He completes the job, emotionless and wiped of all memory, and is thus selected to become a domestic assassin for a malign cabal of Communist forces. To demonstrate the efficacy of a brilliant new method of mind control, Raymond is made to murder two of his men at will in front of everyone present. Suddenly those glazed eyes aren’t incidental, and the POWs are shown to be a part of a sinister scheme. But as Frankenheimer’s camera spins, the environment transforms into a politburo-style room where a brainwashing conspiracy is taking place, surrounded by Chinese and Soviet officials with not a fussy matron in sight. The soldiers sit slouched and smoking, eyes glazed over with boredom.
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In his nightmare, the camera does a wild circular pan around what initially seems to be a dull garden party full of middle-aged ladies, attending a lecture on proper planting skills. But the actual ordeal is something else entirely Sinatra scratches and mutters in his sleep, reliving the truth of the incident, haunted in his waking hours by the feeling that something isn’t right. Shaw, on Marco’s recommendation, was chosen for a Congressional Medal of Honor as a result. It’s 1952, and the official story is that Marco and his unit in Korea were saved by the heroic efforts of their commander, Raymond Shaw (Laurence Harvey).
He was forty-seven, and it had been nearly a decade since his Oscar-winning turn as the doomed, lovable Maggio in From Here to Eternity, which had established him as an actor of serious dramatic weight, not just a moonlighting musical star, during a time when major success in both fields was rare for one performer.įor the first drastic sign that something is severely out of place in the mind of Sinatra’s character in The Manchurian Candidate, ex-GI Bennett Marco, look no further than the opening fifteen minutes of the film: his sweat-drenched evenings, full of recurring nightmares, reveal his torment. In the film, he looks wan and tired, middle-aged now, no longer in possession of the boyish, apple-cheeked visage he had in Anchors Aweigh or On the Town, those postwar musicals for MGM. His bobby-soxers had been displaced by Elvis fans, who had been displaced by Beatles die-hards Sinatra was twice deposed, and his bearing suggested that he knew it. By the time The Manchurian Candidate was released in 1962, Frank Sinatra had been on American screens and in American hearts for nearly two decades.
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