GUYS AND DOLLS [1955 / 2012] [Deluxe Limited Edition DigiBook] [Blu-ray] [USA Release]
Hollywood’s Starriest Musical! Samuel Goldwyn’s Greatest Musical!
Gambler Nathan Detroit [Frank Sinatra] has few options for the location of his big craps game. Needing $1,000 to pay a garage owner to host the game, Nathan bets Sky Masterson [Marlon Brando] that Sky cannot get virtuous Sarah Brown [Jean Simmons] out on a date. Despite some resistance, Sky Masterson negotiates a date with her in exchange for bringing people into her mission. Meanwhile, Nathan's long-time fiancée, Adelaide [Vivian Blaine], wants him to go legit and marry her.
FILM FACT: Awards and Nominations: 1956 Academy Awards®: Nominated: Best Cinematography in Color for Harry Stradling Sr. Nominated: Best Art Direction-Set Decoration in Color for Howard Bristol, Joseph C. Wright and Oliver Smith. Nominated: Best Costume Design in Color for Irene Sharaff. Nominated: Best Music and Scoring of a Musical Picture for Cyril J. Mockridge and Jay Blackton. 1956 Golden Globes: Win: Best Motion Picture in a Comedy or Musical. Win: Best Actress in a Comedy or Musical for Jean Simmons. 1956 Writers Guild of America: Nominated: WGA Award (Screen) for Best Written American Musical for Joseph L. Mankiewicz. 1957 BAFTA Film Awards: Nominated: Best Film from any Source [USA]. Nominated: Best Foreign Actress for Jean Simmons [USA].
Cast: Marlon Brando, Jean Simmons, Frank Sinatra, Vivian Blaine, Robert Keith, Stubby Kaye, B.S. Pully, Johnny Silver, Sheldon Leonard, Danny Dayton, George E. Stone, Regis Toomey, Kathryn Givney, Veda Ann Borg, Mary Alan Hokanson, Joe McTurk, Kay E. Kuter, Stapleton Kent, Renee Renor, The Goldwyn Girls, Barbara Brent (uncredited), Noble 'Kid' Chissell (uncredited), Russell Custer (uncredited), Jann Darlyn (uncredited), Madelyn Darrow (uncredited), Larry Duran (uncredited), Rubén de Fuentes (uncredited), June Kirby (uncredited), Matt Mattox (uncredited), Matt Murphy (uncredited), Pat Sheehan (uncredited), Sandra Warner (uncredited), Sonia Warner (uncredited) and Harry Wilson (uncredited)
Director: Joseph L. Mankiewicz
Producer: Samuel Goldwyn
Screenplay: Joseph L. Mankiewicz, Ben Hecht (uncredited), Abe Burrows (based upon the play), Damon Runyon and Jo Swerling (based upon the play)
Composer: Frank Loesser
Cinematography: Harry Stradling Sr., A.S.C. (Director of Photography)
Costume Design: Irene Sharaff
Image Resolution: 1080p (Eastmancolor)
Aspect Ratio: 2.55:1 (CinemaScope)
Audio: English: 5.1 DTS-HD Master Audio
English: 2.0 Dolby Digital Stereo Audio
Subtitles: English, French and Spanish
Running Time: 150 minutes
Number of discs: 1
Region: All Regions
Studio: Metro-Goldwyn-Mayer / Warner Home Video
Andrew’s Blu-ray Review: After well over 60 years, ‘GUYS AND DOLLS’ remains one of the most popular, often-revived, and flat-out delightful shows in the Broadway canon, combining an array of clever, hummable Frank Loesser tunes with an irresistible blend of romance, comedy, and memorable Damon Runyon characters. All the ingredients for a classic musical are here, and though producer Samuel Goldwyn's big, brassy film adaptation tries its best to capture the unbridled joy of the stage original, it somehow falls short. Questionable casting and stilted direction surely contribute to the mediocre results, but there's still a lot to like about the film version of ‘GUYS AND DOLLS.’ Unfortunately, the isolated bits of magic never quite add up to a satisfying whole.
