Guys and Dolls (1955)

Just one final review for my musicals-themed week, as I just watched this yesterday, and it feels like an important part of the musical landscape of 1950s America.


I don’t have a problem with this being a great stage musical (and I’ve certainly enjoyed it a lot on stage), but I’m not sure this is the best possible film version that could have been made from it. What I do like, that I didn’t think I would, was the sheer staginess of the whole thing: the opening sequence, the craps game near the end, and others where characters directly look at the camera and break the fourth wall fell so stage-bound there could almost be a proscenium arch around them. It all says ‘Hollywood musical’ pretty effectively and I think it kinda works for the already stylised form of the Runyon stories, in de-naturalising a pretty dark and naturalistic setting (gamblers, late-night dives, gangsters, and all that jazz). What I don’t buy is that these songs about the way men treat women (sorry, ‘guys’ treat ‘dolls’) never really seem particularly sarcastic and pointed, because Brando and Sinatra are pretty alpha guys who look good (Brando has rarely been as pretty as he is in this film), dress sharp, do all the right moves and make all the right noises — these are men in control, and so when they talk about being manipulated by women, there’s no sense of desperation or neediness, it just comes across as being a bit nasty or certainly a bit calculated. It’s also rather long. Still, there’s a huge amount that’s great too, there are at least a couple of really top songs (indeed, the “Luck Be a Lady” rendition was the only time I really felt Brando being vulnerable and needy, desperate for the luck of the dice, which I think needed to come out more elsewhere), and it looks great in the way that golden era Hollywood made so effortless.

Guys and Dolls film posterCREDITS
Director Joseph L. Mankiewicz; Writers Mankiewicz and Ben Hecht (based on the musical by Frank Loesser, Abe Burrows and Jo Swerling, itself based on the short stories “The Idyll of Miss Sarah Brown” and “Blood Pressure” by Damon Runyon); Cinematographer Harry Stradling; Starring Marlon Brando, Frank Sinatra, Jean Simmons, Vivian Blaine, Stubby Kaye; Length 150 minutes.
Seen at BFI Southbank (NFT3), London, Saturday 19 October 2019.

Mississippi Grind (2015)

Searching for images from the film to put at the top of my review, there’s a lot of the two stars Ryan Reynolds and Ben Mendelsohn at the craps table, or playing poker, and it’s true these images have a hint of glamour to them. But that’s not what I think of when I think about Mississippi Grind. It’s a film that lives more in the moments at the bar after the game, as these two sup on a bourbon, get drunk and fantasise about what could be. Because, yes, this is indeed another movie about the faded lustre on the American Dream, which channels a story that touches on the peculiar way that class manifests itself in America via money, the pursuit of it, and more often the lack of it, the difficulty in getting it, and how not having it can ruin your life.

The gambling plays its part in this allegory, but is not depicted as inevitably doomed (though of course that does colour the tension going into a lot of the scenes), but rather as having its ups and downs, as indeed it does in life. And these two guys have their personal ups and downs as they travel the byways of the American heartland, down the Mississippi River and a series of small, faded American gambling towns. For Mendelsohn’s Gerry, you get a sense of a lot more downs, but part of the film is in teasing out exactly what’s behind Reynolds’s mysterious Curtis, who shows up at Gerry’s poker table at the start and is quickly seized on by him as a sort of lucky mascot, into which fantasy Curtis is happy to play for a while. As a marker of his aspirations is his insistence on drinking Woodford Reserve bourbon, both a product placement and something that plays a role in defining their relative paths. Narratively, though, this isn’t tight in the sense we’ve come to expect from US cinema, but has a meandering looseness that harks back to an earlier era (I’ve seen the 1970s mentioned a lot by critics, and that seems fair).

The charm of the film — in a quote that’s recited by the characters a few times — is that it’s about the journey, and in that sense it has a lot of false endings: in a way you can choose whether these guys are successes at life, or losers, and you get the sense that it will continue to go either way for them if they keep at the gambling. But for a couple of hours, it’s an enjoyable amble through some of the less lustrous landmarks of the American Dream at its most capricious.

Mississippi Grind film posterCREDITS
Directors/Writers Anna Boden and Ryan Fleck; Cinematographer Andrij Parekh; Starring Ben Mendelsohn, Ryan Reynolds; Length 108 minutes.
Seen at Cineworld West India Quay, London, Monday 26 October 2015.

April 2015 Film Viewing Round-Up

Herewith some brief thoughts about films I saw in April which I didn’t review in full. It includes a couple of films I actually saw in March but had thought I’d write up in their own posts (I didn’t).

Avengers: Age of Ultron (2015, USA)
The Book of Life (2014, USA)
En duva satt på en gren och funderade på tillvaron (A Pigeon Sat on a Branch Reflecting on Existence) (2014, Sweden/Norway/Germany/France)
Insurgent (aka The Divergent Series: Insurgent) (2015, USA)
Notting Hill (1999, UK)
Pitch Perfect (2012, USA)
Premium Rush (2012, USA)
Wild Card (2015, USA)

Continue reading “April 2015 Film Viewing Round-Up”