Write descriptive essay about Singin' in the Rain movie 1952, write an essay of at least 500 words on Singin' in the Rain, 5 paragraph essay on Singin' in the Rain, definition essay, descriptive essay, dichotomy essay.
Singin' in the Rain
Romance, Comedy, Musical
IMDB rating:
Stanley Donen, Gene Kelly
Donald O'Connor as Cosmo Brown
Debbie Reynolds as Kathy Selden
Jean Hagen as Lina Lamont
Millard Mitchell as R.F. Simpson
Cyd Charisse as Dancer
Douglas Fowley as Roscoe Dexter
Rita Moreno as Zelda Zanders
Storyline: In 1927, Don Lockwood and Lina Lamont are a famous on-screen romantic pair. Lina, however, mistakes the on-screen romance for real love. Don has worked hard to get where he is today, with his former partner Cosmo. When Don and Lina's latest film is transformed into a musical, Don has the perfect voice for the songs. But Lina - well, even with the best efforts of a diction coach, they still decide to dub over her voice. Kathy Selden is brought in, an aspiring actress, and while she is working on the movie, Don falls in love with her. Will Kathy continue to "aspire", or will she get the break she deserves ?
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one of my wonderful childhood memories
This film has a charming and warm story, beautiful music and choreography (and dance performance) and lot of fun gags. It's a must see for people of all ages, but seeing it in early youth it's probably best (it made quite an impression on me). They don't make this kind of films anymore, and thus Singin' in the rain may remain unique in the history of film making. I don't know if it's the best performance of Gene Kelly but it sure is one of it's finest. I'm very glad to see that the film and the title song are still appealing for present generations as the were for those of the past. I hope it's beauty will also enjoy in the years to come.
A must-see movie!
Copyright 11 March 1952 (in notice: 1951) by Loew's Inc. A Metro- Goldwyn-Mayer picture. New York opening at the Radio City Music Hall: 27 March 1952. U.S. release: 10 April 1952. U.K. release: May 1952. Australian release: 27 June 1952. 102 minutes.

SYNOPSIS: At the advent of talkies a popular silent screen team is hamstrung by the fact that the female partner has a voice like a berserk chipmunk.

NOTES: Would you believe that Singin' in the Rain — the most popular, the most critically acclaimed musical of all time — did not receive any prestigious Hollywood awards. In fact the film had only two nominations, the first for Jean Hagen as Supporting Actress (she was passed over by Academy members in favor of Gloria Grahame in The Bad and the Beautiful), and the second for Scoring of a Musical Picture in which category Lennie Hayton lost out to Alfred Newman's With a Song in My Heart.

The film didn't fare any better with contemporary critics. Although it placed in number three position (after The Atomic City and My Six Convicts) on his supplementary Hollywood movies list, it didn't make Bosley Crowther's Top Ten Pictures of 1952 for The New York Times. At least the film came in at the number eight spot both on The National Board of Review's Best American Films of the year and the annual Film Daily poll of the nation's film critics.

MGM production number: 1546. Shooting from 18 June 1951 through to 21 November 1951, plus one day, 26 December 1951. Rehearsals started on 12 April 1951. Ernie Flatt worked with Debbie Reynolds on her tap dancing, while Kelly, Donen and Haney started on the staging of the numbers.

Kelly explains that the two directors, whilst always working in close collaboration, sometimes worked individually as well as in tandem. Two sound stages were often used simultaneously, with photographer Rosson rushing from one set to the other. Kelly says he concentrated on directing the musical numbers, whilst Donen usually handled the straight story material.

Two numbers were deleted before the first preview in order to speed up the story: "You Are My Lucky Star" sung by Betty Royce whilst Debbie Reynolds gazes at a billboard of Kelly; and Kelly singing and dancing "All I Do Is Dream of You".

Negative cost: $2,540,800 (which was over budget by $620,996 mostly because the "Broadway Ballet" which had been estimated at only $80,000 was considerably extended when Donald O'Connor was unable to participate in the number due to a prior television commitment and a new story was built around substitute star Cyd Charisse). Initial domestic rentals gross: $7,665,000 which made it number ten on the nation's list of Box office Champions for 1952. Interestingly, it was by no means MGM's top grosser of the year, its takings exceeded by both Quo Vadis (shown at roadshow admission prices) and of course Ivanhoe which sold more tickets than any other movie of that year.

COMMENT: Why is Singin' in the Rain the greatest of all screen musicals? A perfect marriage of story and songs, for one thing. The story's fresh, vital, witty, sharp amusing, charming, pointed, satirical with interestingly likable characters pacing from one fascinating crisis to another with agreeable fortitude. The songs flow naturally from and are an integral part of the story-line. Moreover these songs themselves are fresh, vital, witty, sharp, amusing, charming, pointed and satirical.

