Q Why do pop stars act in films

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Q.� How variable

A.� Very variable indeed! Ever since Al Jolson made the quantum leap from embryonic 'pop' star to silver screen icon, the movies have regularly seen the attempts of perfectly acceptable vocalists trying their hand at stage and screen acting.

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Q.� What makes musicians think they can act anyway

A.� That's the crucial question, because in more cases than not, they simply can't. Possessing a level of charisma on a pop or rock stage that the average RADA graduate would kill for doesn't necessarily translate into the particular combination of screen presence that makes for award-winning performances, but it doesn't stop singers�trying, and failing.

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Q.� Who is actually good at both singing and acting

A.� Probably top of the tree is Frank Sinatra, who managed to combine a career of staggering influence, success and longevity as a singer with a clutch of critically acclaimed screen performances, starting with his role in From Here To Eternity.

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From Frank downwards, the skill levels become decidedly unbalanced. Holding up the UK end of things is Roger Daltrey from The Who, managing to front one of the premier pop and rock bands of the last thirty years, and also acquit himself with reasonable distinction in musical films�such as Tommy and serious biopic McVicar, in which he played the early life of reformed criminal John McVicar with convincing ability.

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Most musicians manage to turn in workman-like performances, which owe more to their potential box-office draw as a known 'name' in their day job, rather than because they really can set the stage or screen alight. David Bowie, an acknowledged musical innovator with few equals has enjoyed patchy success as a screen actor in films�such as The Man Who Fell To Earth, but considerable critical kudos as a stage performer in the New York stage version of The Elephant Man. Sting created a serious name for himself as The Ace Face in the movie version of The Who's rock opera Quadrophenia, and all but annihilated his reputation by appearing in the total turkey that was David Lynch's overblown movie monster of the sci-fi blockbuster Dune.

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Q.� Where do they go wrong

A.� It's often a case of ego eclipsing ability, combined with an inability to judge suitable scripts and films. As Clint Eastwood said 'A good man always knows his limitations,' but for pop stars, such self-awareness can be blotted out in the novelty adventure of playing at being a film star.

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Q.� What would be good advice for any singer planning to try their hand at film

A.� Stick to what you do best. Elvis Presley, or at least his manager Colonel Tom Parker had the right idea. The Colonel signed Elvis to a number of films that were seriously underweight in the script department, but only really required Elvis to sing, look good, and get the girl, all of which he could manage with very little effort. Whitney Houston applied herself to some hefty typecasting playing a highly-strung pop star with a seriously overblown sense of her own importance in The Bodyguard'. Result Success,�and a rumoured offer of a role in the next James Bond film.

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By Andy Hughes