My latest video edit included in my Marlon Brando Series on YouTube. For my other Brando edits: MARLON BRANDO SERIES
WARNING! As a film I'm COMPLETELY in love with ... There's A LOT going on in this write-up. Continue at your own risk ...
Now ... A brief introduction:
(And please forgive the "auto focus" ... This was a spur of the moment video and forgot to turn it off ... K. Carry on.)
(And please forgive the "auto focus" ... This was a spur of the moment video and forgot to turn it off ... K. Carry on.)
#SpotlightSaturday Blog Post w/my BDAY EDITION traditional watch on GUYS AND DOLLS (1955) in my CINEMA COFFEE piece "I got cider in my ear": https://t.co/gPB6tKOwTv #ForMyMom Enjoy☕□.
— Dominique Revue (@DominiqueRevue) June 16, 2018
My countdown thread: https://t.co/Cr8MW1kSBH
My Stella/Blanche piece: https://t.co/QCo7WgsZBt pic.twitter.com/OtDXluNopR
As the weeks go by, so do the days nearer to my birthday. And as with every year, for some time now, comes my traditional watch of GUYS AND DOLLS (1955).
I really couldn't pin point what year it started after I discovered GUYS AND DOLLS (for that involving story see my piece: DO YOU TAKE SINNERS HERE?). It just happened. As did incorporating a pint of Dulce de Leche ice cream to eat all my own this one day out of the year. Not that I don't indulge in Sky Masterson, Nathan Detroit and their love affairs, a la Sister Sarah Brown and Miss Adelaide any other time out of the year. In fact, they're so well known "'round chere," you might as well say they don't only have a room here, they live here.
So in love with this musical, film and story I became, I'd include it in several of my Theatrical Productions:
"You want to take me to dinner in Havana, Cuba?"
In my personal life it took the effect, whenever the mere suggestion came up of a "movie to watch whilst ... (fill in the blank)", the *first* thing that came out of my mom's mouth was, "No Guys and Dolls. Anything but Guys and Dolls!" (Said in very definite Thelma Ritter in THE MARRIAGE AND THE MODEL BROKER as "Mae Swasey" tone). Yeah. It ran that deep. GUYS AND DOLLS has been through unlimited watches … Un-lim-it-ed. Get the picture? In short, give me two words at random anywhere in the picture, and I'll give you back the next scene in dialogue with a performance … "And how is everybody down here?"
However, on my birthday, paired with my "Dulce … de Leche" (said in my Sister Sarah Brown voice of course), it's special. A moment all my own. Unique just to fit me.
Since I was about 13 or 14 years old, I've been using themed cakes (9 x out of 10 film related, from the "Hollywood" sign to NINE, from JAMES BOND to GENTLEMEN PREFER BLONDES … and yes, GUYS AND DOLLS) made *always* using black icing as the color base. Always.
UPDATE:
To give a bit of a backstory, GUYS AND DOLLS was birthed to words by a combination of writer Damon Runyon's history of creating underworld characters, leading Jo Swerling and Abe Burrows …
"... where the elite meet to eat. Archie the manager speakin'. Duffy ain't here—oh, hello, Duffy." … into writing, along with the added musical feature of Frank Loesser, a collection of short stories, "Blood Pressure", published in the Saturday Evening Post, 1930, amongst them, however, turning "The Idyll of Miss Sarah Brown," where we meet Obadiah "Sky" Masterson, as the direct inspiration where GUYS AND DOLLS was born. |
The film ran so deep in my veins, while going through my dad's massive room of records one day, (no, seriously, it's real, I grew up thinking my dad and music were one and the same … and I still do), I found amongst his shelves -- scratch that, library of records, the Original Cast vinyl of the Broadway production of GUYS AND DOLLS. A record I soon found waiting for me one day as a gift from my dad, saying he knew how obsessed -- ahem … I mean, *fond* I had become of the film, and he wanted me to have it.
The Original Broadway Cast included Robert Alda as "Sky Masterson", Isabel Bigley as "Sister Sarah Brown", Vivian Blaine as "Miss Adelaide", and Sam Levene as "Nathan Detroit", with Vivian, Stubby Kaye as "Nicely-Nicely Johnson", B. S. Pully as "Big Jule", and Johnny Silver as "Benny Southstreet reprising their roles from stage on screen.
The play, opening the 20th of November 1950, ran for 1,200 performances and a Tony Award on top, 1951. Included in the audience of one of those performances was film tycoon, Samuel Goldwyn, who by this point in his career was reaching the other side of success, by this meaning, his more later "November years", where he could afford not to have so many films released during a year. Also meaning, being more cautious. Having not made a film in three years, according to his son who went with his dad to see a performance of the Broadway show, the late Samuel Goldwyn, Jr. (1926-2015), he was nervous about making this film, and yet … he was crazy about it. Cue bidding for the rights of the play to adapt on-screen. "Laying his money on the barrel," as they say, or putting his money where his mouth was, whichever you prefer, with $1,000,000 to back his play.
