Contemporary Hollywood producers are often accused of damaging the reputation of American and world cinema heritage by misusing old classic films as nothing more than a basis for cheap, empty and soulless remakes. However, the misuse of cinema heritage isn’t a new phenomenon; even some very talented authors and true artists give a new, sometimes even twisted, perception of old films. The most notorious example is Stanley Kubrick in his A Clockwork Orange – a single scene in this film was enough to give a totally different spin to one of the most beloved films of all time: the 1952 musical Singin’ in the Rain. And that is really sad, because Singin’ in the Rain isn't just one of the classics of Old Hollywood. It is also a very fine example of a genre that is almost banished from the big studios of today – musicals.
The author of this review used to adore that genre, especially the spectacular MGM musicals made in the 1940s and 1950s; in my earlier years, they showed magical, fairytale universes that used to create the same sense of wonder as Lucas and his saga about galaxies far, far away. But things changed – in the 1970s and 1980s Hollywood found new ways to attract and entertain mass audiences, ways that required less talent and creativity than those necessary for musicals. That was the reason why the genre of musicals became obsolete and, unlike the western, didn't find a way to adapt to new realities. But that sad fact was a blessing for the musicals of Old Hollywood – because they never had to compete with newer musicals, they kept their reputation as the best films of the genre. And that also helped them to keep their reputation among both the nostalgic audience and art-loving cinephiles.
Singin’ in the Rain, arguably the best of the genre and often referred to as one of the best films in history, was actually conceived as a way for MGM to re-use some of its old material. Scriptwriters Betty Comden and Adolph Green based the plot on songs owned by MGM. Since many of them were used in the first sound (“talking”) pictures of the late 1920s and early 1930s, the plot was set in Hollywood during those years. The film starts in 1927 during the premiere of Royal Rascal, a new period adventure by Monumental Pictures, starring swashbuckling hero Don Lockwood (played by Gene Kelly) and blonde bombshell Lina Lamont (played by Jean Hagen). The studio had spread rumours of Lockwood and Lamont being romantically involved both on and off screen. Don actually can't stand Lina (who has some problems distinguishing studio propaganda from reality) and instead falls in love with a girl he meets on the street, aspiring young actress Kathy Selden (played by Debbie Reynolds). His problems with women are overshadowed by the problems of the studio, suddenly faced with the “talking” movies phenomenon. Silent‑era techniques are obsolete and the new film The Duelling Cavalier is bound for disaster, mostly because the leading lady, Lina Lamont, has a voice that doesn't match her physical beauty. Don’s old friend and trusted partner, Cosmo Brown (played by Donald O’Connor) comes up with a brilliant idea – the new movie is going to be turned into a musical and Kathy is going to dub Lina’s voice.
For some critics, the weakest element of many musicals is the plot, often just a cheap excuse for connecting various song and dance numbers. The script of Singin’ in the Rain was made with such intentions, but the plot of this film actually works even without those scenes, turning it into an entertaining, very funny and at times even satirical comedy. The film is even funnier for those who are more familiar with Hollywood history, with lots of references to real‑life personalities, situations, rituals and, last but not least, a very accurate portrayal of the difficulties experienced by Hollywood during the period when the film industry had to adapt to the use of sound. The movie contains even some scenes that could be seen as a way for Gene Kelly, its leading star, to spoof his own role in The Three Musketeers, the 1948 swashbuckling classic.
However, the most recognisable element of Singin’ in the Rain are the song and dance numbers. They were directed by Stanley Donen and Gene Kelly, both in their artistic prime and able to use huge MGM resources to create spectacular, memorable scenes. Almost all of them are superb, perfectly staged, and some have become an essential part of modern popular culture. Some are elaborate and spectacular, like Gene Kelly’s Broadway fantasy featuring Cyd Charisse, although some would argue that it looks somewhat out of place in this film. Another scene, the seduction of Kathy in an abandoned studio, is a triumph of simplicity. Some are comical, like the cartoon‑like farce by Donald O’Connor when he sings Make ‘em Laugh. But the most important, most influential and most remembered of them all is, of course, the scene featuring Gene Kelly singing and dancing in the rain. When we take into account that Gene Kelly was actually ill when he filmed those scenes, we must really appreciate his talent and dedication.
The acting in the film was, of course, shadowed by the dancing and singing, but that doesn’t mean that the people involved didn’t use their talents. Gene Kelly is extremely charming and funny, as is Donald O’Connor as his comic sidekick. Debbie Reynolds, who played a version of herself in the film, being an aspiring young actress in real life as well as in the movie, is simply adorable in her role and has very good chemistry with Kelly. The thankless job of the film’s only villain, and rather an unimpressive one, was superbly done by Jean Hagen, who earned a supporting role Oscar nomination in the process. Hagen also dubbed Debbie Reynolds in some scenes of the film, quite the opposite of the characters in the movie. It is rather ironic, since the script of Singin’ in the Rain satirically explored the conflict between on‑screen and off‑screen reality.
Made at a time when Hollywood was able to produce great art and even satirically look at itself, Singin’ in the Rain is one of those timeless classics that still appeal to audiences, even those younger generations who never experienced the true power of musicals.
RATING: 9/10 (++++)
(Note: The text in its original form was posted in Usenet newsgroup rec.arts.movies.reviews on October 3rd 1999)
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Movie URL: https://www.themoviedb.org/movie/872-singin-in-the-rain
Critic: AAA