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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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Timeles Magic
Can you imagine? Me, a film lover since the age of six, hadn't seen "Singing In The Rain" until last night. I had read and heard so much about it over the years that I knew I was going to be disappointed. As a musical I've never seen anything so perfectly "in tune" I can see how many directors have been influenced by the soul of this gorgeous movie. I've seen even Federico Fellini here. The tap routine with Gene Kelly and Donald O'Connor is so energizing that I wanted to see it again and again. The fantasy number with Gene Kelly and Cyd Charisse is breathtaking, breathtaking! How extraordinary to see Debiee Reynolds going through the contagious (Good morning!Good morning!) I had seen her a few nights before as Grace's mother in "Will and Grace" She hasn't lost her zest. I'm sure I'll be seeing this movie many times and I intend to show it to very young people from the post MTV generation and I'm betting with myself that they're going to love it. Greatness is timeless.
Grandmother loves it, but why?
Wow did I hate this movie. I feel like I need to rewatch it, because this IS supposed to be a good movie right? Like, classic, everyone loves it? I don't for the life of me understand why. I know all the songs, everyone knows all the songs. I recognized the singing in the rain scene. Who doesn't? But goddamn! This movie was a star vehicle if there ever was one! This movie exists just to show how awesome Gene Kelly was, and doesn't get anything else right. I've seen musicals before (who hasn't?), and I know for a fact that they're capable of having good plots and likable characters like any other movie! Then why does this one seem so flat?
The Iconic MGM Movie Musical
This is an iconic movie musical. About the transition from silent film to talking pictures. The tons of musical numbers abound all choreographed brilliantly by legendary Gene Kelly. Singin' in the Rain the title song will put a smile on your face whether you're having a bad or not.
Most likely the best musical ever filmed, although I sure like "Cats" and "A Chorus Line" too!.
"Singing In The Rain" is unique in that the song actually inspired the movie. It is set in Hollywood in the mid-1920s. Gene Kelly, 39 when it was made, stars as Don Lockwood, silent film star. Donald O'Connor was 26, played Cosmo Brown, Lockwood's long-time sidekick. And 19-yr-old Debbie Reynolds, in already her 6th film, plays Kathy Seldon, aspiring legitimate (stage) actress set on going to NYC. Lockwood met her initially when he was escaping overzealous fans and leaped into her car from a streetcar top. Also, they later met again when she jumped out of a cake at a party. She obviously needed work!

However, the character who really makes the whole story possible, and the movie fantastic, is Lina Lamont (Jean Hagen), Lockwood's silent screen co-star, who also happens to be a totally self-absorbed person with the most irritating voice possible. Hagen is absolutely perfect in this role, and I understand she received an Oscar nomination for it. In 1927, the first "talkie", "The Jazz Singer" with Al Jolson, changed movies forever. Suddenly the "talkies" were making all the money and the Lockwood/Lamont team had to follow or close down. No amount of diction coaching could get Lamont to sound good, and the audience could only laugh at the test screening just 6 weeks before scheduled opening. Cosmo had a great idea - Kathy would dub in her voice over Lina's. Also, the serious "Dueling Cavaliers" would become a musical, "The Dancing Cavaliers."

The new musical is a big hit, Lina gets coerced by the live audience to sing a song, but it was Kathy singing behind the curtain. Midway through it, they raised the curtain to expose the truth, Lina was put in her place, and the new team of Lockwood and Selden was a hit, on and off the big screen.

Except for an extended surreal dance scene with Kelly and Cyd Charisse, which seemed to break the continuity of the story, the movie is almost perfect. I rate it "9" of 10. Of course Kelly was choreographer, and co-director, so I suppose he just wanted that number in. The several energetic dance numbers with Kelly and O'Connor are simply great, as are the two individual solo numbers, "Singing in the Rain" by Kelly, right after Don leaves Kathy's apartment, realizing he is in love with her, and "Make 'Em Laugh" by O'Connor, which includes his running up two different inclining walls and back-flipping off them.

