Frank Loesser’s amazing score for Guys and Dolls has to be one of the greatest ever written, packed with unforgettable songs, from Fugue for Tinhorns to Luck, Be a Lady and Sit Down, You’re Rockin’ the Boat. Michael Kidd’s fast-moving choreography in the colourful street scenes, using Cinemascope to its full effect, adds to the atmosphere, while the dialogue is full of sharp one-liners. However, the film has had much adverse criticism over the years.
So what’s the reason for the widespread lack of enthusiasm? I think it might be mainly that the stage musical is so beloved and frequently revived, with the film coming off second-best by comparison . As with so many adaptations, a few of the songs from the stage show were jettisoned for the film, including such greats as I’ve Never Been in Love Before – Marlon Brando, controversially cast in a singing role, is said to have struggled with some of the notes. However, as compensation, Loesser wrote some new songs for the film, including A Woman in Love for Brando and Sinatra’s show-stopper Adelaide, which, going full circle, is now sometimes included in stage productions.
Just editing this posting to say that the Summer Under the Stars blogathon is currently running all through August, and today (August 23) is Gene Kelly’s special day. Please visit to read lots of great postings on his films.
Judy Garland and Gene Kelly starred together in three movies. The best-known is undoubtedly The Pirate, a lavish Technicolor production which I’ll admit leaves me cold. For Me and My Gal, made by Arthur Freed’s famous production unit at MGM, is in black and white and on a much smaller scale altogether, despite having Berkeley as director. Its tightly-constructed musical numbers bear little resemblance to those in his breathtaking pre-Code extravaganzas. The film as a whole is a strange mixture between musical comedy, melodrama and wartime flag-waver, with an intriguing flawed hero. It is set during the First World War, but clearly the scriptwriters were thinking of the Second, and there are scenes urging characters to buy war bonds, echoed in the final frame with an appeal to moviegoers. The fashions also look contemporary for the 1940s. I saw the film on TCM in the UK (it is also due for a showing on the US TCM at 6am (ET) on August 23, 2012), but it is available on DVD in both regions 1 and 2.
Even if it doesn’t always completely hang together and is occasionally corny, I found the film riveting to watch and enjoyed the chemistry between Garland and Kelly, as well as the array of great songs – highlights include the title song and the song-and-dance dance number Ballin’ the Jack – many of which date from the First World War or earlier. It’s just a pity that, in a film with Berkeley as director and starring Kelly, there is relatively little dancing overall – co-star George Murphy, in particular, gets very few scenes where he is able to show his tap-dancing prowess. According to TCM’s article on the movie, 40-year-old Murphy was originally intended as the male lead, but the part was instead given to Kelly, who was 10 years younger and making his movie debut fresh from his success in Pal Joey on Broadway. A disappointed Murphy was demoted to a support role. Another change was that originally the film was supposed to have two leading ladies, a singer and a dancer – but both these roles were combined to give Garland, who was only 19, her first fully grown-up role, with her name as the only one above the title. Looking at the posters for the film, Garland’s name and image dominate and it was clearly seen as her movie all the way. However, Kelly certainly shows his power and charm as both dancer and actor, in a role which made him a film star – while Murphy is also impressive in the few scenes he does get.