For my next classic film, I chose Singin' in the Rain because it has one of the most iconic scenes in movie history. Gene Kelly dancing in the rain out of pure joy and lightness of being in love is a lingering memory in many minds. I don't know anything about the storyline itself, other than what the blurb says about the movie. Two actors moving from silent film to "talkies," but one of them isn't doing as well as the other with the transition. I didn't even realize Debbie Reynolds was in this film until I looked for an image for the blog. I'm going into this one totally blind, so at least I'm open to whatever happens. Can't wait to see Debbie Reynolds on screen with Gene Kelly. I wonder if her attitude was captured in this film like in her later years. I always loved her charm and wit and I hope it's here, as well, but being made in the 50s, it's fully possible that they had her as a subdued version of herself. Won't know until I watch, so let's check this out! I found it on HBOMax, so you can watch it free there, if you already have a subscription. If not, you can rent it from Prime, Apple TV or YouTube.
This is such a charming movie. I found myself smiling with just about every song and every smile on Gene Kelly's face. The music fits the movie, the singing is impeccable and the dancing is superb. Gene Kelly and Donald O'Connor play two gentlemen who have made their way into the movie industry. The year is 1927 and films are still silent. Things are changing, though, and talking films, dubbed "Talkies" are taking over. While Donald Lockwood (Gene Kelly) is flowing seamlessly into talking roles, his famous co-star, Lina Lamont (Jean Hagen), isn't doing as well. Her accent and slang aren't translating into a refined and poised woman on the screen and they need to fix the film they've been working on fast! Lucky enough, with the way talkies are created, it's easy enough to dub another's voice over Lina's. Cathy Selden (Debbie Reynolds) has had a bit of a run-in with Lockwood & Lamont before and it's created an animosity between Lamont and Selden, at least on Lamont's side. No one tells Lina who is dubbing her voice so she won't have a chance to get angry about it, but another actor on the set decides she needs to know. As the film is about to be released, Lamont demands that they can't let the public know that it's not her voice or she'll sue the studio. It's a fun and entertaining film that gives you some idea of what filming a movie during that time was like and the troubles they faced in the early days of switching studios over to recording sound as well as video. This film holds up well to modern standards, although there are parts that show how women were displayed as being beautiful and poised and no other way was appealing. The simple way that Lina is dismissed by not only the studio, but also the audience when she finally gets to speak is a perfect example of this. It doesn't come off in poor taste, but more like a reminder why progress takes so long. Women weren't given many chances to prove they could be more than pretty and quiet in the beginning and it took some strong women to push the boundaries during those times to get us where we are today. I'm sure there are more women in our future that are strong enough to keep pushing those boundaries until there really isn't much left of that old mentality of "women and children should be seen and not heard."
When you're first introduced to Don Lockwood, he's a bit of a nobody who becomes a stunt man during filming when the previous stunt man is knocked unconscious. Whether it's from one too many drinks or one too many knocks on the head, I'm unsure. After some time with so many stunt roles, the head of the studio takes notice and pairs him alongside their starlet, Lina Lamont, thus beginning his path down fame and fortune. At the premier of their latest movie, Lockwood gives a speech and all I could think was, "What a cad!" He went on and on about his life and career and wouldn't allow Lamont a single word in the interview. I didn't know at the time about her accent and the studio's stance that she shouldn't do any public speaking. All I saw was him taking center stage and walking all over her. He seemed to be full of himself, but at least he had a friend to keep him grounded somewhat. Cosmo Brown (played by Donald O'Connor) is a jokester, full of mirth and light. His character was a joy to watch, even when he seemed a little unhinged with his comedic enthusiasm. I guess I can appreciate a little psycho tendencies when it's aimed the right way. On the way home from the premier, Cosmo gets a flat that leaves them stranded on the side of the road and Lockwood gets mobbed by "adoring" fans that start tearing at his clothes. He runs across the street, over the top of a street car and jumps into the passenger seat of a passing vehicle. This vehicle happens to be driven by the lovely Debbie Reynolds. She doesn't recognize the star next to her at first, so she thinks he's trying to steal her car. She even goes so far as to pull over next to a street cop to tell him about the surprise drop in sitting next to her. The officer recognizes him and things get smoothed over. Sort of. Apparently Debbie Reynolds did get to keep some of her sassy personality in this film and you see that as she tells Lockwood that actors on film are basically a dime a dozen with little talent. That true talent lives on stage in theaters. As they quip back and forth at each other, she drives him to a place where he can get a change of clothes, then she carries on about her evening. They wind up at the same Hollywood event, he as a guest, she as a performer. After a brief exchange, she decides he needs the trusty pie-to-the-face and throws. Unfortunately for her, he ducks and she gets Lina straight in the face, successfully getting herself fired from her job. Lockwood spends weeks pining over her and finally finds her again as a chorus girl in a film they're working on.
