Lost in the Movies: singin' in the rain
Showing posts with label singin' in the rain. Show all posts
Showing posts with label singin' in the rain. Show all posts

The Favorites - Singin' in the Rain (#31)


The Favorites is a series briefly exploring films I love, to find out what makes them - and me - tick. Singin' in the Rain (1952/USA/dir. Stanley Donen & Gene Kelly) appeared at #31 on my original list.

What it is • First off, it's a joyous parade of classic song-and-dance numbers (from the opening umbrella-and-rainslicker trio to the more immortal fedora-and-topcoat solo, from the cheerfully inventive non sequitur "Calendar Girl" to perhaps the best sequence in the whole film, Donald O'Conner's "Make 'Em Laugh"). But we shouldn't let that distract us from one of the best-scripted musical stories of all time; the plot of the film is no mere clothesline revue, nor a series of preparatory notes and steps to position us for the real narrative heavy-lifting of the showpiece songs. Instead, the film could be stripped of all its musical numbers and you'd still be left with one of Hollywood's most memorable romantic comedies, not to mention one of its most charming films about films. Don Lockwood (Gene Kelly) and Lina Lamont (Jean Hagen) are the most popular stars of the silent cinema - emphasis on "silent," since it turns out Lamont's voice could never withstand public scrutiny. The preview of their first talkie, The Dueling Cavalier, is one of the funniest parodies I've ever seen (worthy of being its own standalone short), especially once the dialogue falls out of sync and lapses into slow motion. Meanwhile, Lockwood is falling in love with Kathy Selden (Debbie Reynolds), a dancer willing to prick his pomposity when he's riding high and lift his spirits when he's fallen low. Together, he, Miss Selden, and life-of-the-party songman Cosmo Brown (O'Conner) concoct a brilliant plan to save Lockwood's doomed production (and career). Their joyous feat of creativity, and his romantic chemistry with co-creator Selden, launches Lockwood out into the street where he croons the title number - one of the most blissful moments in movie history.

Why I like it •

Hooray for (Hating) Hollywood: Singin' in the Rain (MOVIES ABOUT MOVIES BLOG-A-THON)

(The is the first entry in Hooray for (Hating) Hollywood)

In the spirit of killing two birds with one stone, Singin' in the Rain will be both my last-minute entry in goatdogblog's Movies About Movies Blog-a-Thon and the inaugural film in my Hooray for (Hating) Hollywood series. A couple recent reviews of In a Lonely Place (on Movies et al and MovieZeal) got me thinking. In the early 50s, something caused Hollywood to turn a spiteful gaze upon itself. Maybe it was HUAC and the blacklist, destroying careers and relationships across town. Or perhaps the breakup of the studio monopoly, heralding the eventual demise of the system. It could've just been part of the Cold War/Atomic Age national malaise, a self-doubt and weariness consuming the public once they no longer had a Depression or World War to distract them from their existential crises.

Whatever the reason, a number of screenwriters and directors spat out self-loathing classic after self-loathing classic in the years between 1950 and 1954: Sunset Boulevard, In a Lonely Place, The Bad and the Beautiful, The Barefoot Contessa, A Star is Born. And smack in the middle of them all came the breeziest and sunniest of the narcissistic, self-critical fare (which makes it a good picture to start with): the comic musical masterpiece, Singin' in the Rain. This movie is often considered the pinnacle of the musical genre, and like many pinnacles it's actually something of an aberration.

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