The musical Guys and Dolls is celebrated for its memorable score by Frank Loesser. When the beloved Broadway hit was adapted for the silver screen, some changes were made to the Guys and Dolls songs, sparking debate among purists and filmgoers alike. This article delves into the alterations made for the Guys and Dolls film, exploring the reasons behind these choices and the intriguing story of the soundtrack that never quite materialized as expected.
One notable change was the replacement of “I’ve Never Been in Love Before” with “A Woman in Love.” The original song, while beautiful and integral to the stage production, was perhaps deemed too poetic for mainstream film audiences of the time. As the original forum poster suggests, film producer Samuel Goldwyn likely sought songs with more immediate pop appeal. “I’ve Never Been in Love Before,” with its sophisticated lyrics (“But this is wine that’s all too strange and strong”), might have been perceived as less commercially viable than a more conventional love ballad. Indeed, “A Woman in Love” was promoted as a potential hit, even recorded as a single by Frankie Laine, though it didn’t reach top pop chart success.
Another addition to the film’s song list was “Pet Me Poppa.” This number was specifically created to showcase the “Goldwyn Girls,” a group of dancers frequently featured in Goldwyn’s productions. “Pet Me Poppa” served the purpose of injecting a large-scale, visually impressive production number into the film, a common tactic in Hollywood musicals of the era to enhance spectacle and entertainment value.
Interestingly, “Adelaide’s Lament” was reportedly included in the film specifically for Frank Sinatra, who played Nathan Detroit. The irony, as pointed out in the original post, is that Sam Levene, who originated the role of Nathan on Broadway, was not a strong singer. This highlights a common issue in musical theatre adaptations: the tension between casting actors for their dramatic portrayal versus their vocal abilities. While performers like Nathan Lane, known for both acting and singing, have taken on the role in later stage revivals, the film era often prioritized star power, even if it meant altering the vocal landscape of the production. Jo Sullivan Loesser, Frank Loesser’s widow, believed the stage show was perfect as it was, a sentiment echoed by many theatre purists who prefer the original song selections.
Adding another layer to the Guys and Dolls songs story is the complicated history of the film’s soundtrack album. Despite the movie’s popularity and the strength of Loesser’s score, a definitive soundtrack album was never released at the time. This was due to a confluence of contractual issues. Sinatra was signed to Capitol Records, who naturally wanted the soundtrack rights. However, MGM released the film and also desired to release an album. Adding to the complexity, Decca Records held the recording rights from the original cast album and also had album ambitions. The result was a compromise: Decca released two extended play (EP) records. One featured Marlon Brando and Jean Simmons performing four songs from the film (“A Woman in Love,” “I’ll Know,” “If I Were a Bell,” and “Luck Be a Lady”). The other EP showcased Sammy Davis Jr. singing four songs, including “Adelaide,” a song Sinatra himself never officially recorded, even for his own Reprise Records album of Guys and Dolls songs.
This situation underscores the distinction between cast albums and soundtracks. A cast album preserves the songs and performances of a stage production. In contrast, a film soundtrack captures the music as it appears in the movie. As the original poster rightly notes, live theatre does not inherently have a “soundtrack” in the cinematic sense.
In conclusion, the Guys and Dolls songs underwent changes in the film adaptation primarily for commercial reasons and to cater to the cinematic medium. While some purists may lament the alterations, they reflect the film industry’s approach to adapting Broadway musicals for a wider audience. The story of the elusive soundtrack album further illustrates the complex intersection of music, film, and record industry interests in the mid-20th century.
