Singin' in the Rain (1952)

Over the past few years, I have tried to make a conscious effort to watch more classic/older films. Not out of necessity or bragging rights, but out of a love for cinema and and understanding of the artform. To understand where we can go forward, you have to understand where you came from. Now, thanks to watching this 1952 release, I am very upset to say that I will be eternally angry with myself for not watching this sooner! I’d heard stories and opinions about how good it is but never quite bought the hype until I started diving head first into musicals. Now I can firmly stand here and tell you all, this film is a certified masterpiece and has quickly joined the ranks of my favourite films of all time!

If I’m going to begin anywhere, it has to be with the musical elements. The songs are all insanely impressive and expressive, they properly showcase where the characters are in the narrative and in their respective arcs but never at the expense of the overall themes and story. Good Morning, Singing in the Rain and Make Them Laugh being some of my personal favourites because they absolutely embody everything I love about this genre. They are fluid, whimsical, and genuinely lovely to watch. Each one of them making its mark on the story but never overstaying its welcome. It just shows a complete understanding of the artform and appreciation for the medium of dance, they always know when to start and they clearly know when to stop. The film itself has a relatively short runtime, because thats all it needs. It doesn’t need 2 and a half hours, its a concise and well executed musical romp!

Furthermore, the choreography in these sequences is nothing short of astounding! The way these people can move not only their feet, but their whole bodies is just pure insanity. The speed at which they cruise through the sets, never missing a beat, always throwing themselves head first into the sequence and completely embodying the tone of it. Good Morning especially was incredibly impressive, the way that the core trio just bounced around the room, up and down the stairs, across the furniture and onto their marks without so much as a toe out of line? I can’t even begin to comprehend the mastery they had over their bodies. This doesn’t mean that they can’t absolutely nail the more emotional moments as well. The one that most impressed me was the sequence “You Were Meant For Me”, where Don and Kathy glide around this sound stage without a care in the world. The slow but swift movements entangling their bodies and their souls, truly showcasing the connection they have and the new found love they share. I don’t think the right word exists to describe just how perfect this film’s choreography is.

The camera work is also a huge factor in how these sequences flow so well. As someone who has been trained in camera work and has key experience crafting that side of a picture, I couldn’t help but notice just how fluid and subtle the camera movements are in this film. Harold Rosson is the cinematographer of this picture and I’ll make sure that I always remember that name for he crafted something visually sensational! I can count on one hand the number of camera cuts there are in one scene, the camera moves around the set into the different positions/angles rather than filming different takes and editing them together. It gives the film a timeless feel, that it just flows all so naturally. The camera work helps not only the dance sequences but the tone of the film itself. The relaxed and calm angles, the methodical way the camera moves, it all helps to craft that otherworldly feeling of pure elation. It really puts into perspective just how much modern filmmaking relies on constant cuts and edits, and how much they can kill the tone of a film by the camera work alone. For instance, using some clever sleuthing and personal calculations, I estimate that there are a total of around 375 cuts in the whole film. Compare that to the recent release, Wicked; which itself has an estimate of around 2,300 shots. Really shows the problem I might have here yeah?

Enough about that, I want to talk about some of the greatest performers to ever grace the screen. Obviously I have to start with the man himself, Gene Kelly. The lead man to beat all lead men. He brings such warmth and an endearing presence to the film, his character Don, being the movie star who not only embraces a new challenge in sound film but embraces a new challenge in the form of Kathy. You truly believe his love for her, and his dedication to his profession. He balances both sides of Don beautifully but never going too far in one direction. Resulting in one of the most effective and engaging lead performances, you’ll ever have the good fortune to witness. Debbie Reynolds on the other hand, she plays Kathy as such a strong and self-assured presence that she perfectly counter-acts Kelly’s flamboyant and often snarky nature. She is so gentle in her performance, never going overly physical but relying on her facial expressions and line delivery to truly showcase what she’s feeling. The men may have physicality, but she brings the emotion. Her chemistry with Gene Kelly is unmatched, creating a love story that can transcend even this very film.

I wanted to give a special shout-out to Donald O’Connor who plays Don’s best friend, Cosmo. I was most surprised at his performance in the film because he rivals Gene Kelly in both performance and in dancing ability! And yet, this is the first I’m ever hearing his name! This man singlehandedly carried multiple sequences and scenes with nothing but his physicality and his wit. Almost every delivery is hilarious from him, often getting in the best jokes in any given scene. When he is pulling faces in the “Moses Supposes” sequence, I was dying laughing! I can’t believe he’s never given the time of day, he’s absolutely brilliant in this film. I especially appreciate how his character isn’t forced into a love triangle with Don and Kathy. In any other given circumstances, this probably would have happened, especially today. But they understood that it wasn’t needed, it was a story about their love and Cosmo plays a big role in that. He provides excellent comic relief but also great heart, you truly see his passion for his work and how creative he is as an individual. He moves the story forward and often assists in their character arcs, and I greatly appreciate that he is valued in the story beyond forced tropes.

Linking this review back to one of my previous reviews, I can definitely see the influences this film had on a film that I’m very fond of, Babylon (2022). The subject matter and setting are fairly similar but they take different approaches in telling their stories. Whilst Babylon tells the story of the toxic and absolute hellhole that 1920s cinema could be, this film tells you the better side of it. How it brought people together and how love for the artform can influence all aspects of your life.

If you’d indulge me for a minute longer, I’d like to just mention how great this film looks and feels. It’s such a happy film, I was grinning from ear to ear the whole time and that is my biggest complement of the film. Every single aspect of it is meticulously designed to make you feel good. The costumes are all expressive, the sets are all believable and colourful, the performances are full of life and energy and most of all, the music ascends you to a higher plane of existence. This film exists solely to make people happy when they watch it, and for that reason, it has quickly become one of my favourite pieces of art I’ve ever seen in my life. Everything about it is beautiful, and you can bet anything you want that I’ll be revisiting this many times in the future.

10/10