Who knew Debbie Reynolds could dance so well, and hold her own with Kelly and O'Connor?? Well, she couldn't until she was cast for the part, and she literally worked herself to bleeding feet in rehearsing for the production numbers, and all her hard work shows. She became a dancer for this role.

I love music, and I love good dancing. I cannot watch a film like this without mentally comparing the two great dancers of 1950s film, Gene Kelly and Fred Astaire. I suppose Astaire was the greater "pure dancer" of the two, with always perfect positions and movements that would just glide over the floor. Kelly, however, is my overall favorite of the two. Not only is he a superb dancer, his more athletic build and dancing style, combined with good looks and singing voice, make him more believable in the musical film roles they both starred in.
One of the best musical's of all time!
Singin' in the Rain is one of the most-loved and celebrated film musicals of all time from MGM.

The lively and energetic film, co-directed by Stanley Donen and dancer,star,and choreographer Gene Kelly. Singin in the rain isn't just a basic musical it was outstanding, with not just great song and dance number's but good acting too. It was also very breathtaking and graceful, along with anticipation. There was a comical side to from the great Donald O'Connor(Cosmo Brown) and wonderful dances including Cyd Charisse. You don't need much dialogue when you have such high quality and expressive Song and dance's. Gene, Debbie,Donald and Cyd gave outstanding performances and created something which will never be created again. Everything about 'Singin in the rain' is perfect and magical.

It's most definitely a film that you can watch over and over, that proves how good it really is.
Let me start off by saying, I hate musicals. Hate them. I have little respect for a genre with such patently bizarre conventions as the musical. Of course, there will always be a place in my heart for The Wizard of Oz and The Sound of Music, as they are films that are more rites of passage than actual entertainment, they are part of the American cultural landscape in a way that makes them almost unavoidable. I also, much to my chagrin, like Grease and Hair, but for different reasons.

With all that said, I love Singin' in the Rain. I love it. It is one of the finest films that I have ever watched and I can watch it again and again. SitR is a fun movie, that pokes fun at its own conventions and explodes them in strange and wonderful ways.

Gene Kelly is simply too cool. He is one of the few men that project cool while doing goofy and graceful dance steps (Billy Joel could pull it off sometimes too). Gene Kelly is a damn cool guy with the chops and credentials to make nearly any role legitimate. SitR is no exception. Especially the bizarre, Bernhard-esque dance number at the end, which Kelly choreographed himself. Fantastic.

Donald O'Connor, though, is one of the main reasons why this film works. He is damn funny. His hyperkinetic Make'm Laugh skit still gets me rolling today. He is beyond brilliant in this film and really makes his scenes work.

The plot itself is interesting, it is a musical about the origins of musicals. It is a romance, a comedy, a history lesson and a some of the best dance numbers ever all rolled into one. I don't really know what else to say about this film except... wow.
MGM Near the Top of Its Musical Game
The heaps of scholarly criticism heaped on "Singing' in the Rain" have done it a disservice by giving it the ball and chain reputation of an IMPORTANT picture in cinema history. Let's not forget why "Singin' in the Rain" was made, which was to provide a form of escapist entertainment, nor why it's still so loved now, which is because it's great fun and everything clicks. It's not homework, and it's not medicine.

I don't even think it's the best movie musical ever made (I liked MGM's "Seven Brides for Seven Brothers" more), and it's not one I feel compelled to go back to again and again. I'm not a huge fan of Gene Kelly, and think he's squirrelly when he's trying to be dashing, and Donald O'Connor's manic energy is just as likely to be exhausting as it is funny. But there's no improving on Jean Hagen's pitch-perfect performance as the ditzy villainess, and Debbie Reynolds shows how sweet and charming she was early in her career, before she became a broad.

The songs and dances aren't especially well integrated into the film --you can practically hear the gears grinding whenever the film transitions from its book to its musical portions. But the numbers are so wildly entertaining in and of themselves that you don't much care. The "Singin' in the Rain" sequence does what far too few films do -- it transports you to a place where what's happening on the screen in front of you is the only thing that matters.

