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Singin' in the Rain

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"Singin' In the Rain" has finally gotten the "special" treatment this masterpiece deserves. The new digital transfer is stunning-- both visual and audio. I've seen this film I don't know how many times in theatres, including several screenings in the original 3-strip Technicolor. This transfer, as with "The Wizard of OZ," is as close as you can get to seeing a 3-strip print in a theatre.

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.

SINGIN' IN THE RAIN's story is well known, and concerns 1920s silent romantic acting team Don Lockwood (Gene Kelly) and Lina Lamont (Jean Hagen.) Trouble is that sound is coming in--and Lina's speaking voice could peel paint off the wall. The solution? Don's best friend (Donald O'Connor) and love interest (Debbie Reynolds) have the inspiration of revamping Lockwood and Lamont's debut sound film as a musical, with Reynolds dubbing Hagen's vocals. The resulting story is a high-energy, extremely witty, and truly sparkling film laced with period songs by Arthur Freed, a film that many regard as the single finest musical to emerge from Hollywood.

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.

This is one of the best movies ever made. With a talented cast consisting of Gene Kelley, Debbie Reynolds, and Donald O'Connor you can't go wrong. There are so many unforgettable scenes in this movie that no one could ever touch. Gene Kelley singing and dancing his way thru the neighborhood to Singin in the Rain, and all three companionably working their magic to Good Mornin.

When SINGING IN THE RAIN was released, people were certain it was Oscar material. AN AMERICAN IN PARIS had won the previous year, and certainly this was a more spectacular film. It did not win the Oscar that year. Cecil B. De Mille's THE GREATEST SHOW ON EARTH won the honor. The academy preferred Betty Hutton, Charlton Heston, James Stewart as a clown escaping the police, and the great train wreck scene of this film over the song and dance numbers of Gene Kelley, Debbie Reynolds, and Donald O'Connor. Over the years audiences seem to love this film, which is often considered the greatest Hollywood musical, or at least the greatest MGM musical, and are probably more familiar with it than the Academy Award Winner.

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.

This is a movie that'll give you Happy Feet just thinking about it once you've seen it. Quite possibly the purest movie musical ever made, "Singin' In the Rain," directed by Gene Kelly and Stanley Donen, has everything you could want in a musical: A good story, perfect cast, imaginative choreography, memorable music and songs, terrific performances, and a presentation that is nothing less than inspired. It takes you behind the scenes of the movie business, set during the transitional period between the heyday of silent films and the advent of talkies. Don Lockwood (Kelly) and Lina Lamont (Jean Hagen) are two of the biggest stars in Hollywood, the Tracy and Hepburn of Monumental Studios, which is about to release their latest movie-- a swashbuckling costume drama. But a rival studio has just released "The Jazz Singer," and overnight the industry is revolutionized, and silent films are just that quickly a thing of the past. To keep up and stay afloat, the major studios need to produce pictures that talk. And where does Monumental start? By retooling their latest big star vehicle (with Lockwood and Lamont) into a MUSICAL swashbuckling costume drama. If it's song and dance the public wants, then that's what they'll get-- right along with the drama of the costume and the swashbuckling thrown in to boot. There's one problem, though; the sound of Lina's voice has the effect of fingernails scraping a chalkboard, and her diction isn't going to land her the role of Juliet anytime soon. The powers that be at Monumental fear they may soon have a "falling" star on their hands. But there's always a solution, of course; and leave it to Don's partner, Cosmo (Donald O'Connor), to come up with it. And it just happens to involve a young lady named Kathy (Debbie Reynolds), with whom Don has just recently become acquainted. And that's where the story really begins.

Kelly and Donen (who also teamed up for "On the Town" and "It's Always Fair Weather") certainly know how to put on a show. The name of their game is Entertainment-- yes, with a capital "E"-- and that's exactly what you get. The dazzling production numbers are upbeat and electrifying: Donald O'Connor's "Make `Em Laugh;" "Good Mornin'," which features Debbie Reynolds (joined by Kelly and O'Connor); a diction lesson by Kelly and O'Connor that begins with "Moses," who "Supposes his `toeses' are roses;" and a transporting routine with Kelly and Cyd Charisse. But the highlight is Kelly doing the title song while "Singin' and dancin' in the rain." And these are but a few of the magical marvels of this film.

When Kelly sings "Gotta dance!" you'd better believe it, because he's the best of the best, and he's at the top of his game here. He's a consummate entertainer and a perfectionist, and simply a joy to watch. And with O'Connor next to him you really have something special, as they tend to bring out the best in one another (I submit their "Moses" number as evidence). Also, they seem to genuinely enjoy working together; there appears to be an almost fun sense of spirited competition going on as they dance, and it's an invigorating experience (if this wasn't so, then they've pulled off a marvelous bit of acting). But no one can out-dance Gene Kelly. Period. And he may not be the world's greatest singer, but in this film his voice is in top form, as well.