Runyon's milieu was Broadway, and he was a master at depicting the suave, streetwise gamblers, blustery thugs, and sassy babes that roamed the midtown New York streets. His colourful characters spoke like no others, spouting double-talk and shunning contractions, and the resulting formal, awkward speech patterns evolved into a unique, strangely lyrical dialect that could only be had with a film like 'Guys and Dolls' which is immortalises that world and Frank Loesser sets it to music, composing a marvellous array of catchy melodies enhanced by inspired lyrics that perfectly suit the material.
The simple story of virtue, vice, and ultimate redemption is told like a fable, and chronicles the romantic travails of two couples. The commitment phobic Nathan Detroit [Frank Sinatra], who runs "the oldest established, permanent floating crap game in New York," has been affianced to marry to the charmingly ditzy Miss Adelaide [Vivian Blain], a sexy nightclub singer, for 14 years (yes, 14 years!). Nathan has deftly dodged the altar, but the stress of the interminable engagement has taken a toll on Adelaide, triggering a psychosomatic respiratory affliction. "In other words," she sings in her iconic musical lament, "just from waiting around for that plain little band of gold, a person can develop a cold." Nathan is sympathetic, but is preoccupied with acquiring some quick cash to front a game for out-of-town big shot Big Jule [B.S. Pully]. In a last-ditch effort, Nathan bets debonair gambler Sky Masterson [Marlon Brando] a thousand bucks he can't convince prim and proper Sarah Brown [Jean Simmons], the leader of the local Save-a-Soul mission, to accompany him to Havana for dinner. This sets in motion a typical opposite-attract romance that tests the will of both Sarah Brown and Sky Masterson, forcing them to accept each other's frailties and make critical concessions in the name of love, all amid lively songs and energetic choreography by Michael Kidd.
From the film version of ‘GUYS AND DOLLS’ aspect raised eyebrows, as Producer Samuel Goldwyn shelled out the then-record sum of $1 million for the show's rights, then bankrolled the rest of the $5.5 million budget himself. In other surprising moves, he hired OSCAR® winning director Joseph L. Mankiewicz for 'All About Eve,' who had never before, or, ironically, since, directed a musical, to adapt and film the material, and tapped Frank Sinatra to play the subordinate role of Nathan instead of the more dashing Sky Masterson, much to the actor-singer's dismay and disgust. Sky Masterson went to, of all people, Marlon Brando, who also had no prior musical experience. Reportedly, Frank Sinatra, unable to contain his resentment, sulked through the filming, causing strained relations on the set. The beautiful Jean Simmons, another non-singer, somehow landed the part of Sarah, while the only sensible casting choice allowed Vivian Blaine to reprise her portrayal of Miss Adelaide, which she originated to great acclaim on Broadway.
And instead of shooting the film on location in New York City, which would have lent ‘GUYS AND DOLLS’ a priceless authenticity, stylised sets were used, heightening the sense of artificiality and staginess that often permeates this film. Joseph L. Mankiewicz's screenplay beefs up the characters' personalities, but his straightforward shooting method are lacking the fluid motion and creative composition necessary to spark excitement. While it's impossible not to be entertained by the songs, dances, and characters, the material is that good! The film still tends to plod along at times, as if afflicted by a nagging malaise. ‘GUYS AND DOLLS’ is a humdinger of a smash hit show, but this production lacks the oomph that has made this musical such a perennial favourite.
Like many stage-to-screen adaptations, new songs were written for the film, replacing old standards. Unfortunately, the lilting “I've Never Been in Love Before,” bouncy “A Bushel and a Peck,” reflective “My Time of Day,” and spritely “Marry the Man Today” were all dropped in favour of three subpar melodies, all penned by Frank Loesser, that never seem to blend into the show's fabric. Thankfully, though, such favourites as “Luck Be a Lady,” “I'll Know,” the title song, “Adelaide's Lament,” “Take Back Your Mink” and “Sit Down, You're Rocking the Boat” are all still here and performed with appropriate vim and verve by the cast, which includes a few holdovers, most notably the rotund Stubby Kaye as Nicely-Nicely Johnson, from the Broadway production.
