By Arthur Flynn

During the 1950s and 60s Samuel Goldwyn was one of the most successful producers in Hollywood, his output ranging from comedy to drama to musicals. He was the man responsible for such hits as Porgy and Bess, The Best Years of Our Life, Raffles and The Dark Angel.

In 1955 he had another box-office hit with Guys and Dolls. The play originally opened on Broadway in 1950 and played to packed houses and won a Tony award for best musical. Goldwyn saw its potential for the screen and immediately purchased the film rights and set about the production.

The play had opened in November 1950 and ran on Broadway for 1200 performances and won a Tony Award for the Best Musical.

The leading American director Joseph L. Mankiewicz was the idea choice when producer Sam Goldwyn set about adapting the monster stage hit Guys and Dolls for the cinema. The production was based on the stories of Damon Runyon and the musical play Abe Burrows and Jo Sweling.

Originally Gene Kelly was sought for the role of Sky Masterson but MGM refused to loan him. Marilyn Monroe wanted to appear in the film but director Joseph L. Mankiewicz would not work with her again after his difficult experience on All About Eve.

Filling the role of Sarah Brown proved a problem for Goldwyn. Originally he approached Grace Kelly but she turned down the part due to other commitments. Next he asked Deborah Kerr but she was unavailable. The third choice was Jean Simmons, who had recently played opposite Marlon Brando in Desiree. She agreed and was signed up.

Finally, casting was complete and two straight actors were cast in the leading roles and they carried their songs perfectly – Jean Simmons as Sarah Brown as the Salvation Army lass and Marlon Brando as Sky Masterson, the gambler. The songs were sung by the actors themselves, without dubbing by professional singers.

Frank Sinatra loathed the non-singing Brando for getting the starring role, while Sinatra got the lesser part. His nickname for Brando was Mumbles. Sinatra had also been considered for the part of Terry Malloy in On the Waterfront, but that role also went to Brando. There was no love lost between the two men.

The cast and crew were quickly divided between the Sinatra and Brando. The two actors only spoke to each other through intermediaries. It was a difficult production for both cast and crew.

Continue reading in this week’s Ireland’s Own