Many reviewers have complained about the commentary track and it is the low-point of this edition. So skip it, if you don't like it.

Instead, throw on the second disc, which is a goldmine. First, there is the excellent PBS documentary on the Arthur Freed Unit, "Musicals Glorious Musicals." This is an often revealing 90-minute film about the musical films Freed produced. Plenty of great excerpts, too. It tends to puffery, but not excessively.

Then there is a new documentary, "What A Glorious Feeling," on the making of "Singin' In the Rain." Watching both these documentaries, you don't need the commentary track. Most of it was lifted from these documentaries.

In addition, this supplementary disc includes the songs used in "Singin' In the Rain," as they first appeared in their original written for films and later films that used the songs again. Some of these are unintenionally funny today. But it is really a crash course in the history of movie musicals. My favorite is Eleanor Powell in the number that introduced "You Are My Lucky Star." A beautfully done, very '30's black-and-white number that builds into an all stops-out dream-dance sequence. (Were Americans ever this innocent?) Others include Bing Crosby wonderful introducing "Beautiful Girls," Judy Garland and Mickey Rooney introducing "Good Morning," Cliff Edwards (aka Ukele Ike, Jiminy Crickett) introducing "Singin' In the Rain" with what appears to be every star then under-contract to M-G-M in 1929, "Broadway Melody" in a tremendous number led by the irreplaceable Eleanor Powell and support from some of the best talent of the time including "eccentric dancer" Buddy Ebsen and the great singer Frances Langford--the best number by far in this retrospective. And there is another whole section of audio excerpts from the recording sessions.

In short, this is an incredible collection that any musical or film buff should treasure.

It is true, as one reviewer noted, that the "Broadway Melody" number in "Singin' In the Rain" is a flaw in the flow of the film. Pauline Kael pointed this out too. She considers the film a great one. For myself, I don't mind, the number is too damned well-conceived and entertaining. Again, thanks to being on DVD, you can jump to the next scene if you don't care to watch it. I've tried it and the film definitely runs smoother narratively. But I missed it, and played after the film.

If you love SITR, as I do, this is a must buy. If you're interested and have never seen it, rent it and decide for yourself.

Let's hope that Warner Brothers does a 50th anniversary edition of "Bandwagon" next year with a digital and audio refining that equals or surpasses this. And a better commentary track. Bet Scorssee would join in the commentary.

ONE LAST THING

"Singin' In the Rain" was not shot in widescreen, but in the only format used for studio pictures before the end of 1953. It was designed to be shown in 1.37:1, Which just about the ratio of most tv screens. YOU ARE NOT MISSING ANYTHING. I wish you young film buffs would educate yourselves about the history of film aspect ratios.

Also Michael Kidd had nothing whatsoever to do with the choregraphy in "Singin' In the Rain." He comments on it, but never claims he did any of it, for the simple reason he did none. He was probably in New York over-seeing his legendary choregraphy for the original stage production of "Guys and Dolls." Which is probably why he got the "Bandwagon" assignment a year after "Singin' In the Rain." He did all the choregraphy in "Bandwagon" and the following year, 1954, for "7 Brides For 7 Brothers."

Kelly and Donen worked in partnership on the choregraphy and direction "SITR." And it is really impossible now to determine who was responsible for what.

In many respects SINGIN' IN THE RAIN is a throwback to the early musicals of the era it satirizes, for many of its musical numbers ('Make 'em Laugh' is a notable example) have absolutely nothing to do with the story it tells--but unlike such early musicals the storyline is exceptionally strong, and since the film is about the creation of an early "all talking, all dancing, all singing" movie in which such musical numbers were typical, they have here a certain validity that could not otherwise be achieved. The cast is absolutely flawless, and without exception Kelly, Reynolds, O'Connor, and Hagen (particularly memorable as the literally unspeakable silent star) give the finest performances of their respective careers. The musical numbers range from the vibrant and complex 'Good Morning' to the lyrical 'You Are My Lucky Star' to the brilliantly conceived and executed title song, each without exception the definition of perfection. The art designs are meticulous, beautiful, and recreate the late-silent and early-sound era of Hollywood with considerable wit and charm. As a whole, SINGIN' IN THE RAIN possesses an engergy and vitality that simply makes you bounce in your seat from excitement.

SINGIN' IN THE RAIN is a musical that even people who hate musicals love. Whether or not you consider it "the" finest musical ever created by Hollywood is, ultimately, a matter of personal preference; there are several contenders for that title, most notably MEET ME IN ST. LOUIS, GIGI, and THE WIZARD OF OZ. But no matter where you personally rank it, SINGIN' IN THE RAIN is certainly ONE of the best, a film that simply gains in critical and popular stature with every passing year, a national and a world treasure of cinematic art.

I remember the first time I saw SINGING IN THE RAIN. It was pre-cable, on a rainy Sunday afternoon, when I was in the sixth grade. With nothing better to do, I watched this movie and was mesmerized. Even though I had seen THE WIZARD OF OZ many times, and even got to stay up late and watch THE TEN COMMANDMENTS, I had never seen a movie quite like this one. Though I will have to admit THE SOUND OF MUSIC is my favorite movie musical, SINGING IN THE RAIN got me addicted to film.

The reason this film has lasting value is that it works. We genuinely like the characters so we hope they fall in love. The musical numbers, though not originally written for the film, fit together. The dancing can transport the viewer to another time and place. Though the plot may be simplistic, it is sincere entertainment. We see three great performers, perhaps at their best (though I would argue that Kelley is slightly, but just slightly better in AMERICAN IN PARIS) in a film that could never be duplicated today.

The two disk DVD set has an added bonus of a second disk containing a history of MGM musicals produced by Arthur Freed. This historical piece which includes snippets of other MGM greats such as SHOWBOAT, AN AMERICAN IN PARIS, THE HARVEY GIRLS, THE WIZARD OF OZ, and GIGI is definitely a treat.