To me, this movie is perfection.

Self-important, over-dramatic, uninspired.

I wanted to like it more than I actually did... But much of the humor totally escaped me and I walked out only mildly impressed.

While it doesn't offer any answers, it both thrills and makes you think.

Firstly, I like the directness of the title. Apparently one of those films Sinatra made when he was on his career downward curve before "From Here To Eternity" on screen and Capitol Records on vinyl set him aright a couple of years later. Me, I really enjoyed it and wouldn't wonder it might have gotten a better reception and been better remembered if it had been made after 1953 and all that.The story's pretty far fetched as Sinatra, Alex Nicol, Raymond Burr and a young Shelley Winters play out a love-rectangle if you will with surprisingly, Nicol being the one who gets the girl. Burr is the mobster with designs on her after he employs her as a singer at one of his clubs and who then takes singer and pianist duo Nicol and Sinatra on as their agent but at a hefty 50% cut of their earnings. Nicol is the nice guy, older than Frank's Danny Wilson and obviously some sort of mentor / father figure to him which is just as well as Frank's clearly going through his wild years (thanks, Tom Waits) always one misheard remark or misunderstanding away from a fist fight, from which Nicol usually extricates him.How the intertwining love stories and the duo's situation with Burr resolve themselves are a little rushed and pat into the bargain, but there's enough grit and drama to see it through to a satisfactory conclusion.The story goes that Sinatra and Winters didn't get along on set, but you wouldn't really know it here as they make a feisty and watchable couple. I don't recall seeing Nicol in a movie before but liked his work here, the straight man to firecracker Frankie. Burr actually isn't much on camera but conveys a credible sense of malevolence when he does.The main attraction for Sinatra aficionados is the chance to see the still young Francis Albert looking good and sounding great rendering a nice selection of well known songs in fine style, including "All Of Me", "When You're Smiling", "That Old Black Magic" and "I've Got A Crush On You". He also has a knockout duet with Winters singing "A Good Man Is Hard To Find".Other things to like were the New York settings, although much of it was probably recreated I'd guess, a one-line cameo by Tony Curtis and there's a cute scene where Sinatra effectively invents the first flash-mob at the airport to try to stop Winters leaving him, just after she's reluctantly become engaged to him.So there you have it, part musical, part drama, part thriller, an unusual cocktail of a movie but these shaken up ingredients settle well together and made for a good 90 minutes well spent.

Anyone who saw this on its initial release in 1952 would not have been surprised when Sinatra unveiled his considerable 'acting' chops in his very next movie, From Here To Eternity for Meet Danny Wilson is a perfect Halfway House between the gauche Clarence in Anchors Aweigh (typical of all Sinatra's roles in the 40s,with the possible exception of Miracle Of The Bells which extended his range only to the extent of putting him in a dog-collar) and Maggio in Eternity. Here is the Sinatra the real fans knew and admired, primarily a great singer but also a flawed human being, volatile, arrogant, brash. Don McGuire weighs in with a tasty script with some great zingers and uses just enough material from Sinatra's real life to please the cognoscenti. A rare title today but one central to the Sinatra collection and unmissable.

Others have captured the story line of this film. The most interesting character is Nick Driscoll, played by tough guy Raymond Burr. Until the green-eyed monster gets him, there is some hope that he will turn out to be a smooth talking gangster with a heart of gold. And, if the truth be told, I was secretly hoping he'd get the girl. Alas, he turns out to be a greedy sob with a patented Burr streak of nastiness. Sinatra gives an all too believable portrayal of a one-dimensional, rags to riches prima dona. Keep a sharp eye out for Tony Curtis and Jeff Chandler at the Damon Runyon fund raiser. They both looked like they wanted to temporarily step out of their cameo suits and take Danny Wilson backstage and clean his clock for being such an ill-mannered buffoon. Now, that would have been a movie.

Not at all bad. Meet Danny Wilson, a show-business melodrama with a lot of songs thrown in, betrays a distinct noirish tinge which darkens as the movie progresses. It's a thinly-veiled knockoff of the stories about Frank Sinatra's early days in show business – from the shrieking bobby-soxers to the extortionist contract that almost held him back. Obviously, it stars Sinatra, at a low ebb in his career before he had gained the imperial control of his later days as Chairman of the Board, and before he had assembled the legendary `cool' that, as much as his voice, was to become his hallmark.Crooner Danny Wilson and his pianist/manager/buddy (Alex Nichol) are a couple of rough-and-ready slum-bred boys having trouble breaking into the big time. Through the help of a lounge singer they meet up with (Shelly Winters), they get a gig in a posh nightclub run by a mobbed-up entrepreneur (Raymond Burr). The catch is, Burr spots Sinatra's potential and demands half of his future take. A messy love triangle emerges, too, with Sinatra falling head over heels for Winters, who's smitten with the loyal square rigger Nichols. The plot points get connected with the arrival of Success, in the form of recording contracts, attendant royalties and even the movies.Most arresting is Burr as gangster Nick Driscoll. An indispensable fixture of the noir cycle, where so often he played the Heavy Menace, here he takes on a better-written, more shaded role. In addition, he's slimmed down drastically, and the slimming brings out his huge and expressive – even seductive – eyes. But he still doles out the menace, even if it's cushioned in unaccustomed suavity. Apart from Sinatra, he's the most memorable actor in the film (certainly more memorable than the generic Nichol).Sinatra performs several of the hits which were to enter his standard repertory; he also duets with Winters in a patter-song. Meet Danny Wilson remains strangely obscure, but, despite a warm and perfunctory wrap-up, it's a better crafted and more solid outing than many of the movies he made in his pigs-in-clover Rat Pack days.