It'd be easy to call Guys and Dolls great. It's got Frank Sinatra and Marlon Brando (and, contrary to Sinatra's original wishes, the casting works), it's got a really cool 1950s feel, even if it is basically transposed from stage to screen with only a little interruption. And most of the songs are often a lot of fun, and catchy, and performed with that wink and nod to the wonderful escapism inherent in the form itself. If it's not entirely as great as some others of its ilk, it shouldn't be any fault of the filmmaker Joseph L. Mankiewicz. Not all the songs entirely click, and a little of the dialog feels like it's being performed for the stage as opposed to film (it's hard to tell at times- Brando and Sinatra straddle the line so often that one has to watch carefully to tell when one plays for the camera or for the "stage", while the actress playing Adele is better for stage than screen).<br /><br />The plot is one of those winners that works well for its period, even if one wonders if its influence has stretched to the likes of 1999's She's All That (well, not quite, but close). A gambler (and 14-year betrothed), played by Sinatra, wants to host a big-time game, but is told that the "heat is on", meaning the cops are on watch. So, he has only one choice to host the game, with a thousand dollar tab. The only way he can get it is through a big-time bet with fellow gambler Brando, who's put on to make a wild wooing job of a mission worker. It allows for the predictable twists in the story, in the sudden turn-on-turn-off of the charms of the character, of the idiosyncrasies of people from the streets (gangsters and dancers and the "saitn" played by Jean Simmons who falls for Brando). It is, in its basic concept, about this whole world of guys and dolls, and how to balance one or the other- obviously without getting married or too compromised.<br /><br />Mankiewicz brings a lot of energy to the piece, even when keeping still with the camera on the subject, and his stars are properly reeled in. Hell, even Brando works excellently for a musical as he goes beyond being simply THE method actor and shows his chops for singing and big-star quality. The story and characters eventually wind down to what you'd hope will happen, and that's fine. All we ask for- and what we get- is entertainment in good spurts of witty, involving dialog, and a few songs and dances that bring the house down (my favorites were the number with the lady-cats at the club, Luck be a Lady, and the two numbers down in Havana, Cuba). A-