What can I say about Singin' in the Rain (1952) that hasn't already been said? The combination of Nacio Herb Brown and Arthur Freed's memorable tunes with Gene Kelly and co-director and co-choreographer Stanley Donan's ever-timeless musical sequences are the closest things to onscreen perfection from Hollywood's Golden Age and Metro-Goldwyn-Mayer's legendary "Freed Unit". Upon seeing it for the first time as a child, this was an instant favorite of mine, and my love for it has continued since then (I went as far as seeing it in a local movie theater during a theatrical re-release for the film's 65th anniversary in 2017). Given that 2022 is the 70th anniversary of this cinematic touchstone, I thought it appropriate to share my long-overdue thoughts on this seminal classic.
Singin' in the Rain is set in 1927 Hollywood, where Donald "Don" Lockwood (Kelly) and Lina Lamont (played by Jean Hagen) are two of the most famous silent film stars in town. Despite the tabloids' speculations that the two are romantically involved, the two are hardly friends. While escaping some of his over-enthusiastic fans, Don encounters Kathy Selden (played by Debbie Reynolds), a young chorus girl for whom he falls head over heels. Meanwhile, talking pictures or "talkies" have become all the rage in Hollywood. Don, Kathy, and Cosmo Brown (played by Donald O'Connor) (Don's best friend) inevitably find themselves caught up in this transitional period, thus resulting in the numerous and often humorous trials and errors that come with adapting to a new cinematic art form.
The film's performances are all excellent, with the lead trio (Kelly, Reynolds, and O'Connor) being incredibly likable and charming. The three share incredible onscreen chemistry despite the tense behind-the-scenes environment, but I will return to that later. Hagen's performance as the shrill-voiced and overbearing Lina is hilarious, with one of her best lines being, "Well, of course, we talk! Don't everybody?" Millard Mitchell's turn as the head of the fictional movie studio Monumental Pictures, R.F. Simpson (a play on Arthur Freed's name), serves as a solid foil to his stars' numerous quirks and antics. In one of her early acting roles, Rita Moreno appears in a supporting role as silent film star Zelda Zanders. She doesn't have that many speaking lines here, but this movie is worth seeing as part of Moreno's pre-West Side Story (1961) filmography.
This movie's vast back catalog of hits is all seamlessly woven into the fabric of the story and its characters, who all navigate the challenges that come with the film industry's new and previously uncharted territory of talking pictures with wholehearted optimism and unfiltered joy. The way the lead trio sings "Good Morning" amidst an early rainy morning and how Kelly sings and dances to the titular song in the rainy streets speaks to the sheer resourcefulness and creativity on the creative team's end, as well as to the timeless quality of singing and dancing in the rain.
On the dancing side of things, all the numbers are not only amazingly-choreographed and performed, but they are incredibly memorable. The first number, with Don and Cosmo (presented as part of a flashback), "Fit as a Fiddle", is delightfully light on its feet (both figuratively and literally), with fiddles in hand and taps galore. Cosmo's "Make 'Em Laugh" number perfectly highlights O'Connor's comedic energy, timing, and athleticism with incredible stunts (that landed him in a hospital bed for a week after filming this piece). Don's serenade of Kathy in "You Were Meant for Me" within an empty soundstage is so simple yet ingenious in execution, which makes this romantic musical bliss. Don and Cosmo's duet in "Moses Supposes" is another highlight of high-spirited tapping that continues to escalate in energy and leave the audience breathless. The "Good Morning" number with the lead trio is highly cheerful and lighthearted while exhilaratingly dynamic in choreography (more on this number later).
However, my two favorite numbers are the following: the "Broadway Melody" ballet and the iconic "Singin' in the Rain". Narratively, the famous "Broadway Melody" ballet sequence doesn't contribute much to the overarching story other than metaphorically illustrating the highs and lows of becoming a star in show business. However, its sheer scope and size alone are enough to rival the ballet near the end of An American in Paris (1951), another Gene Kelly production. However, Cyd Charisse's performance as the woman in the green sequined dress in this number is a show-stealer for her effortless combination of grace, strength, agility, and range as a dancer, coupled with her captivating presence as a performer, is proof that she is among my all-time favorite dancers from MGM's lineup of musical stars.
Finally, the titular "Singin' in the Rain" number is, without a doubt, a marvel to behold. The way Kelly gracefully and seemingly effortlessly taps up and down the streets with his umbrella in hand (all reportedly improvised and with a high fever) through the pouring rain and stomps in puddles with sheer bliss earns its place as a timeless moment that shall and will never be forgotten, nor will I ever get tired of seeing over and over. As a former dancer, I have often attempted to mimic and figure out Kelly's every move from this routine with little success. Regardless, I still set out to somehow perform that number in one way or another.
While it is undeniable that Gene Kelly's choreography and creativity skills are on full display and firing on all cylinders in this movie, hearing the widespread stories of Kelly's tyrannically perfectionist attitude and hostile working environment are unacceptable, whether within a historical context or not. One of the most egregious examples of this was him making Debbie Reynolds cry under a piano after telling her that she couldn't dance, resulting in Fred Astaire comforting and encouraging her by helping with her dancing. Kelly also worked Reynolds so hard during the "Good Morning" number that her feet were bleeding upon taking her tap shoes off.
On a side note, it is highly ironic that in a movie about redubbing that Debbie Reynolds' singing voice was dubbed in by actress Betty Noyes, and during a recording session with Kathy, where she is dubbing in her lines over Lina's, Jean Hagen's naturally deep and beautiful-sounding voice was used as Kathy's, right after playing Lina's lines with her high-pitched voice and heavy Brooklyn accent. These are not criticisms labeled toward the movie per se but rather some fascinating behind-the-scenes trivia facts that make this movie all the more compelling to watch and should leave one further appreciating the craft on display, as well as respecting all the hard work put into this production.
Without a doubt, Singin' in the Rain is the perfect tribute to 1920s Hollywood, their movie musicals, and the shifting filmmaking landscape's transition from silent pictures to "talkies". From its lively-performed and choreographed musical numbers to its world-recognized tunes, this musical is one of MGM's cinematic wonders of the world next to The Wizard of Oz (1939), Meet Me in St. Louis (1944), On the Town (1949), and The Band Wagon (1953). For those who have not yet experienced Singin' in the Rain, see it just for that glorious feelin' you can only get at the movies.
Final Score: 10 out of 10
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