text: This musical was not quite what I expected, foremost being there weren't many scenes between Brando and Sinatra. As it was based on a Damon Runyon story, I expected irony and surprise, of which there was one really good one - when we find that Sinatra's gang has used the Salvation Army office for their crap game while Brando was in Havana with Simmons. If course it comes at the right moment too, when Brando brings her back. I really didn't expect much from Brando as a singer, but he surprised me. He wasn't great but he was just fine in the role. His big number in the sewer, however, with the rest of Sinatra's boys was the only place I felt Brando's voice was weak. He just didn't have the power the grand climax demanded. Overall I found the scenes between Brando and Simmons to be filled with electricity, something I didn't think would happen when we first see Simmons by herself, and later when we're introduced to Brando in the restaurant with Sinatra trying to pull a fast one on him. It wasn't until Brando goes to her office that the story came to life. <br /><br />Frank Sinatra, on the other hand, was flat, even his vocal performances. And Vivian Blaine, who I never heard of, but who I guess played the role on Broadway, just seemed to slow the proceedings down. The scenes between her and Sinatra were obvious. Also, her songs felt the weakest to me both in terms of advancing story or character. On top of that, all the Goldwyn Girls numbers seemed shoe horned in, just there for glitz. For example, when Frank meets with Brando in the nightclub, we just cut to the stage routine for the cat number - then it cuts back to the guys who continue on as if there hadn't been any dance number at all. Whenever Brando and Simmons were on screen, I was having a great time, but each time we return to the Sinatra-Blaine story, my interest level waned. <br /><br />As for the songs, there were some good ones, particularly the very first number with Stubby Kaye, the Fugue for Tinhorns number (Can Do!). That's a great song and it reminded me of the very first song in The Music Man - Cash for the Merchandise... whatever it's called. And the number in the sewer - I couldn't help but be reminded of "Cool" from West Side Story - which brings me to a point. I really did not like the art direction in this film. The fake Times Square was just so completely phony it drew attention to itself. Same for the Havana sequence, and particularly the sewer. I realize back in 1955 most musicals were shot on sets, but things were changing - Carousel, for example, made great use of location photography. Even On the Town shot scenes in Mahattan in 1949. By the time we get to West Side Story in 1961 it's a given that stuff taking place in Manhattan had to be actually shot in Manhattan. So by comparison, Guys and Dolls set-bound Manhattan felt dated and more than a little too cute. And changing Lindy's to Mindy's - did they really have to do that for legal reasons? Now, I always thought Guys and Dolls was a musical about Sinatra and Brando and their adventures with various girls. It was much more focused than that, which is to its credit. In that regard it is much better than Les Girls, which was interesting in it's own right, but had a certain shallowness to it. <br /><br />My one major complaint about Guys and Dolls, and I don't know if this is endemic to the original stage show, but when Jean Simmons realizes that Brando never took any money for a bet that he made with Sinatra and even said that he lost the bet, she just runs off to find him and we cut to the wedding. It seems to me a scene between Brando and Simmons would have added to the impact of the story. To see Brando come around as she came around to him would have been a great scene. There is such a scene in The Music Man (SPOILERS AHEAD), when Harold and Marion have that duet while he's waiting for her to change. She's upstairs in her house, he's down on the sidewalk. He's singing 76 Trombones. She's singing Goodnight My Someone. They suddenly switch and sing each other's songs - a beautiful way to convey their cross over to each other. It's an emotional high moment of the film. Still, Guys and Dolls had a lot going for it.