A Celebration of Moving Pictures, via the Musical...

Rating: 10/10 (18 March 1999)

It is amazing how a movie such as SINGIN' IN THE RAIN can hit all the right notes, epitomize a genre, and paint an important picture of the most innovative of times in Hollywood: the evolution of silent films to talking ones. There are 'films' and there are 'movies', as George Lucas likes to say. This is a 'movie', a popcorn movie, that is filled frame by frame with fabulous performances, beautiful technicolor, and period songs that will be remembered forever. Directed by Stanley Donen and Gene Kelly, also its star, this movie musical was made on the coattails of Kelly's previous hit, AN AMERICAN IN PARIS, which won best picture of 1951. It was only meant to capitalize on that heavily honored favorite. Not only did it capitalize, it transcended all expectations and has become one of America's most loved and important works of art.
The main trio of actors, Kelly, Donald O'Connor, and a young and cute Debbie Reynolds, are perfectly cast in what is really a perfect 'movie'. Their characters work for Monumental Pictures, actually MGM, and the studio boss is "L. F. Simpson", representing MGM boss L. B. Mayer. Silents rule the silver screen, but, this is 1927, and Warner Bros. has released THE JAZZ SINGER, the first ever talking picture. It becomes the craze and "Simpson" wants to jump onto the bandwagon of sound as soon as possible. With this premise, we see how studios changed gears and utilized the new 'talkie' technology. One problem: many of the actors and actresses looked great but did not sound fit for the new regime. Jean Hagen symbolizes the countless actors who lost their jobs because of the new technology. She can't sing a lick and is as dumb as a brick. (Her voice reminded me of "Susan Alexander's" from CITIZEN KANE) Dialogue coaches are brought in and the studio system is revolutionized. Not without some hilarious screenings of poorly synched sound pictures that almost has Kelly's career disappearing.
The musical numbers brilliantly relay the movie's story of loss and change, but there is never a sour note. Two sequences stand out. Kelly twirling in the rain, of course, and O'Connor's Chaplin-esque turn in a stunning virtuoso mix of dance and slapstick during "Make 'em Laugh". Watch this sequence over and over. You will not believe your eyes. The grand "Broadway Ballet" scene is wonderful at giving us Busby Berkeley-type choreography and Technicolor illuminates the fake facades of a skeleton-like stage of New York City. The switch from silence to sound is quietly told by the song and dance. The writers even managed to get quite a few rips on the industry as a whole, especially the false relationships presented to the tabloid journalists to boost image. This is ironic considering Louis B. Mayer condemned director Billy Wilder for his dark and bitter take on Hollywood just 2 years before in SUNSET BOULEVARD.
Don't miss SINGIN' IN THE RAIN. It ranks alongside the greatest ever made for a reason. See for yourself (and crank up the sound and color) !