Also a consummate performer, Donald O'Connor more than holds his own with Kelly on the dance floor (and he's at the top of a very short list of those who can), and the sense of humor and personality he brings to the film are invaluable. His energetic "Make `Em Laugh" number does just that; and while it's funny, it also showcases O'Connor's versatility and gives him a chance to display some amazing moves (how many people-- even professional dancers-- can dance up the side of a wall and into a back flip?). And he makes it look so easy. As Cosmo, he's the quintessential second banana and jack-of-all-trades. He dances, sings, plays piano, cracks jokes, pops up for tech work in the sound booth, and on top of everything else he's an idea man and a general facilitator of anything and everything that needs facilitating. If Danny Kaye had a brother it would be O'Connor; and-- like Kelly-- he's just a pleasure to watch.

Debbie Reynolds was twenty-years-old when she made this film, and she's a perfect fit with Kelly and O'Connor. Beautiful and talented-- and mature beyond her years-- she has a kind of sparkle all her own and a terrific screen presence. She can sing and she can dance, she looks good no matter what she's doing, and there's a wholesome, girl-next-door quality about her that makes her endearing. It also makes Kathy a very real and believable character, and Reynolds plays her perfectly.

As Lina Lamont, the girl with a voice that could make cats cry, Jean Hagen is an absolute riot. Reminiscent of a character Mia Farrow would create years later in "Radio Days," Sally White-- though perhaps a bit more dense-- Lina takes the "vain" out of "vanity," and Hagen brings her to life with a vivid, memorable performance. And it's just another of the many elements that make this such a great film.

The supporting cast includes Millard Mitchell (Simpson), Rita Moreno (Zelda), Douglas Fowley (Roscoe) and Kathleen Freeman (Phoebe). If pure entertainment is what you're after, you need look no further than "Singin' In the Rain," which successfully dispels any doubts that there is, indeed, magic in the movies. Because this movie is magic, a sheer delight from beginning to end no matter how many times you see it. There's been a number of great musicals made over the years, but of them all, with Kelly and O'Connor at the top of their form, this one just may be the definitive offering.

Singin' in the Rain is one of my favorite films, though I am not a fan of musicals. It is not only a celebration of singing, dancing, Gene Kelly, and vaudeville antics, it is a celebration of the medium of film. Though it was made at a time when Hollywood was famous for its rigid and creativity-stifling production practices, Singin' in the Rain is remembered as a landmark of innovation and style.

Despite this being both one of the greatest and one of the most popular films of all time, MGM (and now Warner) has released it as a sub-par dvd. It lacks any real special features (except for the trailer), though I imagine there are a number of documentaries and perhaps interviews about the film, and certainly many qualified film historians that would have been willing to record a commentary track.

The image quality is lacking. This is the worst-looking dvd that I own from a major studio (Warner hasn't remastered for the rerelease). It is exceptionally soft, and digital artifacting abounds. The colors are off, and the print could certainly be cleaned up. It was probably duped from a laserdisc. This film would truly benefit from a restoration and re-release (like some of Hitchcock's films have gotten).

If you love the movie, by all means buy the disc, but if you own the VHS or Laserdisc copy (that isn't all worn out), I'd hold out for a special edition, because the dvd won't look any better than a laserdisc, and not that much better than VHS. What a fantastic film.

And while I probably don't have anything particularly new to say about this, one of the 10 greatest films ever made in the history of motion pictures, I do none the less strongly urge any and all fans of great movies to add this celebration of life to your permanent film collection. Especially now with this crisp deluxe DVD transfer which gloriously captures the rich colors of director Stanley Donen's expert eye.

I am not a great fan of musicals per se, but this film is something far more than a simple genre picture. It is a celebration of the creative muse.

At the central core of the narrative is the very real lesson to be learned from acting teacher Constantine Stanislavski: "Love the Art in yourself, not yourself in the art." Kelley's "Don Lockwood", Donald O'Connor's "Cosmo Brown" and Debbie Reynolds' "Cathy Seldon" all succeed because of their undying will and love for very art of performing and creating. Comedic villain "Lina Lamont" as portrayed by the excellent Jean Hagen, is undone by her shallow devotion to her own celebrity.

The film, besides being one of the most legitimately uplifting and entertaining experiences an audience can ever enjoy (SINGIN' IN THE RAIN is a far more effective anti-depressant than any prescription!), also is a historical accurate depiction of the drastic paradigm shift that occurred not only in film, but in acting history as well. The coming of sound brought drastic, and cataclysmic changes in acting technique. No longer could actors, like "Don" and "Lina" do what they always did- "Just add talking". While many folks do (and in many cases, rightfully so) believe that a large part of real acting died with the coming of sound, an entire new industry of Acting training resulted- hence the need for teachers like Stanislavski and others.

In fact, this film has been an important part of my high school acting curriculum for several years. It is refreshing to see how big an influence this film has on all ages. Especially teenagers addicted to violent clap trap, big budget exploitation flicks and rap music.

