Without digressing too much from why we’re here today, The Frank Sinatra Bungalow was once part of the lot (whatever its iteration) until -- as happens to all lots -- its land was cut-up yet again and The Bungalow became part of The DWP next door. And so its future is in question. The space where Sinatra hid-away while shooting The Frank Sinatra Show (1957-1960), while recording The Concert Sinatra (1962) and while starring in two of his four-picture-deal with United Artists; one of which is ours today. Indeed, that little bungalow is very likely where he learned his now famous memory, “Raymond Shaw is the kindest, bravest, warmest, most wonderful human being I’ve ever known in my life.”
from the novel by Richard Condon
d John Frankenheimer
Let’s look at that very train scene. First, a few thoughts. It’s her first scene in the film, at forty minutes in; the first of only five scenes she has in the whole thing -- the last two she doesn’t even speak in -- their totaling twelve minutes (of a two-hour six-minute picture). And the other four scenes are somewhat reassurances: in the police station / cab says their meeting on the train meant more than two ships passing in the night; in the apartment solidifies they now have a relationship (instead of a fling); she's the one with whom Marco shares poor Jocelyn's and Senator Jordan's fate; setting up -- her being there as an anchor -- the end telling us at least Marco still has a shot 'cause he has her. All fine and fair again. Point being the train is the scene. And I believe this is the reason -- these six minutes (half the time she’s in the whole thing) -- someone as high-caliber as Miss Leigh was brought on for the role: to give this moment the weight it needs to carry the character -- and thereafter Marco’s & Rosie’s relationship -- the rest of the picture.