After the rights were secured, preparations went underway to transfer this musical on stage to screen after the play wrapped, which wouldn't happen until 1953 of November.
During that preparation, pre, post, and in between time, $4.5 million dollars would be spent. What did Samuel Goldwyn get for his money?
Marlon Brando.
After the rights were secured, preparations went underway to transfer this musical on stage to screen after the play wrapped, which wouldn't happen until 1953 of November.
During that preparation, pre, post, and in between time, $4.5 million dollars would be spent. What did Samuel Goldwyn get for his money?
Marlon Brando.
A role Marlon began getting into character for straight after his win Oscar Night at the Academy Awards for Best Actor in ON THE WATERFRONT (1954).
But that's not all he got. He got Joesph L. Mankiewicz. The perfect fit for the task of director. At the height of his career, New York in the New Yorker, he seemed to bleed this story. On top of every other successful credential Mankiewicz could have up to this point, he also was in direction of 'La Bohème' at The Met in 1952.
The pairing of Mankiewicz and Marlon would prove to be imperative. As seems to be a pattern with Marlon when you research the preliminaries leading up to Marlon taking on any role, it usually begins with Marlon refusing to believe he is right for the role. Sky Masterson was no different.
And though, Brando wasn't the only person who thought he wasn't right for the role, as far as Samuel Goldwyn was concerned, Marlon Brando was not his first choice, wanting to free Gene Kelly from his MGM contract, an eye on Dean Martin, whom he favored as Sky Masterson and Jerry Lewis as Nathan Detroit, and Clark Gable lobbing for the role, Mankiewicz fought hard to convince (not only Marlon) but Goldwyn, protesting Brando was the right choice to play -- scratch that, *be* Sky Masterson.
In his reluctance to take the role, telling ally, Joseph L. Mankiewicz, he didn't feel right for the character because he was no singer and he had not done a musical before, Marlon's once JULIUS CAESAR (1953) director, sure he was right for the role, wrote him a telegram while Marlon was in Europe:
And though, Brando wasn't the only person who thought he wasn't right for the role, as far as Samuel Goldwyn was concerned, Marlon Brando was not his first choice, wanting to free Gene Kelly from his MGM contract, an eye on Dean Martin, whom he favored as Sky Masterson and Jerry Lewis as Nathan Detroit, and Clark Gable lobbing for the role, Mankiewicz fought hard to convince (not only Marlon) but Goldwyn, protesting Brando was the right choice to play -- scratch that, *be* Sky Masterson.
In his reluctance to take the role, telling ally, Joseph L. Mankiewicz, he didn't feel right for the character because he was no singer and he had not done a musical before, Marlon's once JULIUS CAESAR (1953) director, sure he was right for the role, wrote him a telegram while Marlon was in Europe:
Whether Brando can sing or not, one has to appreciate the effect it is for Brando and Sinatra to be in the same film together. Regardless of the off-screen tension between them. Regardless of Brando not being a singer. And very much possibly, because of just those two reasons, this makes for an eclectic pairing.
Knowing now all the "extra" layer of meat that came prior to this film with ON THE WATERFRONT (1954), to the division of the two performers from the very start of filming, as Marlon approached Frank during their first meeting, asking Sinatra for help with musical numbers, suggesting they work on them together, proved to be the match that started the fire, so to speak, Sinatra, refusing, told Marlon he did not go for "that Method crap." (However, having reading and researching on Marlon as much as I have over the years, one wonders really, if Marlon wasn't using this "greeting tactic" for further use in his advantage down the road?). Which, rather or not that was his intent initially, Brando, in the end, used it just the same.
Knowing Frank Sinatra was not a fan of retakes, his distaste for cheesecake, and according to Michael Kidd, hated being touched, as Marlon continues to wrap his arm around Sinatra in the scene intentionally, the production was suspended for the day during the Cheesecake scene, due to Marlon's deliberate nailing his lines all the way up to the tail end, causing "one take Sinatra" to eat cheesecake, take, after take, after take, up to nine times before Frank, using language it's said he used when he had had enough, I can't say ... "Ralphie!" (Yes, that word). |
A story probably best described by choreographer Michael Kidd in the 50th DVD Edition of GUYS AND DOLLS, who made the choreography transition from the Broadway production to the film adaptation, describes as, running into Marlon on the street set outside of "Mindy's" after the cheesecake scene was suspended for the day, received this response after asking Brando, already knowing, how did it go in there:
If they shot until midnight, they never would've got the take. I blow every single scene that they make. 'Cause I could see the look on Frank's face, he thought he was victorious and I was going to make him eat every G*ddamn piece of cheesecake that they had in the bakery before I would agree to let that scene go by." |
Marlon's point made, the next day during the filming of that scene, Michael Kidd says, they got the whole scene in one take.
