After filming repeated takes of the scene where Sky (Marlon Brando) and Nathan (Frank Sinatra) first meet, they had to quit for the day when Sinatra had too much cheesecake. He said he could not take one more bite. Practical joker (some would say jerk) Brando, knowing how much Sinatra hated cheesecake, purposely flubbed each take so that Sinatra would have to eat piece after piece of cheesecake. The next day, they came back and shot the scene perfectly on the first take.
The decision to cast Marlon Brando was hotly contested, largely by Frank Sinatra, who wanted the part of Sky Masterson himself. Later in his career, he made Sky's big number "Luck Be A Lady" part of his stage act.
Marlon Brando had been cast in the role of Sky Masterson, a role coveted by Frank Sinatra, while Sinatra was relegated to the supporting role of Nathan Detroit. Relations between the two actors were strained during production. Many years later, Brando said of Sinatra, "Frank's the kind of guy who, when he gets to Heaven, is going to give God a hard time for making him bald."
Marilyn Monroe wanted to play Adelaide, but director Joseph L. Mankiewicz didn't want to work with her again (she appeared briefly in All About Eve (1950)) and supposedly pretended he never got her phone messages. Animal lover Betty Grable was in talks to play Adelaide but when she canceled a meeting with producer Samuel Goldwyn to be with her sick dog, who had to be taken to the vet with a broken leg, a miffed Goldwyn would not reschedule and dropped her from consideration. Judy Holliday was also briefly considered for the role.
The songs "A Woman in Love", "Pet Me Poppa" and "Adelaide" were written for the screen version and were not in the original Broadway show. On Broadway, Nathan Detroit (Frank Sinatra) doesn't sing in the title song. That was added for the film to increase Sinatra's singing part.
Very few contractions--"aren't" for "are not" or "wouldn't" for "would not", for example--are used in the dialogue in this movie (the songs are a different story). While it makes the language seem stilted and excessively formal at times, this is true to the writings of Damon Runyon. He also eschewed the use of contractions, and this characteristic gave his works a very recognizable style.
After a tryout in Philadelphia, the play opened on Broadway on 24 November 1950 and closed on 28 November 1953 after 1200 performances. The play won a Tony for best musical and another for best choreography for Michael Kidd, who staged the dances and musical numbers in this movie. Original cast members included Robert Alda (father of Alan Alda) as Sky Masterson, Isabel Bigley as Sarah Brown, and Sam Levene as Nathan Detroit. Vivian Blaine as Adelaide, Stubby Kaye as Nicely-Nicely Johnson, B.S. Pully as Big Jule and Johnny Silver as Benny Southstreet all appeared in their original Broadway roles for the movie.
The character of Sky Masterson is rumored to be based upon New York sportswriter - and former frontier marshal - William Barclay 'Bat' Masterson. In another rumor, according to David Blaine's book "Mysterious Stranger", Sky Masterson was one of the few men to successfully con gangster Al Capone.
The "blank dice" gag is a reference to an old gambler's trick in which the sides of a pair of dice are altered so that only odd numbers come up on each die when you make a roll, so that both dice make an even number.
The original Broadway production of "Guys and Doll" opened at the 26th Street Theater on November 24, 1950, ran for 1200 performances and won the 1951 Tony Award (New York City) for the Best Musical. Vivian Blaine, Stubby KayeB.S. Pully and Johnny Silver recreated their stage roles in the movie version.
Both Vivian Blaine (Adelaide) and B.S. Pully (Big Julie) appeared previously in Greenwich Village (1944). In that earlier film, though playing a character similar to "Big Julie". Pully managed to sing and dance, to the delight of the movie audience
The storyline was based on the 1933 Damon Runyon short story, "The Idyll Of Miss Sarah Brown", That story was later a radio play, broadcast on "Damon Runyon Theater", in 1949, on NBC radio. The voice of Sky Masterson, at that time, was Richard Egan, who had just begun his acting career.
Several of the songs from the Broadway show that were cut from the film were featured in the movie as background music. Among them are "A Bushel and a Peck", "My Time of Day", "I've Never Been In Love Before" and "More I Cannot Wish You".
Shortly after signing to do the part of Nathan Detroit, Frank Sinatra realized Marlon Brando's role was the more substantial and romantic one, and he quickly let his jealousy show. According to Regis Toomey, "Sinatra was snotty and very difficult, as he really didn't want to do "the role. "He can be very cruel and disagreeable. Joe [Mankiewicz] had an awfully hard time on that picture."
Frank Sinatra refused to perform his one ballad, "Adelaide," in character as the comic, Bronx-accented Detroit, turning on all his romantic crooner charm instead, and composer Frank Loesser was less than pleased with the star's turn in the comic "Sue Me" number. ("We'll do it my way or you can f**k off," he reportedly told Loesser.) When Marlon Brando pointed out to Joseph L. Mankiewicz that he should tell Sinatra how to sing his songs ("We can't have two romantic leads," Brando allegedly said), Mankiewicz refused. Brando swore never to work with him again - and he didn't.
Joseph L. Mankiewicz decided to strive for realism only in the characterizations but not the settings. There was no location shooting, no rear projection, only actors on highly stylized sound stages to comply with the feel of the play, which was subtitled "A Musical Fable of Broadway."
In 1959, Frank Sinatra said his role in this picture was the only one he was ever disappointed with. "I wanted to play Masterson," he told Newsweek. "I mean nothing disparaging about Marlon Brando, but Masterson didn't fit him and he knew it."
The tension between the two male leads started right off. Marlon Brando approached Frank Sinatra asking for help with musical numbers and suggesting they get together often and work on them. Sinatra told him he didn't go for "that Method crap" and refused.
Joseph L. Mankiewicz objected to Samuel Goldwyn's insistence the film be shot in CinemaScope, because of what the director called that format's "dollar-bill proportions," and he wasn't happy with the result. "When you've got to fill the CinemaScope screen, everything spreads out," he said later. "On that screen you had twice as many gangsters, twice as many twirls, and twice as many intricacies."
Although he worked very hard at the musical aspects, constantly working with voice coaches and choreographer Michael Kidd, Marlon Brando thought his voice sounded like "the mating call of a yak." He had to spend many hours in the sound studio recording his numbers over and over again. In the end, his songs were patched together from countless retakes for playback during shooting. Years later, he wrote in his autobiography, "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."
Jean Simmons and Joseph L. Mankiewicz got along splendidly. Years later, she said, "Yes, I was aware that he was in love with me, and I think I was with him, really, which I've never admitted to anybody."
Samuel Goldwyn was so pleased with Marlon Brando's behaviour on screen and off, that he rewarded him with a brand new white Thunderbird, which Brando immediately began racing around the streets. In return, Brando went against his usual practice and agreed to do substantial publicity for the picture. However, his good intentions were short lived and after some initial appearances on behalf of the film, he eventually refused to do any additional promotion, stating "I've done enough for that white Thunderbird."
Joseph L. Mankiewicz had the highest praise for Michael Kidd's choreography. He was sceptical at first when Kidd wanted to stage the crap game as a big ballet but the choreographer's unique conception and execution of the number impressed everyone when it was finally screened.
Joseph L. Mankiewicz and Irene Sharaff worked together to use costume as character cue, as in Sarah's nervous habit of opening the second button of her tightly cinched jackets, signalling her desire to be free of her prim existence.