Add to perfect story and perfect song, a perfect cast. Kelly is more debonair here and has lost most of that unattractive brashness and even boorishness of the screen persona he created in his earlier films. O'Connor too has toned himself down, only really letting loose in the musical numbers which make a nice contrast to his more unassuming role in the straight sequences. Miss Reynolds is perky, energetic, self-confident yet identifiable girl-next-door. Jean Hagen of course has the best role of her career and gives the performance for which she'll always be remembered.

Add to perfect story and perfect songs and perfect cast, perfect direction. Kelly and Donen move their camera fluidly yet unobtrusively through both complex dance steps and constantly entertaining, twisting plot situations. Supporting technical credits are likewise as highly accomplished as they come.

One of the things I most like about Singin' the Rain is that it's so consistently entertaining. There are no dull patches at all. True there are highlights, but the pace is so fast, and one highlight follows so quickly on the heels of another, and there are so many, it seems invidious to single three or four out in preference to seven or eight others.

I suppose On the Town should have forewarned us, but the super- stylish, super-energetic, super-witty Singin' in the Rain is anything but the sort of stodgy, second-hand musical we expect from MGM. It's nice to have wit plus MGM's super production values as well.

POSTSCRIPT: In the picture's credit titles, Freed's song is quoted as providing the script's inspiration. This of course is malarkey. The credit is nothing but a sop to producer's Freed's ego. When initially preparing the script, Comden and Green used their own imagination and initiative. And of course, as we now all know, Kelly actually hated the brash, egotistic O'Connor and conspired with Donen to fabricate various shooting delays so that O'Connor was unable to participate in the movie's rousing finale due to his previous TV commitment.
Sheer Cinematic Joy
I will make my comments short and pithy, since not many words can describe the sheer grandeur and thrill of watching this film.

So many movies nowadays are two-bit shows that required no thought but lots of CGI. The stories are weak and bland at best, and when they do contain something original, it is usually dull, depressing, and morally sh*tty. The acting is insincere, and the characters are ridiculously one-faced and emotionally distraught in some way. The special effects are the only things keeping the movie in theaters.

"Singin' in the Rain" is the complete, polar opposite of that. When you watch this film, you are transported back to the time frame in which it takes place. You feel the color, excitement, and sounds of Hollywood. But the best thing about it is its boundless joy. This is simply the most fun you will ever have at the movies. You can just feel the vibe and happiness of Gene Kelly's character when he dances through the rainy streets of Hollywood singing that immortal song. The humor is pricelessly good. The musical numbers are simply dazzling, the dance numbers are just sizzling.

This is a magical experience. A great substitute for Prozac.
Why it's the best
There are two kinds of musicals. You can call them different things. You could call them the Hollywood Musical and the Broadway Musical. That's not quite proper because the Hollywood Musical is what the Broadway Musical was in the 20's and 30's, before Rogers and Hammerstein changed everything. maybe a better distinction is the Dancing Musical vs. the Singing Musical, except that both kinds have dancing and singing...

Let's try it this way. The original musicals on Broadway in the 20's and 30's and Hollywood in the 30's and 40's were musicals with a slight storyline, some singing and tremendous dancing numbers. They also have low comedy and plenty of beautiful girls. They usually are about show business itself and many of the numbers take place on the stage. the others seem like the likely result of bringing show people together: of course they are going to sing and dance from time to time. Looking at them these days, the singing is kind of boring, the comics dreadful and the plots the answer to a moron's prayer. It's the dance numbers that are timeless. These films were made for highlight reels like "That's Entertainment".

Rogers and Hammerstein changed all that. They took serious plays and converted them into operetta of popular music. Characters who were not in show business at all used songs and dances as soliloquies to reveal their private thoughts. The result was some of the best plays and films of all time- Oklahoma, Carousel, The King and I, South Pacific, The Sound of Music, Brigadoon, Gigi, My Fair Lady, The Music Man, etc. South Pacific was the first film my parent sever took me to see and this is the type of musical I normally prefer. Here songs tended to dominate- "Surrey with the Fringe on Top, "Out of My Dreams", "People Will Say We're in Love, "If I Loved You", "My Boy Bill", "I Have Dreamed", "Hello Young Lovers", "Some Enchanted Evening", "Younger Than Springtime", etc. ,etc. There are dance pieces but the dancers are on the sidelines.

"Singing in the Rain" is the greatest of all the Hollywood Musicals. It has the memorable dances a Hollywood Musical needs: "Make 'Em Laugh", Singing in the Rain", "Good Morning", "Broadway Melody". There is also the best of the Freed-Brown songbook, such as "You are My Lucky Star". But it has the strongest story of any of the Hollywood Musicals, thanks to the Comden-Green team and the memories of the early days of sound. it's virtually the only Hollywood Musical that could have held up as a non-musical. It could have just been a comedy about he conversion to sound. it would not have been "Singing in the Rain", but it would have been good.

