He’s a mountain of a man with a tiny, squeaky voice and a temper that could level a city block. If you’ve ever sat through a local production or seen the 1955 film, you know exactly who I’m talking about. Big Jule from Guys and Dolls isn't just a supporting character; he's the chaotic engine that drives the entire second act into a wall. Most people see the colorful suits and the catchy tunes and think this is just a lighthearted romp about gamblers and missionaries. They're wrong. When Big Jule rolls into town from Chicago, the stakes shift from "will they get married?" to "will everyone survive the night without getting shot?"
Frank Loesser’s masterpiece is built on a very specific type of New York mythology, largely based on the short stories of Damon Runyon. Runyon wrote about "mugs" and "dolls," guys who spoke with impeccable grammar but lacked formal education. Then there’s Jule. He doesn't fit the New York vibe. He’s the outsider. He’s the "heavy." And honestly, the way he’s written is a masterclass in how to use a physical presence to create tension without needing a single dance number.
The Chicago Menace: What Makes Big Jule Tick?
So, who is this guy? Big Jule is a high-stakes gambler from Chicago who arrives in New York for the "Oldest Established Permanent Floating Craps Game." He’s a big deal. Literally. In the original 1950 Broadway production, he was played by B.S. Pully, a man whose voice sounded like a gravel truck losing its muffler. Jule represents the "real" underworld. While Nathan Detroit is busy worrying about a $700 debt and a nagging fiancée, Big Jule is worrying about whether he’ll have to kill someone to win back his losses.
He’s grumpy. He’s bored. He’s dangerous.
One of the funniest, yet most terrifying, traits of Big Jule from Guys and Dolls is his use of "blank" dice. If you haven't seen the show in a while, let me refresh your memory: Jule has a pair of dice where the spots have been rubbed off. He claims he remembers where the dots used to be. It’s a ridiculous, blatant cheat, but because he’s carrying a 38-caliber pistol and has a body count that probably rivals a small war, no one dares to call him out. This isn't just a gag. It’s a character study in power. He doesn't need to win fairly because he owns the room.
The Contrast of the "Big" Man
There is a specific irony to Big Jule. In the world of musical theater, almost everyone gets a song. The hero gets a ballad. The heroine gets a torch song. The comic relief gets a patter song. Big Jule? He doesn't sing. Not really. In most productions, he has a few lines in "The Oldest Established," but he is famously the non-singing role. This is intentional. It separates him from the "musical" world of the other characters. He exists in a reality of grit and bullets, while everyone else is living in a world of melody.
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When Nathan Detroit tries to manage him, it’s like a chihuahua trying to herd a grizzly bear. You see this best in the sewer scene. The environment is damp, dark, and desperate. Jule is losing, and a losing Big Jule is a lethal Big Jule. Sky Masterson has to step in and literally bet his life (and the souls of the other gamblers) just to keep Jule from painting the walls with Nathan’s brains. It’s the high-tension pivot of the show. Without Jule’s looming threat, Sky’s "Luck Be a Lady" doesn't have nearly the same weight. He isn't just gambling for the Mission; he’s gambling to prevent a massacre.
B.S. Pully and the Legacy of the Role
You can't talk about Big Jule without talking about B.S. Pully. He originated the role on Broadway and reprised it in the 1955 movie alongside Marlon Brando and Frank Sinatra. Pully wasn't exactly a "polished" actor. He was a nightclub comic known for being "blue"—meaning his jokes were filthy. He brought a genuine, frightening edge to the part because he was a guy who hung out in those circles.
Later, we saw other takes. Think about the 1992 revival with Walter Bobbie. Or the various stunt castings in regional theater. Some actors play him as a silent, hulking brute. Others play him with a surprising amount of dry wit. The best Jules are the ones who make you forget you're watching a comedy for a split second when they reach for their waistband.
Why the "Blank Dice" Scene Still Works
The "spots" on the dice. It's the ultimate power move.
- The Absurdity: It’s a guy saying "seven" while holding two smooth white cubes.
- The Fear: The silence in the room as Nathan Detroit pretends to see the dots.
- The Payoff: When Sky Masterson finally stands up to him, it’s a moment of pure catharsis.
Sky Masterson is the only one who can handle Jule because Sky is the only one who operates on Jule’s level of cool. When Sky punches Jule (or outmaneuvers him, depending on the staging), it signals that the New York guys aren't just push-overs. But even then, Jule remains a constant shadow over the happy ending. He’s the reminder that the world of Guys and Dolls isn't all cheesecake and carnations.
