:43:40 > 1:43:43If it had to be, I'd rather be called an independent.
1:43:45 > 1:43:49One night I called my father. Notice now it's my father.
1:43:49 > 1:43:53This is not the professional person, not Sinatra, this is Father.
1:43:53 > 1:43:57I called him at his home in Palm Springs.
1:43:57 > 1:43:58He said, "Look, do me a favour.
1:43:58 > 1:44:02"Talk fast, will ya? I've got Nixon sitting here at dinner."
1:44:04 > 1:44:08I'm delighted to see and to witness the fact...
1:44:10 > 1:44:14..that millions and millions of American voters
1:44:14 > 1:44:18today and this evening have chosen to re-elect the President
1:44:18 > 1:44:21and the Vice President for another term.
1:44:22 > 1:44:26I can't explain what he saw on Richard Nixon. I can't.
1:44:26 > 1:44:28We fought about it.
1:44:29 > 1:44:30After Kennedy,
1:44:30 > 1:44:34each successive president has some association with Sinatra.
1:44:35 > 1:44:37He became very friendly with Richard Nixon.
1:44:37 > 1:44:40He was especially friendly with Spiro Agnew.
1:44:42 > 1:44:46He encouraged Spiro Agnew not to resign, I think,
1:44:46 > 1:44:49within a week before he actually resigned.
1:44:49 > 1:44:52Agnew had left office in disgrace.
1:44:52 > 1:44:57And although Sinatra didn't, you know, like Richard Nixon,
1:44:57 > 1:44:59he really had affection for Agnew.
1:44:59 > 1:45:03It was a huge loss that Sinatra went to the other side.
1:45:03 > 1:45:06And we never recovered from it, really.
1:45:06 > 1:45:09I don't think he went out of political philosophy
1:45:09 > 1:45:11to the Republican side of the agenda.
1:45:11 > 1:45:13Sinatra really needed to hurt the Kennedys
1:45:13 > 1:45:17and the way to do that was to go after them politically.
1:45:17 > 1:45:19He did it cos he was Frank from Hoboken
1:45:19 > 1:45:21and that's the way you do it.
1:45:21 > 1:45:23Simple.
1:45:23 > 1:45:30We had made an album in August of '69 called A Man Alone.
1:45:30 > 1:45:34And the words and music were by Rod McKuen.
1:45:34 > 1:45:38It was not well regarded, poorly reviewed
1:45:38 > 1:45:41and certainly had no commercial success.
1:45:41 > 1:45:45And then he got it into his head to make another concept album
1:45:45 > 1:45:48and he made Watertown.
1:45:48 > 1:45:51It sold 30,000 copies.
1:45:51 > 1:45:52Frank Sinatra!
1:45:52 > 1:45:57It was the worst selling record in the history of Sinatra's career.
1:45:57 > 1:46:01And so he felt his career was waning.
1:46:02 > 1:46:05He decided at that point that he would retire.
1:46:11 > 1:46:15# And now the end is near
1:46:17 > 1:46:21# And so I face the final curtain
1:46:22 > 1:46:27# My friend, I'll make it clear
1:46:28 > 1:46:33# I'll state my case of which I'm certain... #
1:46:33 > 1:46:37The people who were in attendance that night -
1:46:37 > 1:46:39the Vice President and his wife,
1:46:39 > 1:46:43the governor of California, Governor Reagan and his wife,
1:46:43 > 1:46:46I sat next to Henry Kissinger that night,
1:46:46 > 1:46:50and Princess Grace of Monaco.
1:46:52 > 1:46:57# I did it my way. #
1:46:57 > 1:47:00I remember being terrified that I was going to get hit by a sniper's
1:47:00 > 1:47:03bullet cos I was sitting directly behind Ted Agnew.
1:47:03 > 1:47:07Terrible thing to say, but it crossed my mind.
