Singin’ in the Rain

It has long been thought that the musical era was born out of pure enthusiasm over the ability to put sound on film. The case holds water as there never was a run on musicals like there was in the 30s-50s, but it doesn’t tell the whole story. Singin’ in the Rain combines comedy, charm, music, and dance and interweaves them into a delicious early Hollywood romance story. Singin’ in the Rain is generally known as the greatest musical of all time. The plot was born from a song and used others that had been around for many years, ever since “the talkies” were born in the late 20s. The screenplay was written according to the songs. Although the cast had been cast, and re-cast several times; the end result was one of perfect chemistry. The combination of the ever-so talented Gene Kelly and Debbie Reynolds worked very well, despite complications that arose off the set. And Donald O’Connor was born for his role as Cosmo Brown, the best buddy to Kelly’s Don Lockwood. His wit keeps the film fresh and funny. If you took a drink for every smart remark he made, you’d be drunk, before the film gets going.

All the characters in this film are dynamic, save Cosmo Brown and Lena Lamont (played by Jean Hagen). This was perfect for what was called for, for this film to succeed. This helps the film “move,” where other musicals fail. This is where the irony enters; since this film was written in reverse of this philosophy. Being able to incorporate quality songs into a quality storyline is a skill no studio has ever mastered, even to this day. MGM, which was known as “the king of the musicals”, failed more often than it succeeded.

As the film opens, the premiere for one of the famed “Lockwood/Lamont” films is taking place for “The Royal Rascal.” As the stars arrive, one by one, Cosmo Brown arrives. A bit later Lockwood and Lamont arrive. Lockwood tells a “story” of how he and Cosmo get to stardom. To celebrate the release, there is a party at the studio’s producer’s house. But to get there, Lockwood must go by a different rout than everyone else, finding Kathy Selden (Debbie Reynolds) in the process. After a few cute surprises and accidents, Don gets a conscience attack. After finally finding her, he realizes that he cares for her. Meanwhile, Cosmo Brown keeps up his antics and funny nature. The comic relief is never amiss in this film. Lamont soon learns of the romance and is up to something, but what? What do you think she is, “…dumb or something?” While some may feel there is either bad acting or wooden acting in the film, it is regularly refuted or overlooked due to the nature of the film. Most early Hollywood performers performed in such a manner and since the film takes place during the sound revolution, it fits perfectly.

The co-director (also co-directed by Gene Kelly) Stanley Donen called the “Moses Supposes” dance sequence with Kelly and O’Connor, the best dance sequence ever. I agree that it is in the Top 3, but not the best, that’s in another film; which Donen also directed, for another review. All numbers in this film are memorable and several of them have entered modern lexicon, even if the younger generations don’t know from whence it came. “Make ‘em Laugh” is Donald O’Connor’s signature. Reynolds’ “All I Do“ is cute and spunky. Almost everyone knows the title track, regardless of age. Hagen’s Lamont is terrific. While she has no musical numbers, the character is both truth and caricature. She’s vindictive, selfish, and has an ego that they fuel. She also has a voice that either irritates or makes one chuckle. Unfortunately, it backfired somewhat as many thought it was real, rather than one Hagen created for the role. The only memorable detraction in this film is the “Broadway Melody” sequence. It begins with another interesting and amusing song and dance number by Mr. Lockwood, trying to convince his producer (Millard Mitchell) of a scene he thinks would be excellent for the next film they make. Mitchell makes R.F. Simpson terrifically uneven and he does so at the perfect time. Sometimes bold, sometimes nervous, sometimes unsure, but always “head of this studio.” But the Broadway Melody scene becomes too long, bloated, and unnecessary. Cyd Charisse is an amazing talent; the dance number she has in the film is mesmerizing but is out of place in this film. This 13 minute sequence should have ended at about 7-8 max. Still, this detail is minute as the visuals are impressive. Filmed in color, the sets and vibrant colors are displayed wonderfully. A risky venture even in 1952, color was not a mastered art. Several scenes are in Black & White, but are associated with the Silent Era more so than the film’s actual continuity. This works quite well for the plot and enhances the look of the film.

When this film was released in 1952, it opened to luke-warm reviews and average box office receipts. It wasn’t until its 10th Anniversary, that people began to notice that Singin’ in the Rain was special and has been known as such ever since. 57 years later, it is as strong as it ever was. In the world of more drama and action films being made and fewer risks are taken, this gem will serve as a reminder of how far film has come in the last 80 years. The AFI, when it released its list of “The 100 Years…100 Movies,” ranked this film No.10, to put it at the highest mark for a musical of any era. Musicals today are rare. One gets made every so often, but their heyday is long gone. Their legacy can be summed up in one film…Singin’. It isn’t just a film, musical, or caricaturized history lesson. It’s all three in one. And for this reason above others, Singin’ in the Rain is always fun to watch. As enduring as Mr. Kelly’s lamppost lean is, so this film echoes Mr. Lockwood’s sentiments of nothing; nothing but pure joy.