This story has no end: Part Two
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| Cyd Charisse as “Frankie” in “Meet Me in Las Vegas” |
Going to the Movies: Hipsters and Hootenannies
To paraphrase Lord Buckley,”Friends, blog-readers, countrymen, knock me your lobes.”
Sammy Davis, Jr. here takes a turn at Frankie and Johnny—a version also included in the movie “Meet Me in Las Vegas.” The movie contains a remarkable dance performance by Cyd Charisse. It’s well worth a watch and a listen. It’s remarkable, perhaps, because Frankie’s six-shooter fires seven times; but also for the injection of mid-century hipster slang into the entirety of the narrative.
Cyd Charisse in “Meet Me in Las Vegas”
“Frankie and Johnny” sung by Sammy Davis, Jr.
This version grants some real agency to “Nellie Bly.” That is, rather than casting her as the mere object of Albert/Johnny’s wandering affections, it gives her a tad more agency—a real, female “Don Juan.” Johnny is seduced, and thereby, perhaps becomes less culpable. And, also of interest, Frankie and Nellie Bly duke it out—with some risqué sartorial results.I initially thought Nellie Bly’s role was the most interesting element of this version, but have since come to think that there’s a bit more of interest in how Frankie gets off the hook, at least temporally. This version suggests that she is able to seduce the policeman, and actually claims some stature in the community despite her actions.
“Man, the moral is really a gasser.”
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As with Judy Henske’s version of “Omie Wise,” “The Ballad of Little Romy,” Johnny Cash had the fortune (good or bad, I leave for you to judge) to appear in the beatnixploitation film “Hootenanny Hoot.” (You can view the trailer here. It’s priceless, but watch it after the clip below.).
Johnny Cash’s version, “Frankie’s Man Johnny” is somewhat like Elvis’s, although it’s in the third person, it suggests that Cash is putting himself in “Johnny’s” shoes.
The most surprising element of this song, is it’s the only version I’ve found that’s non-fatal. Johnny meets the tempting red-head while on the road as a musician, but has the fortune (good or bad, I leave for you to judge) to find that she’s Frankie’s sister. She slaps him a time or two, but he survives to play another day. (Incidentally, and no disrespect to the Man in Black intended, but it’s not the only time in his career when he backs off a more intense lyric. Compare his cover of John Prine’s “Sam Stone” with the original some time.)
Well the moral of this story, is be good but carry a stick.
Sometimes it looks like a guitar picker just can’t tell what to pick.
Johnny lives.