As it is, it's the one musical that has it all.
Genial, Strongly-Made Satire With Music About the Early Days of Talkies
"Singin' In the Rain" I find to be a relaxed musical, one whose subject is the traumatic changeover that was faced by Hollywood producers, actors and directors when sound was introduced into film circa 1928. Many fans and critics believe the musical is one of the best ever; I disagree. But it is quite unusual in several respects, I suggest: first because its background is so realistic as a milieu from which to draw appealing characters and opportunities to introduce songs; and second because the film is played on the edge of parody without ever really falling into that error. The three characters at the center of the film are a love triangle. Don Lockwood, played amiably by Gene Kelly, is the on-screen partner of Lina Lamont (Oscar-worthy Jean Hagen); she has mistaken his sincere performance for real interest; he is in love with Kathy Selden, played by too-young but plucky nineteen-year-old Debbie Reynolds, about whom Lina knows nothing. The professional duo are completing one more romantic adventure film as a silent when suddenly sound is introduced into movies. The studio executives panic; and Don and his partner, played by Donald O'Connor, convince the director, craggy-faced and very realistic Douglas Fowley, to get the studio to let them remake the film as a musical--completing the unfinished portion, etc. The problem turns out not to be Don's transition to talkies but Lina's; she has the voice of a screech owl. Coaching becomes necessary; sensational dance numbers are introduced, including Kelly's solo "Singin' in the Rain", motivated by his falling in love with Kathy; Donald O'Connor's "Make 'Em Laugh" acrobatic classic; and the unnecessary but very-well-done "Gotta Dance" showcase ballet with Cyd Charisse as a gangster's moll, and Kelly as a Broadway hopeful. Then, the film is completed and debuted; of course Lina has found out about Kathy. And of course this intelligent satire works out well for all concerned, after some trials and tribulations. Great fun is gotten I suggest from the actors having to learn to "talk into the flowers", where early microphones had to be hidden, etc. Harold Rosson provided the cinematography, with art direction by Randall Duell and Cedric Gibbons. Nacio Herb Brown's songs were intelligently recycled for the film. Arthur Freed, MGM's master musical specialist, had the use of the talents of Betty Comden and Adolph Green for the screenplay and one song, "Moses Supposes"; he also had then-28- year-old nice guy Stanley Donen as director, soon to add "On The Town" and "Seven Brides For Seven Brothers" to this triumph. Walter Plunkett did the period costumes, with complex set decorations being done by Jacques Mapes and Edwin B. Willis. The studio's boss was played by Millard Mitchell, with Rita Moreno and a dozen familiar faces in smaller parts and uncredited appearances such as Joi Lansing, Paul Maxey, Sylvia Lewis, Kathleen freeman, King Donovan, Dawn Addams, Elaine Edwards, Mae Clarke and Snub Pollard. The film was influential, I assert, my criterion for including it among these reviews, because, immediately afterward, other 1920s and period projects were inspired by its success; these included, "Has Anybody Seen My Gal", the TV show "So This is Hollytwood", and ultimately "The Great Race", "The Rise and Fall of Legs Diamond Story" and a hundred others, including a few musicals. I consider it to be genial, a clever period evocation, lightweight, exuberant, youthful, and a very seminal work with a strong central character and unusually-interesting reality background.
A Classic
Best musical ever!!!

The characters are written and portrayed by the best.

This is definitely a classic.

There is not one scene that will lose your attention and you will definitely want to watch this over and over again.

The score is also very amazing.
This movie was too silly for me. Especially how they were dancing in the beginning with the rain coats. But I should expect stuff like that for watching a musical. But it was still a silly musical. Some parts were funny and the story was good and different from what I expected; I had no idea what the movie was actually about besides having a scene where some guy sings in the rain. I like how they referenced the Jazz Singer. I didn't like the main guy's singing and how he was super tan. I didn't realize so many songs I had heard had came from this movie so that was a surprise. Maybe this movie deserves more credit than I'm giving it. The choreography for all the dances was good though.
It Ain't Been in Vain for Nothing
Singin' in the Rain is one of the best movies ever made. The film is beautiful, tuneful, and loads of fun. While it pokes fun at Hollywood it also does so with great love. Little bits and pieces of Hollywood lore find their way into this great film and it's a pleasure to get the joke or recognize the real star they're referring to.

The star trio is just perfect: Gene Kelly give a funny performance as the hammy silent actor; Donald O'Connor makes the most of his "second banana" role; Debbie Reynolds is perfect as the ingénue trying to break into films.