1:47:07 > 1:47:09# Too few to mention
1:47:11 > 1:47:14# I did what I had to do
1:47:16 > 1:47:20# I saw it through without exemption
1:47:22 > 1:47:26# I planned each charted course
1:47:27 > 1:47:30# Each careful step
1:47:31 > 1:47:34# Along the byway
1:47:34 > 1:47:38# And more, much more than this
1:47:40 > 1:47:45# I did it my way
1:47:45 > 1:47:48# For what is a man?
1:47:48 > 1:47:50# What has he got?
1:47:51 > 1:47:57# If not himself, then he has nought
1:47:57 > 1:48:02# To say the things he truly feels
1:48:03 > 1:48:09# And not the words of one who kneels
1:48:09 > 1:48:15# The records shows I took the blows
1:48:15 > 1:48:23# And did it my way
1:48:27 > 1:48:31# My
1:48:31 > 1:48:34# Way. #
1:48:38 > 1:48:39Thank you.
1:48:42 > 1:48:46Dad knew exactly what he was going to do and how he was going to do it.
1:48:46 > 1:48:49He was going to make a grand exit. Quite a night.
1:48:51 > 1:48:58# And have fun, you happy people. #
1:48:58 > 1:49:03- Do you think he really intended to retire?- I believe he was burned out.
1:49:03 > 1:49:06He was just overloaded.
1:49:06 > 1:49:09Too much for too much a period of time.
1:49:13 > 1:49:15# Pardon me
1:49:17 > 1:49:19# But I gotta run
1:49:21 > 1:49:25# The fact's uncommonly clear
1:49:29 > 1:49:34# I gotta find who's now the number one
1:49:36 > 1:49:43# And why my angel eyes, she ain't here. #
1:49:43 > 1:49:45The entire room was in tears.
1:49:45 > 1:49:48Many of us knew what the last line of that song would be.
1:49:48 > 1:49:51# Excuse me while I
1:49:54 > 1:49:56# Disappear. #
1:49:56 > 1:50:01APPLAUSE
1:50:11 > 1:50:15The retirement concert was meant to be Sinatra's life in song.
1:50:15 > 1:50:19But whatever motivated Sinatra to stop singing, it didn't last long.
1:50:19 > 1:50:21Only two years and he had to get back.
1:50:23 > 1:50:29Madison Square Garden, October 13, 1974.
1:50:29 > 1:50:33Jam-packed with 20,000 people-plus.
1:50:33 > 1:50:36Just people, people from all walks of life.
1:50:36 > 1:50:39People who are young and people who are old.
1:50:39 > 1:50:43Here to see, hear, pay homage to a man who has
1:50:43 > 1:50:48bridged four generations and somehow never found a gap.
1:50:48 > 1:50:51My secretary came and she said, "Frank Sinatra's on the phone."
1:50:51 > 1:50:52I said, "Hello?" He said,
1:50:52 > 1:50:56"Jerry, I want you to take me out of retirement."
1:50:56 > 1:50:59Live with the king of entertainment carries with it
1:50:59 > 1:51:01the breathless excitement and anticipation
1:51:01 > 1:51:04of a heavyweight championship fight.
1:51:04 > 1:51:05Celebrities are here...
1:51:05 > 1:51:08I said, "We're going to do it in a boxing ring."
1:51:08 > 1:51:11He said, "Why? Why?"
1:51:11 > 1:51:13I said, "Because you are the champ.
1:51:13 > 1:51:15"You're the heavyweight champ of the world."
1:51:17 > 1:51:20# I get no kick from champagne
1:51:23 > 1:51:28# Mere alcohol It doesn't move me at all
1:51:29 > 1:51:33# Tell me why should it be true
1:51:35 > 1:51:37# That I get a
1:51:37 > 1:51:39# Kick out of you. #
1:51:39 > 1:51:43He starts to spend more and more time performing in public
1:51:43 > 1:51:47and not just in ordinary settings but in stadium settings
1:51:47 > 1:51:50performing for vast crowds of people
1:51:50 > 1:51:53because he means the world to them.
