Guys and Dolls (1955) (SiRiUs sHaRe) torrent

Guys and Dolls (1955)

All the hot gamblers are in town, and they're all depending on Nathan Detroit to set up this week's incarnation of "The Oldest Established Permanent Floating Crap Game in New York"; the only problem is, he needs $1000 to get the place. Throw in Sarah Brown, who's short on sinners at the mission she runs; Sky Masterson, who accepts Nathan's $1000 bet that he can't get Sarah Brown to go with him to Havana; Miss Adelaide, who wants Nathan to marry her; Police Lieutenant Brannigan, who always seems to appear at the wrong time; and the music/lyrics of Frank Loesser, and you've got quite a musical. Includes the songs: Fugue for Tinhorns, "Luck Be a Lady", "Sit Down, You're Rocking the Boat".

Marlon Brando ... Sky Masterson
Jean Simmons ... Sarah Brown
Frank Sinatra ... Nathan Detroit
Vivian Blaine ... Miss Adelaide
Robert Keith ... Lt. Brannigan
Stubby Kaye ... Nicely-Nicely Johnson
B.S. Pully ... Big Jule
Johnny Silver ... Benny Southstreet
Sheldon Leonard ... Harry the Horse
Danny Dayton ... Rusty Charlie (as Dan Dayton)
George E. Stone ... Society Max
Regis Toomey ... Arvide Abernathy
Kathryn Givney ... General Cartwright
Veda Ann Borg ... Laverne

Director: Joseph L. Mankiewicz

Nominated for 4 Oscars

http://www.imdb.com/title/tt0048140/

Codecs: DivX 3 / AC3

Damon Runyon's world of Times Square, in New York, prior to its Disneyfication, is the basis for this musical. Joseph L. Mankiewicz, a man who knew about movies, directed this nostalgic tribute to the "crossroads of the world" that show us that underside of New York of the past. Frank Loesser's music sounds great. We watch a magnificent cast of characters that were typical of the area. People at the edges of society tended to gravitate toward that area because of the lights, the action, the possibilities in that part of town. This underbelly of the city made a living out of the street life that was so intense.

Some of the songs from the original production were not included in the film. We don't know whether this makes sense, but this is not unusual for a Hollywood musical to change and alter what worked on the stage. That original cast included the wonderful Vivian Blaine and Stubby Kaye, and we wonder about the decision of not letting Robert Alda, Sam Levene, Isabel Bigley repeat their original roles. These were distinguished actors that could have made an amazing contribution.

The film, visually, is amazing. The look follows closely the fashions of the times. As far as the casting of Marlon Brando, otherwise not known for his singing abilities, Frank Sinatra and Jean Simmons, seem to work in the film. Sky Masterson is, after all, a man's man, who would look otherwise sissy if he presented a different 'look'. Frank Sinatra is good as Nathan Detroit. Jean Simmons, as Sarah Brown, does a nice job portraying the woman from the Salvation Army who suddenly finds fulfillment with the same kind of man she is trying to save.

Vivian Blaine is a delight. She never ceases to amaze as Miss Adelaide, a woman with a heart of gold who's Nathan Detroit's love interest. Ms. Blaine makes a fantastic impression as the show girl who is wiser than she lets out to be. Stubby Kaye makes a wonderful job out of reprising his Nicely Nicely Johnson.

The wonderful production owes a lot to the talented Abe Burrows, who made the adaptation to the screen. The costumes by Irene Sharaff set the right tone.

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Mankiewicz is a film genius, in my mind one of very few intelligent men in the old Hollywood until destroyed by Cleopatra. But here he is in his element.

Here's the opportunity: it is as far from Broadway to film as from a book, comic, or TeeVee show. In fact the distance is greater because it is apparently less.

And since Mankiewicz is an intelligent writer (who makes up a lot as he goes), he has here devised three films in one: three visions co-existing.

We have the Broadway piece, supported by actors from the show. Mostly, this is nicely in the `stage' numbers at the Hotbox plus anything from Adelaide, but there are two male dance set scenes in this vein. And the `siddown you're rocking the boat' number.

Then we have the Frankie stuff. Adelaide is played straight -- that is she is played as a stage character, a fiction. Frank plays himself, because he actually is a cheap hood. The director relaxes all these scenes, and the music is allowed to become languid. See how the sets and camera differ for him.

But the most remarkable is Brando. He is in his prime here. What he does is act the role of a Broadway actor! Watch him look at the camera in fleeting moments as if to say, watch me do this. I can't sing or dance, but I can become someone who can. As with the Sinatra songs, the musical tone is adjusted for Marlon (and Simmons), to become led by the orchestra rather than the other way around as with `real' Broadwayites.

Mankiewicz had just directed Brando in Shakespeare, and knew what he had. Check this out -- it is the first selfreferential film musical, and you can't watch `Dancer in the Dark' or `Moulin Rouge,' without referencing this.

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This is absolutely one of my all time favorite musicals and movie musicals! (The other is Damn Yankees with Gwen Verdon, Tab Hunter and Ray Walston) As we all know, sometimes the luster (not to mention the songs) of a show are lost in its transition from stage to screen. This is, for the most part, DEFINITELY not the case here.