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Guys and Dolls Big Jule: Beyond the Script
The character has become a trope in itself. You see versions of Big Jule in everything from The Simpsons to The Sopranos. He is the "enforcer" who is actually quite sensitive about his reputation. He hates New York. He misses Chicago. He thinks the New York gamblers are "small-time." This regional rivalry adds a layer of social commentary to the show. Even in the 1950s, people were making fun of the differences between the Windy City and the Big Apple.
In many ways, Big Jule is the most "honest" character. Nathan Detroit lies to Adelaide for 14 years. Sky Masterson lies to Sarah Brown to get her to Havana. Big Jule? He tells you exactly what he wants: your money. And if he doesn't get it, he’ll use his "equalizer." There’s a refreshing, albeit terrifying, transparency there.
Practical Insights for Actors and Directors
If you are ever tasked with bringing Big Jule from Guys and Dolls to life, there are a few things you have to nail. First, don't play him for laughs. The humor comes from the situation, not from him being a clown. If Jule thinks he’s funny, he’s not scary. If Jule thinks he’s deadly serious while saying something ridiculous, the audience will howl.
Secondly, use the size. If you aren't physically huge, use your voice or your stillness. A Big Jule who moves too much is just a nervous guy. A Big Jule who stands perfectly still while everyone else is fidgeting? That’s the guy people are afraid of. Directors often make the mistake of making him a cartoon. Avoid that. Look at the way the character was handled in the National Theatre’s 1982 production—he was a legitimate threat that made the stakes of the craps game feel real.
- Costume Tip: The suit should look like it’s holding back a tidal wave of muscle. Pinstripes are a must, but they should be loud.
- The Gun: It needs to feel heavy. It’s not a prop; it’s his third arm.
- The Voice: Whether you go high or low, it needs to be distinct. It shouldn't sound like anyone else in the cast.
The Cultural Impact of the Squeaky Tough Guy
There’s a weird psychology at play with characters like Jule. We love a villain who has a quirk. His quirk is the juxtaposition of his massive frame and his occasional petulance. He’s like a giant toddler with a firearm. This makes him memorable in a way that the other gamblers, like Benny Southstreet or Rusty Charlie, just aren't. They are part of the ensemble. Jule is an event.
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Even today, when high schools or community theaters put on Guys and Dolls, the casting of Big Jule is the one everyone talks about. "Who are they going to get to play Jule?" It’s a role that requires a specific kind of gravity. You can’t just put a skinny kid in a padded suit and expect it to work. It’s about the energy of someone who has seen the worst of Chicago and isn't impressed by a bunch of New Yorkers in brightly colored vests.
How to Analyze Jule's Narrative Function
He serves as the antagonist of the "B-plot." While the main story is about Sky and Sarah’s romance, the secondary tension is the survival of the crap game. Jule is the personification of the "end of the road." If the game fails, Nathan is dead. If the game continues under Jule's rules, everyone is broke. He forces the characters to make choices they wouldn't otherwise make.
Think about the Mission scene. When the gamblers all show up at the Save-a-Soul Mission to "repay" their debt to Sky, Jule is there too. Seeing this massive, violent criminal sitting in a mission house, listening to Sarah Brown talk about temperance, is one of the most visual jokes in theater history. He doesn't have to say a word. Just him being there is the punchline.
Actionable Takeaways for Fans and Students
If you're studying Guys and Dolls or preparing for a production, focus on these specific areas to truly understand the character:
- Read the Runyon Source Material: Look into the story "The Idyl of Miss Sarah Brown." It gives you a sense of the language and the atmosphere that birthed Jule.
- Watch the 1955 Film: Pay close attention to B.S. Pully’s timing. Notice how he doesn't "act" tough; he just is tough.
- Analyze the Sewer Scene: Track how many times Jule interrupts the flow of the game. He is a disruptor.
- Character Motivation: Jule isn't there to make friends. He’s there to recoup his losses from a bad run in Chicago. Every action he takes is driven by financial desperation masked as bravado.
Big Jule remains one of the most iconic "tough guys" in the American canon. He represents a bridge between the vaudeville past and the more "realistic" musical theater future. He is a reminder that even in a world where people burst into song, there’s always someone in the corner who doesn't like the music and isn't afraid to say so.
Next time you watch the show, don't just wait for "Sit Down, You're Rockin' the Boat." Keep your eyes on the big guy in the back. The one with the blank dice and the 38. He’s the one who really keeps things interesting. He’s the reason the game matters. Without him, it’s just a bunch of guys in a basement. With him, it’s a matter of life and death.