I have to mention the song that is being performed in this scene. "Beautiful Girl" is a song that sings the praises of beautiful women, dressed supremely while they stand still as they possibly can and allow the camera to just stay on their statue-like poses. These are the kinds of things that remind me that this was seen as nothing negative by the populous and definitely not by the studio execs who were funding and guiding these films. In fact, I could believe that if a woman expressed her discontent at being just wall art, she would be looking for a career in another field. As it is, she gets noticed by the head of the studio by being quiet and looking pretty on the right arm of the gentleman singing the song and is offered a better position, despite her previous encounter with Lockwood & Lamont. They begin filming the studio's first "talkie" and you begin to see the issues they have with Lamont. She doesn't understand how to talk INTO the mic and the wide sweeping of her head is making the sound go in and out of clarity. They try a few options to get it right, but in the end, nothing seems to work. They run the film for a test audience and the film is given glaring reviews. Some think it's hilarious, others think it's atrocious. Now they're scrambling with a 6 week deadline and no idea how to save the film and the studio along with it. Cosmo has the brilliant idea making it a musical and dubbing Cathy's voice over Lina's. He doesn't get the credit, of course, but at least the studio exec gives him a promotion to music director. Cosmo creates the songs and directs the musicians to perform them beautifully. The actors take diction lessons to ensure they have the proper annunciation for filming. I love how music is such a seamless part of life in older movies, like music is sewn into the fabric of life and lives closer to the heart of the human soul.
Even a simple diction lesson turns into a song, dance and a show. We went through a period in the 90s where musicals were hated by the general masses and considered too cheesy and not realistic enough to the alternative mind. I should know, I was one of those alternative minds. You had to be completely apathetic about everything and showed no positive emotions because it was sappy. I'm glad that we've gotten to the point that it's okay for people to be happy and cheerful again. Although you know there's still some of those people who can't stand anyone being too cheerful in the morning before there's been a chance for coffee. How are you so happy that early?
As for the most iconic song of the entire film, I have a feeling I'll be singing this song during the first rain day at the Renn Faire this year. Firstly, because I love rain days at Faire, so they make me happy. Secondly, because I don't mind wandering out in the rain when at Faire. I don't mind getting my boots in the mud and my cotton clothing will dry well enough. I'm not sure I'll be stomping and twirling around at the level that Gene Kelly was, but it'll be fun just the same. Kelly's so light footed when dancing along the curb. In a real twinkle-toes kind of way. His pure joy in this song truly comes through. Gene Kelly has an infectious smile and his eyes light up with the wonder and happiness that Lockwood is experiencing, so you can't help but smile along with him. There is such amazing choreography in this film. I still don't understand how was there never an Oscar for choreography throughout the 50s? I understand that Bob Mackie had a pretty solid hold in that field, but Gene Kelly and Stanley Donen did an impeccable job with the numerous dance numbers throughout the film. They were entertaining, although I can imagine they were exhausting to perform. It was like they just kept going and some of them were in one continuous shot, so there could be no mistakes during the take or they would have to do it all over again. That had to put a ton of pressure on the actors to make sure they weren't the ones throwing the whole shot off.
Throughout the film I noticed the costumes were well done to be styles from the 20s, but only if I was looking at the women's clothing. You can tell what era it is from the style the women wear, but men's attire hasn't changed much. The simple pants, shirt and vest combo could be anywhere across a 200 year span since the Victorian era. It's kind of sad for men that their options have been so limited, yet women can be inspired by any era that calls to them. I loved the wide array of 20s styles, especially from the movie premier in the beginning of the film. There was one woman with an incredibly sleek, slightly gothic look. her dress had a spider's web detail across her back that was to-die-for. There was tons of straight dresses with low belts, lots of cropped hairstyles and pin curls. It's funny to think about how period pieces have been such a staple across cinema for decades. This is a movie made in the 50s that was about the 20s. No different than someone making a movie today about the 90s. It doesn't seem that far apart, but the styling of the movie, costumes and hair, can give you the feeling that it's truly set in that decade. One little bit I noticed, though, was that they put Cathy in the same outfit in two different scenes. I know, in reality, people will wear the same outfit more than once in their lives. In movies, on the other hand, it seems to stand out like a sore thumb. In the final scene of the movie, she's wearing the dress that she was wearing when they thought up the idea of making "Dueling Cavalier" into a musical. These two scenes happen at least 6 weeks apart, so you would think they would change her outfit to show the progress of the movie. It just seemed like one tiny detail that got overlooked.
Once they have the movie figured out, they get everything reshot to fit with the new concept, get the songs recorded and Lina's voice dubbed. Lina talks to her lawyer about her options when she finds out the world will know that she's not actually doing the voices, and basically extorts the studio head into getting Cathy to do all her voice overs in the future. The only thing that Lina didn't think through very well was the fact that the second she talked to anyone, they would know she wasn't doing the voice in the movies. An oversight that catches up with her in the end when she decides she wants to speak to her public finally. Since she'd never uttered a word to them before, this was a shock to all of them. They saw through her very quickly and Cathy was given the credit she was due.
Overall, this is a movie I would watch again for the music and choreography. Cosmo's song, "Make 'em Laugh" is charming and a riot at the same time. This is when I thought that he might be a little psychotic, but in a good way. He is intense with his routine, but it works for the character and the scene. Even the song they came up with during the diction lesson was fun and fitting. If you haven't seen it yet, then you should give it a chance. It's definitely worth the watch and you won't be able to help but smile while watching it.
Next week's movie will be Citizen Kane, which is also available on HBOMax. You can rent it from Apple, Prime or YouTube, as well, if you don't have an HBO subscription. I hope you get to enjoy this film, if you haven't seen it, and I hope I've taken you down memory lane if you have. Stay tuned for next week!
For more movie love, check out my other blog, "You're Watching That Again?!"