The sets are divine, bright and colorful, the characters are bigger than life and you can't help but love them, and Michael Kidd's choreography is absolutely stunning. (So glad to know they used the original Broadway choreographer)

All of the actors "bounce the ball" (that is, have unbeatable chemistry) to perfection in this film. Frank and Marlon are absolutely believable as the proprietor of the oldest established permanent floating crap game in New York, and the most notorious gambler who bets on even the most minute things-- such as his fever going up to 104 if he doesn't take penicillin. Sweet, fresh faced Jean Simmons is perfect for the role of Sarah (although it is true, her singing pipes are not as outstanding as that of Isabel Bigley or Josie de Guzman)-- the mission doll with a heart of gold and a drive to heal all. And last but certainly not least (on my list anyway) is Miss Vivian Blaine, reprising her Broadway role as Miss Adelaide-- the Hot Box lead singer and dancer who would like to finally end her 14 year engagement to Nathan with marriage, and rid herself of the psychosomatic cold he's given her.

First off, kudos to Stubby Kaye and B.S. Pulley as they reprise their Broadway roles as Nicely-Nicely Johnson and Benny Southstreet. There were never two more loveable gamblers than these guys.

Brando is superb, as usual, and though he's not got the voice of Robert Alda or Peter Gallagher, you forget it-- as he has this sense of determination to bring all he can to his role as Sky Masterson. "Luck Be A Lady" gives me chills every time I see him perform the number. Especially enjoyable is hearing him say "Daddy... I got cider in my ear."

Simmons is charming and pleasant in a role well suited to her looks, voice and the way she carries herself. You long so dearly for her not only to win Sky (or, toward the end, believe him), but to help people overcome their gambling, drinking and other sins, and live a life with God. Her rendition of "If I Were A Bell" is splendid, to say the least!

Sinatra is the man. He is so perfect for the role of Nathan Detroit-- and here he sings parts that Sam Levene from the Broadway cast never could (terrific actor, but the chap was tone deaf... go figure). I really enjoyed the addition of the song "Adelaide"... wish some guy would sing like that to ME. Frankie's cool, slick demeanor transcends the boundaries of this movie. But most importantly, you want him to marry Adelaide.

And speaking of Adelaide, Vivian Blaine is just sheer perfection in this role. From the accent to her belting out "Adelaide's Lament", she's just terrific. And she's also my favorite part of the entire movie. She really makes you feel for Adelaide... especially when she cries right before and then again during "Sue Me". I still haven't decided whether I like "Pet Me Poppa" better than "Bushel and a Peck"... maybe I like them equally. Either way, she does fantastic with those as well as "Take Back Your Mink." (I'm sad that they left out "hollanderize" from the film...) She's absolutely MARVELOUS, not to mention hilarious, and my favorite part of the entire film.

One of the best things about this movie is their lingo. It's a mixture of high class and street slang. Never do they use "It's", "I'll" or "That's." It's always "It is", "I will" and "That is." Overall, Guys & Dolls is one of my favorite all time movies and musicals, and it's one that you should take time to watch every time it comes on. My only complaint? No "Marry The Man Today." Now THAT'S a good song.

* After a tryout in Philadelphia, the play opened on Broadway on 24 November 1950 and closed on 28 November 1953 after 1,200 performances. The play won a Tony for best musical and Michael Kidd, who also staged the dances and musical numbers in this movie, won a Tony for best choreography. Opening cast members included Robert Alda as Sky Masterson and Sam Levene as Nathan Detroit. Vivian Blaine, Stubby Kaye, 'B.S. Pulley' and 'Johnny Silver' all originated their movie roles in the play.

* The audio for each of Brando's musical numbers is constructed from multiple takes.

* Marilyn Monroe wanted to play Adelaide, but director Joseph L. Mankiewicz didn't want to work with her again and pretended he never got her phone messages. Betty Grable was in talks to play Adelaide but when she canceled on the director to be with her sick dog, she was dropped.

* The songs "Pet Me Poppa" and "Adelaide" were not in the original musical, but were written for the screen version. In the musical, Nathan Detroit (Frank Sinatra) doesn't sing in the title song. He was added for the film to increase Sinatra's singing part.

* The decision to cast Marlon Brando was hotly contested, largely by Frank Sinatra, who wanted the part of Sky Masterson himself. Later in his career, he made Sky's big number "Luck Be A Lady" part of his stage act.

* Gene Kelly also lobbied extensively for the part of Sky Masterson.

* This was the only Samuel Goldwyn production to be released through Metro-Goldwyn-Mayer.

* Sky Masterson's real name is "Obadiah".

* Several of the songs from the Broadway show but not featured in this movie were incorporated into the background music. Among them "A Bushel and a Peck", "My Time of Day" and "I've Never Been In Love Before".

* The character of Sky Masterson is rumored to be based upon New York sportswriter - and former frontier marshal - Bat Masterson.

* According to David Blaine's book, "Mysterious Stranger", Sky Masterson was based on one of the few men to successfully con Al Capone.

* Jerry Orbach, who was involved with the production of Guys and Dolls when it was on stage, makes an uncredited appearance in one of the early scenes of the film. Twenty years old at the time, Orbach is seen spinning around as a customer in one of the chairs of the barber shop, and shaking Frank Sinatra's hand as the main part of the song "The Oldest Established" begins. Orbach is seen singing the single line ("Why it's good old reliable Nathan").

* The original choice for the role of Salvation Army worker Sarah Brown was Grace Kelly.

* After filming the scene where Sky (Marlon Brando) and Nathan (Frank Sinatra) first meet they had to quit for the day when Sinatra had too much cheesecake. He said he could not take one more bite.

* Frank Sinatra loathed the non-singing Marlon Brando for getting the starring role in Guys and Dolls, whereas Sinatra got a lesser part, and his nickname for the sometimes barely coherent Brando was Mumbles.

* One of the songs not featured in the movie is Adelaide's and Sarah's duet "Marry the Man Today," which may have been considered to be too derogatory.

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