Date Rewatched: 5/18/17
Score: 5/5
DIRECTOR: Gene Kelly & Stanley Donen
PRODUCER: Arthur Freed
STUDIO: MGM
SCREENPLAY: Betty Comden & Adolph Green
CINEMATOGRAPHY: Harold Rosson
UGH!!!! Could Singin' In The Rain possibly be a more perfect film? Every time I watch this movie I'm reminded of a few things. First of all, Gene Kelly can get it.
I mean look at this man. This is a man. He's got the crow's feet of a wise, happy sage, and an ass that doesn't quit. He taught little kids how to dance and wanted to destroy McCarthyism. Whenever he's shown onscreen not dancing, he's usually glancing lovingly at a woman. He's got a sweet, quiet little singing voice. HE CAN DANCE. Jesus, not only can he dance but he's one of the greatest dancers of all time. What a catch!
When I'm not openly drooling at Gene Kelly's perfection during Singin' In The Rain, I'm usually just grinning like an idiot. I remember, during that youthful phase of my life wherein I spent every Tuesday night at 8 pm watching Glee, that Matthew Morrison's character says that whenever he's sick he watches Singin' In The Rain to cheer him up and make him feel better. While I have (mostly positive) mixed feelings about the infamous "Singin' In The Rain"/"Umbrella" mashup with Gwyneth Paltrow, I do agree that Kelly's 1952 musical is basically as perfect a pick-me-up as currently exists on this planet. There is no real villain, just an annoying bitch doing a Judy Holliday impression, and the plot basically revolves around Gene Kelly and co. dancing in 1920s clothing while having a wonderful time being part of the early studio system.
What the film doesn't tell, of course, makes up for a pretty ugly part of film history. The transition from silent films to talkies was not successful for the bulk of performers in Hollywood. It's hard for me to watch the disastrous preview of The Dueling Cavalier in Singin' in the Rain without thinking of John Gilbert's unfortunate fate as a transitioning star. Indeed, Kelly's stupidly romantic aristocratic role-within-a-role seems to be directly parodying Gilbert's trademark leading man, a niche that did not fare well in the transition to talkies. While Kelly's Don Lockwood is able to make the transition to talking just fine, it's hard to ignore the dark truth of Gilbert's demise in the wake of his inability to successfully transition to talking pictures. Of course, this seems to be where Jean Hagen's Lena Lamott is going. The film ends on a cheerful note, with Debbie Reynolds's Kathy Seldon being recognized for providing the voice behind the screen, but one can't help but think of the fate of Lena Lamott. Though we're meant to turn away happily, without giving it another thought, it strikes me as entirely possible that Lamott could have left the premier of The Dancing Cavalier in all of her humiliation and gotten right in line beside Peg Entwistle and just jumped off the Hollywood sign.
Obviously I adore Singin' In The Rain. I think it's sweet, and funny, and full of exactly the kind of song and dance numbers that make my heart feel full and convince me, if only momentarily, that everything is going to be fine. I love pretty much any movie in which characters randomly burst into song and dance. I love the random 25-minute long dance sequences that Kelly puts into his movies for seemingly no reason other than to showcase him dancing. I AM HERE FOR THAT.
I'm convinced that the way I'll be able to find my soulmate is that we'll be talking innocently and then suddenly become synchronized in dance. I've decided that my wedding ceremony is just going to be that random scene in which Kelly and Cyd Charisse dance in front of the pink airport tarmac and she almost strangles him with her long-ass white sash. We're going to have to talk during the dance. And learn to do that dance. And pre-record it so everyone can see it without having to be on a sound stage. Anyway, I'll figure it out.
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