Many also decry Jean Simmons' portrayal of Sarah Brown, but I'm a huge fan of her work in this film. Sure, Samuel Goldwyn could have found a more competent singer, but Jean Simmons, one of the screen's classiest and most beautiful actresses, interprets the lyrics with such sincerity, it's easy to forgive any vocal shortcomings. In fact, my favourite scene in the film is when a drunken Sarah sings the effervescent “If I Were a Bell.” Jean Simmons performs the number with such charm and abandon; we finally feel that elusive sense of joie de vivre for which we've been pining since the brilliant film began.
GUYS AND DOLLS MUSIC TRACK LIST
GUYS AND DOLLS (1950) (uncredited) (Music by Frank Loesser) (Lyrics by Frank Loesser) [Played during the opening credits and sung by an off-screen chorus] [Sung by Frank Sinatra, Stubby Kaye, and Johnny Silver walking down street after Adelaide has broken up with Nathan] [Played as background music at the wedding] [Sung by an off-screen chorus at the end after the wedding]
A WOMAN IN LOVE (1950) (uncredited) (Music by Frank Loesser) (Lyrics by Frank Loesser) [Played during the opening credits and sung by an off-screen chorus] [Reprised in Spanish by an unidentified man in Havana] [Played by the band in the Havana restaurant] [Sung by Renee Renor in the Havana restaurant] [Danced by patrons of the restaurant, including Marlon Brando and Jean Simmons] [Sung by Marlon Brando and Jean Simmons back in New York] [Played as background music at the wedding]
OVERTURE (1950) (uncredited) (Music by Frank Loesser) (Lyrics by Frank Loesser) [Played after the opening credits with scenes in New York] [Contains variations of the songs "Luck Be a Lady." "The Oldest Established" and "Fugue for Tinhorns"]
FUGUE FOR TINHORNS (1950) (uncredited) (Music by Frank Loesser) (Lyrics by Frank Loesser) [Sung by Stubby Kaye, Johnny Silver and Danny Dayton]
FOLLOW THE FOLD (1950) (uncredited) (Music by Frank Loesser) (Lyrics by Frank Loesser) [Played by the Mission Band and sung by them and Jean Simmons] [Reprised by the Band outside of Mindy's restaurant] [Reprised by the Band outside of a drugstore and sung by them and Marlon Brando] [Reprised by the Band outside a bar] [Reprised by the Band and sung by the gamblers at the Mission]
THE OLDEST ESTABLISHMENT (Permanent Floating Crap Game) (1950) (uncredited) (Music by Frank Loesser) (Lyrics by Frank Loesser) [Sung by Frank Sinatra, Stubby Kaye, Johnny Silver, Harry Wilson, Jerry Orbach (opening line) and other men in barber shop]
I’LL KNOW (1950) (uncredited) (Music by Frank Loesser) (Lyrics by Frank Loesser) [Sung by Marlon Brando and Jean Simmons at the Mission]
PET ME POPPA (1955) (uncredited) (Music by Frank Loesser) (Lyrics by Frank Loesser) [Sung and danced by Vivian Blaine and The Goldwyn Girls at the Hot Box Club]
I’VE NEVER BEEN IN LOVE BEFORE (1950) (uncredited) (Music by Frank Loesser) (Lyrics by Frank Loesser) [In the score as background music while Nathan and Adelaide argue in her dressing room]
ADELAIDE’S LAMENT (1950) (uncredited) (Music by Frank Loesser) (Lyrics by Frank Loesser) [Sung by Vivian Blaine in her dressing room]
FOR HE’S A JOLLY GOOD FELLOW (uncredited) (Traditional) [Sung a cappella by Johnny Silver and other men in the bar]
ADELAIDE (1955) (uncredited) (Music by Frank Loesser) (Lyrics by Frank Loesser) [Sung by Frank Sinatra and other men in the bar] [Reprised as background music when Sky meets with Adelaide about Nathan]
IF I WAS A BELL (1950) (uncredited) (Music by Frank Loesser) (Lyrics by Frank Loesser) [Sung by Jean Simmons]
MY TIME OF DAY "A Bushel And A Peck" (1950) (uncredited) (Music by Frank Loesser) (Lyrics by Frank Loesser) [In the score near dawn, when Sky and Sarah get back from Havana]
TAKE BACK YOUR MINK (1950) (uncredited) (Music by Frank Loesser) (Lyrics by Frank Loesser) [Sung by Vivian Blaine and The Goldwyn Girls in the Hot Box Club] [Played as background music at the wedding]