It doesn't take much, especially for a Classic Film fan, to see what an explosion this is on screen. For me, this was the Cary Grant/James Stewart effect the first time the two are in the same frame together in THE PHILADELPHIA STORY (1940), when Stewart nor Ruth Hussey is aware of Grant walking directly behind them in the corridor, as James is in deep conversation with Hussey on their way to see "Sidney Kidd".
Leading up to my discovery of this film, Frank Sinatra was a household name no matter the decade, and he still is, film or song. I knew Sinatra like the back of my hand. Marlon Brando for me, however, was a name used in link to "Don Corleone" as THE GODFATHER, or his tabloid exploits that I couldn't help but see and read on the tele or in print, even as a kid, and even though his appearance didn't match his predecessor, bar his smile, a smile that gives him away at any age, no matter the decade. Those images stick with you and make an impression that's hard to shake if not impossible to lose at that early of an age … that is until GUYS AND DOLLS aired on TCM one Sunday afternoon.
As mentioned in my DO YOU TAKE SINNERS HERE? blog piece:
As mentioned in my DO YOU TAKE SINNERS HERE? blog piece:
Before the film even started, I looked up the information on the tele guide just to see what it was about. When, there it was, all written, "MARLON BRANDO SINGS ..." *blank stare* I'm sorry, you want me to do what?? ... I went mute. Sitting on edge with anticipation for the start of this film and his arrival in it. I hate to admit I barley noticed Nathan Detroit ... Wait, wait, wait! Not to take away from Frankie; when it comes to The Chairman of the Board, there just IS no other. He IS the top! "And don't tell yo Mama." But deuce take it, when I heard the words:
"Sky Masterson!"
"Detroit! ... How goes your percentage of life Nathan?"
My speech faltered. I didn't know what to say, I just looked on with amazement ... could this be "The Godfather" in training? No. It couldn't be. So I waited. I mean even if it was ... No. Definitely not ... Oh, but it was! And it wasn't until ...
"Do you take sinners here?"
... I could allow myself to believe it! It is! Well, of course I just had to know everything there was to know about this man that the paparazzi seemed to enjoy to follow and write about in the papers and on the tele. Then why not go to the source himself, right? Well ... at least in a biographical sense at least, told by himself, of course. Who could write better about ones life than 'the one,' no?
And WOW, what a read. It's -- well, I'll just leave it there ... Right on the coffee table for you to read for yourself.
When I got "hit" by Marlon Brando, it didn't come in small doses, it came crashing down on me all at once
BRANDO SINGS!
This tag line became a leading attraction to the press and the people prior to the release of the film. And was not unthought of when the real possibility came up on whether they could get Brando or not to be Sky Masterson. As in, this would be our campaign effect.
Hearing Brando sing became almost an operative measure as even actor Walter Pidgeon, doing a radio piece on topic with the production of GUYS AND DOLLS, was invited to the set to interview the cast, "running into" Vivian Blaine, Samuel Goldwyn, Jean Simmons, and Director Joseph L. Mankiewicz to discuss the performance, with heavy doses of asking everyone just what does Marlon sound like singing?, before tracking down Marlon himself while filming on set during production in "The Making of GUYS AND DOLLS" (listen in below):
Hearing Brando sing became almost an operative measure as even actor Walter Pidgeon, doing a radio piece on topic with the production of GUYS AND DOLLS, was invited to the set to interview the cast, "running into" Vivian Blaine, Samuel Goldwyn, Jean Simmons, and Director Joseph L. Mankiewicz to discuss the performance, with heavy doses of asking everyone just what does Marlon sound like singing?, before tracking down Marlon himself while filming on set during production in "The Making of GUYS AND DOLLS" (listen in below):
(The original audio I had was deleted, so here's the same interview via 'gordonskene': WALTER PIDGEON INTERVIEWS MARLON BRANDO
I went to the recording studio with Frank to record my songs, which were to be synchronized later with shots of me mouthing the words on film. I couldn't hit a note in the dubbing room with a baseball bat; some notes I missed by extraordinary margins … They sewed my words together on one song so tightly that when I mouthed it in front of the camera, I nearly asphyxiated myself because I couldn't breathe while trying to synchronize my lips. The audience never realized that when I sang a song, it was a product of many, many attempts.
-Marlon Brando, Songs My Mother Taught Me (autobio)
Marlon and Jean, both having worked together previously in DÉSIREÉ (1954), were both new to singing, dancing, and musicals. Something fellow cast members, Frank Sinatra and Vivian Blaine need not worry about, singing in musicals, the two were both veterans.