The New York vs. Los Angeles acting rivalry. The comical over enunciated vocalization, the purposefully "cheezy" recreated musical numbers ("Beautiful Girls" is classic!) and a very real depiction of how one built an acting career (barrooms to strip clubs to Burlesque to Vaudeville to Broadway to films) are all historical elements that lend the film depth and strength.
Gene Kelley, perhaps even more than the great Astaire, was a great artist who combined a fierce alpha mail athleticism to his mastery of all dance styles. Here, he excels in telling stories through not only tap, but ballet and jazz as well. Debbie Reynolds was never better as the innocent yet strong willed ingénue. She and Kelley (and along with Cyd Charrise) create a real sexual chemistry. Anyone who is not convinced that dance can not be a substitute for explicit sex needs to see the utter taste and class depicted here.

Donald O'Connor steals the show with his rubber face and impeccable timing. O'Connor's dancing is impressive also- especially in the "Moses Supposes" number in which he matches Kelley step for step. His "Make 'Em Laugh" teaches Jim Carrey a thing or two about how to make broad physical comedy appealing and not obnoxious.

Ultimately, like all great films and other works of literature, Singin' in the Rain holds up perfectly to repeated viewings. It is a fresh and vibrant the 100th time as it is the first.

This movie is an absolute joy, and words can not be said that will do it justice. Many comments here, however, have complained that it was not presented in widescreen. To put it simply, this is NOT a widescreen movie and it should NEVER be presented that way. The same goes for "Gone With The Wind," "The Wizard of Oz," "Casablanca," Citizen Kane" and thousands of other titles. When these movies on presented on television, they are presented full-screen (no letterboxing) because that's the way they were made. To present them widescreen would be like presenting a widescreen movie in pan & scan. So please, let's all be careful before we scream and shout that a movie wasn't presented in widescreen. Not all movies were made in that format. Most pre-1955 movies, in fact, were made to perfectly fit the television screen. So if you think you're missing something by watching a full-screen version of "Singin' in the Rain," you're wrong. If you watched a widescreen version of it, THEN you would be missing something.

"Singing in the Rain" is a moment of pure joy captured on film. I can never get over the look on Gene Kelly's face when he sings that classic line. It make me smile along with him everytime.

This has got to be one of the happiest movies I have seen. Not silly or funny or goofy (well, there is a little bit of that), but just plain happy. Gene Kelly, Donald O'Connor and Debbie Reynolds are excellent as three chums hatching a plan. These three conspirators want to save the silent movie dud "The Dueling Cavalier" by changing it into a musical. The roadblock to their success is the spoiled starlet, Lina Lamont (Jean Hagen, nominated for Best Supporting Actress for this role) who's squeaky voice and lack of talent are set to tank the picture.

The plot, while fun, takes second place to the astounding musical numbers. "Good Morning, Good Mo-r-ning, We've talked the whole night though, Good Morning, Good Morning to you." (one of my favorites). "Make 'em Laugh" does just that, with Donald O'Connor strutting his vaudeville stuff. "Broadway Melody" (also known as "Gotta Dance") is a mesmerizing duet with Gene Kelly and Cyd Charisse . That particular piece is studied in dance history courses and considered a major work of American dance.

But at the end, it all comes down to "Singing in the Rain." What a wonderful thing, watching Gene Kelly splashing around in the puddles. Happiness caught on film.

"Singin' in the Rain" has the now infamous scene with Gene Kelly himself, dancer extraordinaire, splashing through puddles and singing about the bubbly feeling that love brings you. Everyone knows that scene, and many have imitated it since. I wonder how many people have sat down and truly had a good looksee at this extraordinary picture.

First, what's amazing is that this film was written just to string together a set of songs. The story of Hollywood's transition from silent films to talkies is showcased simply but brilliantly with grand comic overtones. The comedy works, the songs add to the story, and it is seemless. Oddly, even the "Broadway number", a ballet added to the middle of the film, seems out of place but wonderfully innovative and compelling.

Gene Kelly pulls off a tour de force performance as Don Lockwood, smitten star who shined brightly on a young Debbie Reynolds in her first starring role. Equally impressive, Donald O'Connor in an invisible but wonderfully played role of Cosmo, and Jean Hagen as the horrible Lena Lamont.

The transfer to DVD is impressive. The movie's never looked better and comes loaded with extras. The commentary track was interesting to listen to, but ultimately disappointing. If you watch the "Making of..." documentary on disk 2, you end up hearing many of the same comments, so it seems they just took comments and stuck them through the movie. Why not put Donald O'Conner and Debbie Reynolds in front of the movie and have them comment throughout? The winner of disk 2 is an hour and a half documentary on Arthur Freed and his impact on movies, which had me mesmerized. Also, film clips of the orginial songs as they were first performed was delightful.

Overall, this is a great buy. I love being able to jump to my favorite scenes (Good Morning and Moses Supposes get played the most!), and never tire of this classic. Voted the 10th best movie ever made, watch "Singin' in the Rain" and see why!