LUCK BE A LADY (1950) (uncredited) (Music by Frank Loesser) (Lyrics by Frank Loesser) [Danced by the gamblers in the sewer] [Sung and danced by Marlon Brando and the gamblers]
SUE ME (1950) (uncredited) (Music by Frank Loesser) (Lyrics by Frank Loesser) [Sung by Vivian Blaine and Frank Sinatra]
SIT DOWN YOU’RE ROCKIN’ THE BOAT (1950) (uncredited) (Music by Frank Loesser) (Lyrics by Frank Loesser) [Sung by Stubby Kaye and a chorus of gamblers at the Mission]
EXIT MUSIC (1955) (uncredited) (Music by Frank Loesser) (Lyrics by Frank Loesser) [After the last end credit, the screen goes blank for about 2 minutes while the orchestra plays "Guys and Dolls" (sung by a chorus), "A Woman in Love" and "Adelaide"]
Blu-ray Image Quality – When done really well, the film 1955 ‘GUYS AND DOLLS’ musical gives us some really vibrant colour palette, splashy sets, and glamorous costumes can be a high-definition lover's dream, and ‘GUYS AND DOLLS’ is a perfect example of just how good an Eastmancolor classic can look in 1080p image presentation and even more spectacular is the 2.55:1 (CinemaScope) aspect ratio. I remember all too well watching faded, bad quality print of ‘GUYS AND DOLLS’ on TV when I was younger, so seeing the Warner Home Video Blu-ray meticulous re-mastered this eye-filling musical was a revelation. Possessing a strikingly palpable film-like feel, thanks to this high-quality 1080p imagery effort combines cosy warmth with bold accents to create an extremely satisfying visual experience. Crystal clarity and well-pitched contrast allow details to pop and lend the image a lovely sense of depth. Colours are beautifully saturated, with both luscious primaries and cool pastels emitting a nice sheen. The red carnations on the gamblers' jackets, their multi-coloured neckties, and the red uniforms of the mission workers pump up the picture's excitement quotient and are complemented by rich and inky black levels and natural, stable flesh tones. Patterns, from the intricate plaid of the jacket to Frank Sinatra's muted pinstripe, are rock solid and resist shimmering, while the satin, feathers, and furs adorning the Hot Box Girls exude a fine array of textures. Close-ups are sharp yet never harsh, and background elements come through cleanly. And speaking of clean, not a single nick, scratch, line, or speck of dust dot the pristine source material, which really looks like it was minted yesterday. A few soft edges occasionally creep in, but they're never pronounced enough to disrupt anyone's enjoyment of this superior effort. Any digital doctoring also escapes notice, and no banding, noise, or other annoyances crop up. Fans of classic cinema will be thrilled with this excellent transfer, which pumps even more energy into ‘GUYS AND DOLLS.’
Blu-ray Audio Quality – The 5.1 DTS-HD Master Audio experience pumps out clear, vibrant sound. Stereo separation is nicely pronounced across the front channels, with effects seamlessly dovetailing to the left and right, but rear activity is quite limited. Atmospherics, such as the din at Mindy's Restaurant, possess good presence, and accents like footsteps are crisp and distinct. Dialogue is always easy to understand, and a wide dynamic scale handles all the demands of the brassy score without a hint of distortion. The musical numbers sound great, filling the room yet remaining connected to the rest of the mix. Vocals are nicely prioritized, but instrumentals never receive short shrift. There are even some stellar instances of weighty bass enhancing various melodies and the fracas in the Havana bar. Best of all, any age-related imperfections, such as hiss, pops, and crackles have been completely erased. The 'Guys and Dolls' soundtrack won't blow anyone away, but for a well over a 60-year-old film, the audio will be music to even the most discriminating ears.
