GUYS AND DOLLS

US, 1955, 149 minutes, Colour.
Frank Sinatra, Marlon Brando, Jean Simmons, Vivian Blaine, Stubby Kaye, B. S. Pully, Robert Keith, Sheldon Leonard, George E. Stone.
Directed by Joseph L. Mankiewicz.

Guys and Dolls was one of the prestige musicals of the mid-'50s. It was produced by Samuel Goldwyn with all his lavish techniques - as well as the Goldwyn Girls! The screenplay and direction were by Joseph L. Mankiewicz, Oscar-winner for A Letter to Three Wives and All About Eve and director of a wide range of prestigious films in the '40s and '50s. The film was based on the play with the book by Jo Swerling and Abe Burrows, adaptor of many plays and writer of screenplays at this time e.g. The Solid Gold Cadillac. The story is pure Damon Runyon and the comical gangsters of his New York world.

The Cinemascope colour photography is attractive and the sets lavish. The costumes were by Irene Sharaff. The music and lyrics were by the famed Frank Loesser - and have survived popularly many decades after they were composed. The film's choreography is by Michael Kidd.

The casting of the film was quite offbeat. Frank Sinatra was tipped for the role of Skye Masterson but took the supporting role of Nathan Detroit when Marlon Brando was cast against type. Brando, in retrospect, does quite well with the comedy as well as with some low-key singing and dancing. Jean Simmons is an attractive Sara Brown. There is lively support from Vivian Blaine and Stubby Kaye. Character actors portray the humorously-named range of Runyonesque criminals. The film is a pleasant blend of American dream as well as critique of it. The Salvation Army is used as the symbol of righteousness and virtue.

At the time, many critics found the film ponderous. In retrospect it seems quite attractive and the musical has been revived many times on stage - receiving prominent re-staging all over the world in the early 1980s.

1. An enjoyable and classic musical? The impact of the film? A piece of Americana: the Runyon characters, the world of New York, the police, the American Dream?

2. The production qualities: Samuel Goldwyn’s lavish budgeting? Joseph L. Mankiewicz literate score and serious direction? The offbeat casting of the stars? The quality of the choreography? The sets and costumes - especially Times Square, Havana? A cartoon, short story, comic New York and America?

3. The importance of Damon Runyon's stories and characters: language, slang, syntax? The idiosyncratic tones? The language being captured in song? Especially Nathan Detroit's and Adelaide's songs?

4. The contribution of the choreography: the opening, the overture, the types? The comic routines? The finale? A dancing musical? The staged numbers? The movement and vitality of the film? The film as a singing musical: mod, revelation of characters, action, situations?

5. The presentation of the two lifestyles: admiration and critique? The background of religion, repentance? No repentance? No sinners! The Salvation Army, its work, singing in the streets? The General, the prayer, the prayer sessions - and 'Sit Down. You're Rocking the Boat'? The religious marriage at the end? The use of the Salvation Army as religious symbol? The poking fun at prim and proper religion? The respect for authentic values? The contrast between Salvation Army and Damon Runyon criminals?

6. The serious underlying theme of religion, repression, shadows, honesty? Sara and her falling in love with Sky ? The wager, the trip to Havana, her falling in love, being drunk. repenting? The change and humanising of Sara?

7. Sky and Marlon Brando's presence? The suave gambler, the bet, the need for a congregation? The attraction towards Sara? Her going to Cuba? The night in Havana and the songs and dances? Falling in love with Sara? The night of gambling - 'Luck Be A Lady Tonight'? The proposal? The finale? The sketch of the hero gangster?

8. Jean Simmons' prim style as the religious Sara? Strength. Salvation Army, loyalty to the General. to the work of the Mission, to the personnel of the Mission? The visitation? The attraction towards Sky? The false logic. the seduction? The night in Havana? Her singing and dancing? Drinking? The change? Her return? Happy ending?

9. Frank Sinatra's style as Nathan Detroit: smooth-talking., gambling, the seeming loser? Love for Adelaide? The long engagement? His place with the group? His marrying? The happy ending?

10. Adelaide and her love for Nathan. her work as a showgirl, the group of girls, her stage performances, her wanting to reform Nathan?

11. The focus on Brannigan and the police, the cool and sardonic observer of what was going on?

12. The range of humorously-named gangsters: Nicely Nicely, Harry the Horse, Rusty Charlie. Benny Southstreet? Their contribution? Their becoming members of the congregation - 'Sit Down, You're Rocking the Boat' etc.?

13. The film's artificial style in presenting Times Square and the gallery of characters that passed through it?

14. The title and its tone? Theme song? The big treatment and its evergreen popularity? The musical comedy styles? New York and types? Humour. values. good and bad? An American fable?