Grade: A-
How do I love this movie? Let me count the ways...
I'm glad that this movie is one of the top here on IMDB. That's the way it should be. With the exception of the dreadful "Gotta Dance" number, this movie is a classic to be treasured for years to come. Each time I watch it, I love it more and I laugh harder. The music is catchy, the acting is great, and the jokes are hilarious. Donald O'Connor has to be one of the funniest people ever...and Cosmo is just so darn loveable. :-)

10/10 -- definitely!
The Divine Miss Charisse
I'm going to confine my comments about "Singin' in the Rain" to the "Broadway Rhythm" sequence where Cyd Charisse steals the movie without saying a word. In my view, Charisse, who is still gorgeous at 83, was the quintessential movie dancer of the 1950s. Her height, elegance, aloofness and those impossibly long legs -- along with an uncanny ability to match her style to that of her partner -- makes watching her dance a mesmerizing experience.

Many have said that the two numbers in "Singin' in the Rain" that feature Charisse probably belong in another movie. I don't know… as the flapper in jade, she sexes up Kelly's rube character to a steamy height unusual in movies of that era. In a dance full of wonderful moves, my favorite comes after she's left him with her cigarette holder. She sashays away from him, blowing on her nails in studied boredom. She's gotten some distance away, and as she tosses her right hand back, he throws down the cigarette holder, grabs her hand and brings her flying up to his chest, where she proceeds to slide down Kelly's thigh to the floor for one of several prone positions she takes during this duet, from which she returns to a standing position with amazing grace. I'm not wild about dances that rely heavily on props, but this one does so very effectively: they're amusing and they reinforce character.

And thank heaven for the artistic control that allowed Kelly to keep the "crazy veil" number in the picture. Charisse has discussed that dance, where she got to show off her early ballet training, most charmingly for a "Word of Mouth" feature on TCM. She and others have noted over the years that the wind machines required to keep that impossibly long veil moving and undulating between and above her and Kelly made filming a nightmare. But it looks effortless, on a set that is a subtle optical illusion—not as deep nor as sloped as it appears to be.

Both dances end the same way. Whether she's a cheap gangster's moll in garish green or a Grecian goddess in white, less obviously in a mobster's sway, Charisse is invariably lured back to reality by proffered baubles and menacingly tossed coins. But at the end of the crazy veil number, she's the one tossing the coins.

One of the best of these romance dance and song films--AMAZING
Singin' in the Rain (1952)

You gotta love a movie like this.

But--how in the world do you talk about a classic that has grown so big it defines its own genre? How can you mention, politely, that it's filled with flaws?

If there are parts that are frankly corny, to the point of being "stupid" if they appeared in some other movie, can you say so? (The first big opening night scenes where people are getting out of their cars might be one.)

If some of the dance scenes seem like throw-ins, adding nothing to the plot and offering only more lighthearted tap dancing and goofing around, isn't this a distraction? (The diction coach dance is one candidate.)

What if it's just full of itself? (The Cyd Charisse ballet scenes can be seen that way, for sure.) Or what if the plot is just too obviously a vehicle, and we can't get involved like we should in something more sincere, or more surprising? (The guy lands in the seat of a moving car and finds himself next to the girl, hello?)

Well, the answer to all these is you need to chill and lighten up and realize that that's how these musicals go. It's like you had Gene Kelly and Debbie Reynolds over to your house and everyone started hamming it up and dancing and being silly. And Donald O'Connor stopped by to play piano (and dance up the walls). And you blow it up and give it dazzling color and bright lights. Then rehearse a little so the dance steps aren't just fun, but they are astonishing, and choreographed exquisitely? And what if you, say, want to have a little history of dance thrown in, why not? And of course modern ballet is the counterpart to modern Hollywood musical dance numbers, so why not try to mix them a bit (this is Gene Kelly's doing, mostly)?

So if you ramp up the affair into a big budget, slickly filmed movie, but never lose sight of its origins as a kind of fun, not-so-serious romp, it's just a great time. A corny, silly, improbable, romantic, self-effacing, celebratory great time.
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