Blu-ray Special Features and Extras:
Special Feature: Guys and Dolls: The Goldwyn Touch [2006] [480i] [1.37:1] [24:00] Members of the Frank Loesser family, the son of Joseph L. Mankiewicz, and Samuel Goldwyn's biographer discuss the distinctive "Goldwyn Touch" that permeates the independent producer's work and how it relates specifically to ‘GUYS AND DOLLS’ in this interesting and informative piece. The participants also talk about the production's genesis, Goldwyn's attraction to the property, and the changes Joseph L. Mankiewicz made to the original book, and share some entertaining behind-the-scenes anecdotes. Contributors include: A. Scott Berg, Marlon Brando (archive footage), Samuel Goldwyn Jr., Michael Kidd, Frank Loesser (archive footage), Gracie Loesser (archive footage), John Loesser, Susan Loesser, Joseph L. Mankiewicz (archive footage), Tom Mankiewicz and Jo Sullivan.
Special Feature: Guys and Dolls: From Stage to Screen [2006] [480i] [1.37:1] [27:00] This equally absorbing special feature concentrates on the similarities and differences between the original stage production of “Guys and Dolls” and the filmed ‘GUYS AND DOLLS’ counterpart. Broadway transplants Blaine and Stubby Kaye are saluted, as are The Goldwyn Girls, a bevy of beautiful babes who supported Blaine in the nightclub numbers. The cut songs are also examined, and we hear of Frank Loesser's disappointment over their deletion, as well as their replacements, and choreographer Michael Kidd discusses in detail various dances and how they were adapted for the screen. Contributors include: A. Scott Berg, Vivian Blaine (archive footage), Marlon Brando (archive footage), Samuel Goldwyn Jr., Stubby Kaye (archive footage), Michael Kidd, John Loesser, Susan Loesser, Tom Mankiewicz, Bert May (archive footage), Tony Rosa (archive footage), Irene Sharaff (archive footage), Jo Sullivan and Larri Thomas (archive footage).
Special Short Feature: More Guys and Dolls Stories [2006] [480i] [1.37:1] [8:00] This collection of five snippets, each running under three minutes, is comprised of outtakes from the above features, and covers all aspect of this film and they include: Adelaide [00:51] Features Tom Mankiewicz talking about his father's secretary who was named Adelaide. Brando Dance Lesson [1:34] has Michael Kidd talking about teaching Marlon Brando to dance. Goldwyn's Career [2:38] offers biographer A. Scott Berg talking about the producer Samuel Goldwyn. On the Set [1:12] brings back Tom Mankiewicz who talks about being on the set as a kid while the picture was being shot. Rehearsing Adelaide [1:29] has Michael Kidd talking about the song Frank Loesser wrote specifically for Frank Sinatra for the film.
Special Feature: Musical Performances: Here we get to view Six ‘GUYS AND DOLLS’ numbers, but why not all of them? They are assembled here for easy access: “Fugue for Tinhorns,” “Guys and Dolls,” “I'll Know,” “Adelaide,” “Luck Be a Lady” and “Sue Me.” Sadly, Jean Simmons' marvellous rendition of “If I Were a Bell” is not included, nor is Vivian Blaine's pitch-perfect “Adelaide's Lament” or Stubby Kaye's rousing “Sit Down, You're Rocking the Boat.” Shame on you Warner Bros.
Theatrical Trailer [1955] [480i] [[1.37:1] [5:00] Impresario Ed Sullivan "hosts" this lengthy trailer preview in his inimitable "really big show" style for the film ‘GUYS AND DOLLS.’
Finally, ‘GUYS AND DOLLS’ is far from the best Hollywood musical, but it possesses enough stellar moments to continue to merit our attention for more than 60 years after its initial release. Damon Runyon's irresistible characters and Frank Loesser's exceptional score more than compensate for the offbeat casting and sluggish direction that consistently threaten to sabotage this classic show. Despite such challenges, 'Guys and Dolls' still manages to entertain, and this top-flight Blu-ray from Warner Home Video showcases all the flash and dynamism of this colourful production. Excellent video and audio transfers make us forget the film's age, and a nice array of supplements adds essential historical context that any classic movie buff will appreciate. Shortcomings aside, ‘GUYS AND DOLLS’ remains one of the all-time great American musicals and for that reason, as well as Warner Home Video superior Blu-ray package, it certainly earns my recommendation. Highly Recommended!
Andrew C. Miller – Your Ultimate Film Aficionado
Le Cinema Paradiso
United Kingdom
