Singin' in the Rain

Every so often I watch 1952's SINGIN' IN THE RAIN to recall how a letter perfect movie musical should play.  It's not the only great example of its genre, but damned if I can find one thing to nitpick.  From the opening credits with stars Gene Kelly, Donald O'Connor, and Debbie Reynolds twirling their umbrellas to the fade out on Kelly and Reynolds kissing in front of a billboard with their likenesses, there isn't a false, uh, step to be found.  It's really a solid gold motion picture experience - one to enjoy but also study as to its perfection as it joyfully and skillfully moves from scene to scene.

In that summation I would include the incredibly elaborate "Broadway Ballet" number late in the movie.  Some felt that this sequence, which is a pitch by movie star Don Lockwood (Kelly) to studio bosses,  interrupted the flow of SINGIN' IN THE RAIN.  It comes soon after Kelly's famous dance, singing the title song down a rain soaked street, serenading lamposts and pharmacy windows after he realizes he's in love with wannabe actress Kathy Selden (Reynolds). Before that is the trio's almost-as-famous "Good Morning'" jaunt through Don's house.  During "Broadway Ballet",  Don imagines himself as a hungry dancer who's just "Gotta Dance" and wooing a gangster's moll.  The choreography  (and use of color) is stunning.  Really, it had been throughout SINGIN' IN THE RAIN, but this centerpiece is a classic in itself.  It can stand on its own, be viewed apart from the rest of the picture. Co-directors Kelly and Stanley Donen outdo themselves.  And to me, make it flow just fine within their movie.

SINGIN' IN THE RAIN takes a fairly lighthearted look at Hollywood's bumpy transition from silent films to talkies.  Lockwood's frequent leading lady, the daft Lina (Jean Hagen), has a voice many octaves above tolerance for both dialogue and song.  How directors and crews attempt to work around this provides many smile inducing moments. When Don hatches the idea to have Kathy (who really can sing) dub Lina's voice it seems full proof.  But perhaps Lina isn't so dim after all.  Or, at least until that lovely climax.

The story, as in most musicals, is just a clothesline upon which to hang the musical numbers.  The best such movies have tunes that comment upon and flesh out the story line.  The songs may be fashioned to suit the plot or vice versa. "Singin' in the Rain" was written years before the movie, to name one.  I have to mention "Make 'Em Laugh", O'Connor's (Cosmo) big solo number.  It's a statement on what Cosmo thinks is Don's best strategy when the latter is down in the dumps, thinking he really isn't a good actor.  The song is clever and pleasant enough, but watch the incredible acrobatics.  O'Connor flips, hits brick walls, and dances with a headless mannequin in manuevers that make one exhausted just watching.  It's a perfect match to the lyrics.