Even Frank, with help from Gene Kelly, as the two worked on ANCHORS AWEIGH (1945), ON THE TOWN (1949), and TAKE ME OUT TO THE BALL GAME (1949), could add dancing to his resume prior to GUYS AND DOLLS. However, here, we get an all crooning Sinatra. |
But with Jean Simmons, they got more than what they expected, she couldn't only hold a note, she carried the song and the role well. Even when getting the opportunity to let loose of the quiet, proper English lady, trading it in for the "don't touch my buttons or my man" woman in the Cuba scene opposite Larri Thomas (one of the Goldwyn Girls you see throughout the film in various numbers).
Goldwyn Girl, Larri Thomas with "The Alley Kittens" (second from the left), and in scene with Marlon Brando, before getting a punch from Sister Sarah Brown (Jean Simmons).
For me, GUYS AND DOLLS and its "Runyonesque" characters, is a film you can really get lost into, if you let yourself go. It isn't just a musical film for the sake of being a musical, it's a Broadway production brought to the eyes of a film audience. In a way, it gives you what other musicals don't give you of the time up to that point. In particular, all the stars using their own voice to sing instead of the dubbing effect, which was quite common back then. Something Joseph L. Mankiewicz wasn't a fan of. Working closely with both Frank Loesser on the dialogue, genius in weaving the stylistic language in a musical tone, allowing the characters in the film adaptation to receive their stories in depth, and Michael Kidd on the choreography, Joseph telling Michael, do what you do, this is your baby, when it came to the dance numbers, the crap game scene during the climax of the film in particular. A routine Michael says was done exactly the same way on Broadway as it was recreated on screen.
Even with several numbers cut from the play production, with new numbers added to the film, which Frank Loesser wasn't too thrilled about, "Bushel and a Peck" most notably. But with those loses, we get "A Woman in Love" for Jean's, Sarah Brown, and Marlon's, Sky Masterson, and Frank Sinatra's "Adelaide," which in spite of my Mom's annoyance (in such a comical way) of my repetitive watching, singing, and acting out (though this part she actually got a kick out of me doing) GUYS AND DOLLS, she actually really liked that song. Singing it herself from time to time. Which I thought adorably cute, as she'd get into her Sinatra mode.
Not to forget the two songs that did make the transition, "Adelaide's Lament" by Vivian Blaine and "Sit Down You're Rocking The Boat" performed by Stubby Kaye, which made a huge hit with friends and family during my Birthday watch a few years ago when I sat them down to watch GUYS AND DOLLS for the first time, days later, they said they couldn't get that song out of their heads.
Even with several numbers cut from the play production, with new numbers added to the film, which Frank Loesser wasn't too thrilled about, "Bushel and a Peck" most notably. But with those loses, we get "A Woman in Love" for Jean's, Sarah Brown, and Marlon's, Sky Masterson, and Frank Sinatra's "Adelaide," which in spite of my Mom's annoyance (in such a comical way) of my repetitive watching, singing, and acting out (though this part she actually got a kick out of me doing) GUYS AND DOLLS, she actually really liked that song. Singing it herself from time to time. Which I thought adorably cute, as she'd get into her Sinatra mode.
Not to forget the two songs that did make the transition, "Adelaide's Lament" by Vivian Blaine and "Sit Down You're Rocking The Boat" performed by Stubby Kaye, which made a huge hit with friends and family during my Birthday watch a few years ago when I sat them down to watch GUYS AND DOLLS for the first time, days later, they said they couldn't get that song out of their heads.
Even with Vivian as an almost obvious choice, having played the role of Adelaide on stage, Judy Holliday considered for the role, Betty Grable scheduled for the meeting that never was to discuss the role over with Sam Goldwyn, and Marilyn Monroe wanting the role, in the end, Vivian Blaine got her role back.
Vivian Blaine takes Adelaide and her alley Kittens from Broadway (1950-1953), to London's West End (1953), to the film adaptation (1955).
I know it's a lot to process, and this is one film I could go on and on about, because there is still so much more I could say. Having said all this, I leave you saying, let yourself go, and get into the spirit of GUYS AND DOLLS, which, if nothing else, dialogue wise, should not be hard to do. Frank Loesser's use of the New York underworld language is bar none an attraction of its own. It is very well worth the watch. To know me, is to know GUYS AND DOLLS. We're that close.
Grab you a cup of coffee, or a slice of cheesecake … ahem … whichever you prefer, and join me in my Birthday celebration, in a cup of GUYS AND DOLLS … #ForMyMom
UPDATE:
And if you think I was joking about my ongoing Sister Sarah campaign … After the announcement of the #GuysAndDolls remake (which I've been following since '00's!), made my own #SisterSarahBrown audition tape!
And if you think I was joking about my ongoing Sister Sarah campaign … After the announcement of the #GuysAndDolls remake (which I've been following since '00's!), made my own #SisterSarahBrown audition tape!
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Color palettes I created for GUYS AND DOLLS (1955)
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