1:51:53 > 1:51:56# A kick out of you. #
1:51:57 > 1:51:59Thank you.
1:51:59 > 1:52:02I'm delighted to be back in New York and be able to work here.
1:52:07 > 1:52:09I've had some of my greatest fights here.
1:52:14 > 1:52:15What happened?
1:52:15 > 1:52:19Passion still defines Sinatra's life in his later years.
1:52:20 > 1:52:22He married once more to Barbara Marx.
1:52:24 > 1:52:27A marriage that would last until the end of his life.
1:52:28 > 1:52:31He was honoured for his music all over the world.
1:52:32 > 1:52:35He raised more money for charity.
1:52:35 > 1:52:37And he piled up awards from powerful friends.
1:52:39 > 1:52:44Singer, humanitarian, patron of art and mentor of artists,
1:52:44 > 1:52:47Francis Albert Sinatra and his impact on America's popular culture
1:52:47 > 1:52:49are without peer.
1:52:50 > 1:52:53# I would not leave you... #
1:52:53 > 1:52:56But some friendships didn't end so well.
1:53:00 > 1:53:01"You think that some people are smart,"
1:53:01 > 1:53:03he said, "and they turn out dumb.
1:53:03 > 1:53:07"You think they are straight and the turn out crooked.
1:53:07 > 1:53:11"Maybe", he told Pete Hamill, "you get older and you know less."
1:53:13 > 1:53:17# I'll take you any way you are. #
1:53:17 > 1:53:20The bad moments of those years,
1:53:20 > 1:53:23the outbursts of anger that had
1:53:23 > 1:53:25blotted his career reflect
1:53:25 > 1:53:28his slackening grasp on the culture.
1:53:28 > 1:53:32'Frank Sinatra gets upset with newsman continuingly hounding him.'
1:53:32 > 1:53:35- Can we speak to you, Mr Sinatra? - Going around the corner. No, ma'am.
1:53:37 > 1:53:40I don't care what you think about any press in the world,
1:53:40 > 1:53:43I say they're bums and they'll always be bums, everyone of them.
1:53:43 > 1:53:45They're pimps. They're just crazy, you know.
1:53:45 > 1:53:48And the broads who work in the press are the hookers of the press.
1:53:48 > 1:53:50Need I explain that to you?
1:53:52 > 1:53:54TRUMPET PLAYS
1:53:54 > 1:53:56Let's make a record.
1:53:56 > 1:53:59At this point, his voice was beginning to age.
1:53:59 > 1:54:03He starts to record less, to spend gradually less
1:54:03 > 1:54:05and less time in the studio.
1:54:05 > 1:54:07When you're ready.
1:54:07 > 1:54:09BAND PLAYS
1:54:13 > 1:54:18I think arguably that was his last great day in the studio.
1:54:18 > 1:54:20You see a very, very happy man.
1:54:22 > 1:54:25# You'll find my reason is logically sound
1:54:26 > 1:54:31# Who's going to know that you pass them around?
1:54:31 > 1:54:34# 100 years from today. #
1:54:34 > 1:54:37It was one of those wonderfully memorable moments to have the
1:54:37 > 1:54:40two greatest artists of their generations in the same room.
1:54:40 > 1:54:43You could see immediately that there was no generation gap here.
1:54:43 > 1:54:46Just two legendary performers grooving on each other.
1:54:46 > 1:54:49# ..what would they all mean
1:54:49 > 1:54:52# 100 years from today. #
1:54:52 > 1:54:54Terry, in his retirement concert,
1:54:54 > 1:54:56Sinatra sings the songs of his life up to that point.
1:54:56 > 1:55:01Songs that dominated the culture. Did he ever find that again?
1:55:01 > 1:55:04Yes. One last time he turns a song into a standard.
