Some Came Running

Some Came Running, directed by Vincente Minnelli, is a 1958 drama that was adapted from James Jones' best-selling novel. The star-studded cast includes legendary actors Frank Sinatra, Dean Martin, and Shirley MacLaine. Featuring the talent and charisma of these iconic performers juxtaposed with a backdrop of the painfully stifling Midwestern post-war society, this film is a provocative exploration of human relationships, societal expectations, and the search for acceptance and belonging.

The story revolves around Sinatra's character, David Hirsh, a troubled war veteran and failed writer who returns to his conservative hometown, Parkman, Indiana, after many years. Having sustained a war-torn past and carrying a bottle of whiskey in one hand and a novel on the other, David is emblematic of the disillusioned, wandering class of the post-WWII era. The clash of his unconventional lifestyle with the highly structured societal norms of his childhood city forms the crux of the narrative.

David’s brother, played by Arthur Kennedy, epitomizes the stoic, law-abiding citizen of a provincial American town who is both embarrassed by and concerned for his brother's vagabond lifestyle. This character stands as a sharp contrast to David, delineating the societal chasm that exists between them.

High on hedonism and yet strikingly vulnerable, Sinatra's portrayal of David is both relatable and poignant. A man of wanderlust and worldly experience, David finds himself fascinatingly out of place amidst the monotone life of a small town. His staunch refusal to adhere to their norms stirs the quiet waters of the cloistered community, fanning the flames of ingrained prejudice and distrust masked by polite society.

Swiftly upon David's return, he inadvertently befriends Bama Dillert, remarkably portrayed by Dean Martin. As a charmingly irresponsible gambler, Dillert is both David's comrade in arms and an uncomfortable reflection of his own frivolous ways. Martin infuses Bama with surprising depth of spirit and a disarmingly flawed humanity that subtly steals the scenes.

At the heart of Some Came Running, however, is nearly lost, tragically inclined, woman-child, Ginnie Moorehead, played by Shirley MacLaine. Ginnie is a half-hearted lady of the night, who possesses an inner light of childlike innocence despite her harsh life. Her devotion towards David, almost bordering obsession, highlights her vulnerability and desperation to find genuine love amid her grim living conditions.

Each character in Some Came Running represents different walks of life and shades of morality, and each is caught in the struggle between societal respectability and emotional authenticity. The film daringly portrays the societal prejudices and hypocrisies of the late 1950s, accentuating issues often glossed over at that time.

Some Came Running is not merely a portrait of the individual journeys of David, Bama, and Ginnie, but it serves as a social commentary on a community's refusal to understand and accept that which is different. It showcases the consequences of emotional repression and the human tendency to fear and reject those who dare to live unapologetically.

Lavish cinematography by William H. Daniels enhances the evocative storytelling, and Elmer Bernstein's score rightfully amplifies the movie's intensity. Minnelli's direction coerces robust performances from his stars, essentially Sinatra and MacLaine, who offer heart-rending portrayals of their complex characters.

Overall, Some Came Running is a compelling exhibition of mesmerizing performances and profound narration. The grey shades of its characters, the community's stifling hypocrisy, and the deeply rooted societal norms paint a very vivid picture of the place and the era. The movie does a remarkable job of exposing the harsh realities of existence beneath the veneer of the American dream.

In essence, Some Came Running is an underrated classic that explores the depth of human emotions and societal norms. It peels off the idealistic and genteel layers of the 1950s Midwestern America, revealing the decidedly real and somewhat bleak picture underneath. This film offers a rich exploration of life, love, and fleeting happiness, a cocktail of both sentimentality and cynicism. It whisks the audience off on a journey of nostalgia and contemplation, leaving a distinct sense of melancholia long after the end credits roll.