The three stars perform many memorable numbers, including Kelly's "Singin' in the Rain" classic; all three in the "Good Mornin'" number; O'Connor's "Make 'Em Laugh"; and Kelly and Reynolds in "You Were Meant for Me." The masterpiece however may be the "Gotta Dance" production number with Kelly and Cyd Charisse—just perfect. Also great fun are O'Connor and Kelly in "Fit as a Fiddle" and "Moses Supposes."

There are of course other production numbers, including the montage that shows Hollywood's race to transition to talkies, a scene that ends in the "Beautiful Girl" number featuring Jimmy Thompson.

Jean Hagen (as Lina Lamont) won an Oscar nomination and steals the film in a classic comedy performance. Also good are Millard Mitchell, Douglas Fowley, Rita Moreno, King Donovan, Kathleen Freeman, Mae Clarke, Julius Tannen, and Madge Blake.

The great trick to this film is that while Reynolds is supposedly "lip syncing" for Hagen, it's really Hagen's voice that Reynolds is miming to as in the "I Would, Would You" number. The final miming act is Hagen mouthing "Singin' in the Rain" is really Reynolds. It gets so confusing you can't tell who is lip syncing whose voice.

Lots of Hollywood lore retold in this film. Hagen's Lamont character is a veiled reference to Norma Talmadge, who supposedly failed in talkies because of her New York accent. It's also a reference to Louise Brooks, whose talkie debut in The Canary Murder Case was all dubbed. When Kelly screams "I LOVE YOU" it's a reference to John Gilbert in is talkie debut flop. His Glorious Night. Kathleen Freeman's diction coach character is a reference to Constance Collier, who returned to Hollywood as a coach. And on it goes.

A great film!
Not only a great musical,a great movie
One thing I noticed in reading the comments of this movie is that nobody recognized the screenplay by Betty Comden and Adolph Green. Without their screenplay the movie does not get made. It is a great script that was made better by Gene Kelly and Stanley Donens' fluid direction. Everything in this movie glides effortlessly. Throw in dancing by Donald O'connor, Debbie Reynolds, Cyd Charisse and of course Gene Kelly, Great songs and the willingness of producer Arthur Freed to let the creative people to do their thing and you have a classic.
Now that's entertainment!
Singin In the Rain is arguably the best movie musical of all time, not just because of the music but because of the entire package - the premise, the comedy, the characters - everything here works together to make you feel better any time you sit down to watch it. It's ironic that this movie was thrown together quickly to capitalize on the success of "An American in Paris", since the improvisational feeling of the movie is one of the things that makes it so much fun. Although this film is number ten on the top 100 films of all time as compiled by the American Film Institute, it wasn't nominated for best picture the year of its release, 1952. Although it did well at the box office, it would be over twenty years before people would look back and realize just what a great motion picture it was. Perhaps that was because the 1970's were such bleak and cynical years, with movies that largely matched that mood, that people were eager to rediscover the fun that a motion picture viewing experience could be.

The movie focuses on that period of time in which the entire motion picture film industry was in nervous transition from silent to talking pictures. Although the movie compresses time in this respect - the transition actually took about three years - it does accurately describe the technical problems of that era along with their comical aspects. There was an overabundance of musicals in the first batch of talking films, many stars did have heavy accents that made their speech undecipherable or voices that came across like nails on a chalkboard like Lina Lamont (Jean Hagen) and saw their careers ruined, and early sound technology itself was so fragile that you would often see actors speaking to potted plants or to coat racks with comic effect. The preview of silent picture team Lockwood and Lamont's first talkie, "The Dueling Cavalier", is one of the most hilarious scenes in the film. It is pretty typical of what you would see in such an early talking picture - dialogue going in and out of sync, actors and actresses strutting around and wildly gesturing as if nobody can hear them, and dialogue that still resembled what you would read off of the title cards in a silent film - "I love you, I love you, I love you".

All of this is one of the reasons Singin' In The Rain will never get dated - it is a comic nostalgic look at a very narrow period in time. This movie is fun outside of its comic take on movie history, though. For one, it's hard to say who steals the show the most, since there are so many thieves involved. Most notably there is Jean Hagen - who actually has a very pleasant speaking voice - as the evil silent star who can't accept her days are numbered. Then there is a 27 year-old Donald O'Connor as Cosmo, the studio music director and sidekick of Gene Kelly's character whose youthful exuberance really shines in the number "Make 'Em Laugh" along with all of his goofy facial expressions. He seems to be having as much fun as the audience. Finally, there are all of the great dance numbers and music, capped by probably one of the most famous scenes of all time - Gene Kelly's rendition of the title number that perfectly captures the joy of a man who has just fallen in love and feels he has the world at his feet. You just can't watch this film and not come away with a smile on your face. It is as good for the soul as chicken soup, just a lot more fun.
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