1:55:04 > 1:55:07What is touching about it is this
1:55:07 > 1:55:10is a man who in his youth
1:55:10 > 1:55:12looked across the river and saw his dreams.
1:55:12 > 1:55:16And now, in his late middle age, in his old age,
1:55:16 > 1:55:20he sings a song about having achieved those dreams.
1:55:24 > 1:55:28I was present at the very first moment that he sang it publicly.
1:55:28 > 1:55:31It was during the Yankee-Dodger World Series...
1:55:31 > 1:55:36of '78, and he was playing Radio City opening night.
1:55:36 > 1:55:39He turns to the conductor and says, "What's the first line?"
1:55:39 > 1:55:41He said, "Start spreading the news."
1:55:43 > 1:55:46# Start spreading the news
1:55:46 > 1:55:49# I'm leaving today
1:55:51 > 1:55:55# I want to be a part of it
1:55:55 > 1:55:58# New York, New York. #
1:56:00 > 1:56:03And I remember now a night I spent with him in 1974
1:56:03 > 1:56:08driving around New York in a limousine just talking.
1:56:08 > 1:56:10When I first came across that river,
1:56:10 > 1:56:14this was the greatest city in the whole Goddamn world.
1:56:14 > 1:56:16It was like it a big, beautiful lady.
1:56:16 > 1:56:22# I want to wake up in a city that doesn't sleep
1:56:24 > 1:56:29# And find I'm king of the hill
1:56:29 > 1:56:31# Top of the heap. #
1:56:33 > 1:56:37I liked the man who talked that way on a chilly night in New York.
1:56:37 > 1:56:40I liked his doubt, his uncertainty.
1:56:41 > 1:56:45He had enriched my life with his music since I was a boy.
1:56:45 > 1:56:47He had confronted bigotry,
1:56:47 > 1:56:51changed the way many people thought about the children of immigrants.
1:56:52 > 1:56:57He had made many of us wiser about love and human loneliness.
1:56:58 > 1:57:03And he was still trying to understand what it was all about.
1:57:03 > 1:57:06# New York
1:57:11 > 1:57:13# Daba-daba-daba
1:57:13 > 1:57:15# Ba, ba-ba, ba-ba
1:57:15 > 1:57:17# It's New York
1:57:17 > 1:57:20# New York
1:57:20 > 1:57:26# I want to wake up in a city that doesn't sleep
1:57:28 > 1:57:34# And find that I'm number one Top of the list
1:57:34 > 1:57:36# Head of the heap
1:57:38 > 1:57:43# King of the hill
1:57:44 > 1:57:52# These are little town blues
1:57:54 > 1:57:58# They have all melted away... #
1:57:58 > 1:58:01His imperfections were upsetting.
1:58:02 > 1:58:05But Frank Sinatra was a genuine artist and his work
1:58:05 > 1:58:11will endure as long as men and women can hear and ponder and feel.
1:58:12 > 1:58:15In the end, that's all that truly matters.
1:58:18 > 1:58:21# If I can make it there
1:58:21 > 1:58:26# You know I'm going to make it anywhere
1:58:26 > 1:58:32# It's up to you New York
1:58:32 > 1:58:36# New York
1:58:39 > 1:58:47# New York! #
1:58:57 > 1:58:59Back in the days when I was young and eager
1:58:59 > 1:59:02and had enough vitamins to be on television, I used to close
1:59:02 > 1:59:05my show with a theme that's been with me for a long, long, long time.
1:59:07 > 1:59:09I still have a case on this tune.
1:59:09 > 1:59:12And a lot of you tell me you'd like to hear it again too, and so would I.
1:59:17 > 1:59:22# When your dreams at night
1:59:22 > 1:59:27# Fade before you
1:59:28 > 1:59:33# Then I'll have the right
1:59:33 > 1:59:35# To adore you
1:59:37 > 1:59:40# Let your kiss confess
1:59:42 > 1:59:47# This is happiness, darling
1:59:48 > 1:59:54# And put all your dreams away. #