- Title: Singin’ in the Rain
- Director: Gene Kelly and Stanley Donen
- Date: 1952
- Studio: MGM
- Genre: Musical, Romance, Comedy
- Cast: Gene Kelly, Donald O’Connor, Debbie Reynolds, Jean Hagen, Cyd Charisse, Rita Moreno
- Format: Standard, Technicolor
- DVD Format: R1, NTSC
“Dignity, always dignity.” — Don Lockwood
“What do you think I am? Dumb or something?” Lina
“Everybody’s always making speeches for me, well tonight I’m going to do my own talking, I’m going to make the speech!” — Lina
It should come as no surprise that I’m a big fan of Fred Astaire (see links on left to his many films that I own) so, even though I think it’s perfectly possible to like both, I’m much less of a fan of Gene Kelly. Kelly definitely has a very different dancing style — he’s athletic, and dances like a gymnast but he’s also very heavy. While Astaire dances on air — and seems to float with grace and style, Kelly is very down to earth and almost working class, even when playing a rich, successful, film star as he does in Singin’ in the the Rain.
The film starts with a 1927 film premiere, which is reminiscent of an Oscar Red Carpet night, complete with a female commentator, who announces the stars as they arrive. Soon, one of the film’s stars arrives, Don Lockwood (Kelly), who is convinced to tell his well-known story to the audience. He does, but the pictures in the resulting montage are the exact opposite of his words. It is a very nice piece of ironic humor to start the film.
However, it is also ironically, and unintentionally, a comment on the studio system of film-making, of which MGM was a prime (but not the only) example. The studio would create background stories, publicity images, even the names of their stars, as well as choosing which films their stars made and who their co-stars were. Studio system actors, in a very real sense, were “just doing a job” — they showed up, made that month’s picture, then the next, and the next, and the next. This is one reason why film stars of the 1930s, 40s, and 50s, racked up huge numbers of films if they stayed in the business.
Just as Lockwood and Lina Lamont (Jean Hagen), the stars of Monumental Pictures, start their new film, “The Dueling Cavalier”, Warner Brother’s “The Jazz Singer” comes out and is a smashing success. “R.F.”, the head of the studio, decides “The Dueling Cavalier”, will be a talking picture. Don and Lina are given voice / diction lessons, but whereas Don takes to it like a duck to water, Lina, whom the studio has not allowed to speak in public, has trouble. Her voice is loud, squeaky, obnoxious, and her manner is rude, self-centered, and shrewish. Not only is her voice a distraction, but she is unable to figure out she must direct her voice towards the microphone, or that playing with her costume (notably a strand of fake pearls) will cause extra noise that’s a distraction on the film. In short, Lina, is a disaster, though probably not entirely due to her own fault.
The new film is shown to a preview audience, and the crowd roars with laughter (for a serious, historic romance), and many complain it’s the worst they have ever seen while leaving the theater. RF, Don, and Don’s friend, Cosmo (Donald O’Connor) are devastated. But, Kathy (Debbie Reynolds), a young starlet and acting hopeful, that Don has been pursing, has an idea — make the film into a musical. Cosmo points out that Lina also can’t sing or dance. Then he gets an idea: Kathy will dub Lina’s lines, and sing for her. They take the plan to RF, who loves it. Don suggests they save what they can of the film by making it about a “young hoofer” (that is, a dancer) who goes to New York to seek his fortune on the stage, while backstage he’s hit by a falling sandbag, and dreams he’s in the French Revolution (the footage already shot of “The Dueling Cavalier”), the title of the film will be changed to “The Dancing Cavalier”.
Everything goes to plan until Lina finds out what’s going on, and about Kathy dubbing for her. She’s extremely angry and releases a story to the press about her phenomenal singing voice. She also points out to RF she’s in charge of her own publicity. Therefore, RF’s plans of giving Kathy screen credit, and making it plain in the press she was a new star and would star in new films with Don goes up in smoke.
The new film’s premiere is a success, and Lina insists she will make Kathy dub her voice for the next five years, ruining Kathy’s own career. She makes a speech to the crowd, which goes over only so-so, then at the crowd’s insistence, sings the reprise of “Singin’ in the Rain”, getting Kathy to dub it for her. However, Don, Cosmo, and RF pull the curtain back, revealing that the excellent voice is, in fact, Kathy.
List of Musical Numbers
- Fit as a Fiddle
- All I Do is Dream of You
- Make ‘Em Laugh
- You Were Meant For Me
- Moses Supposes
- Good Morning
- Singin’ in the Rain
- Would You?
- Broadway Melody / Broadway Rhythm
- Singin’ in the Rain (Reprise)
- You Are My Lucky Star
Most of the music from Singin’ in the Rain, isn’t original at all — it’s from Warner Brothers and RKO musicals from the late 1920s up to the mid-1930s. Even the title tune is from the Hollywood Review of 1929, while “Good Morning” is from Babes in Arms (1939). However, “Singin’ in the Rain” with Gene Kelly gleefully walking, striding, singing, and dancing in a cold, rainy street is an excellent number. I also liked the less-than-serious “Moses Supposes” (Kelly and O’Connor, partner tap) and the energetic “Good Morning” (Reynolds, Kelly, and O’Connor, trio partner tap). The finale is typical of big, technicolor, MGM musicals, with several moods, changes of set and costume, lots of show dancing, and even two lovely ballet numbers starring Cyd Charisse dancing opposite Gene Kelly.
However, the film is very anti-feminist in it’s attitudes. Lina, is made fun of and gets her come-uppance, not only because she’s a “shrew” but because she insists on being in charge of her own career, and speaking for herself. Whereas Kathy is a good girl and always does what she’s told – by Don and RF especially. Lina’s goal, speaking for herself, making her own career decisions, and basically not being pushed around, isn’t so bad. Yes, she misbehaves (especially towards Kathy whom she sees as a threat to her relationship with Don), but you know what they say about well-behaved women (they rarely make history). There’s also the inherent age-ism of a young starlet replacing a more mature actress. Overall, what she wants and her behavior isn’t that bad, considering, and the way she’s belittled, made fun of, and embarrassed — not to mention the complete loss of her career is a bit harsh of a punishment.