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  • primodanielelori10 October 2007
    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.
  • Don Lockwood (Gene Kelly) and Lina Lamont (Jean Hagen) are a famed Hollywood duo, making films at the tail end of the silent era. The studio has been issuing PR suggesting that they're a romantic item. In reality, they can barely stand one another. One night, while on the town with his best friend Cosmo Brown (Donald O' Connor), Lockwood has to run to escape fans who want a piece of him badly enough that they'll literally rip his clothes to shreds. He hops over a number of moving vehicles and ends up in the passenger seat of Kathy Selden's (Debbie Reynolds) car. Lockwood seems immediately taken with her, but she gives him the cold shoulder. She says she's an actress with a love of theater, and she looks down on film acting. Later, Lockwood discovers that she was inflating the truth a bit, as he sees Selden performing as a cute song & dance girl at an industry party he's attending. She runs out of the party and Lockwood chases after her, but he's too late. While he tries to track her down, he, Lamont and their studio have to deal with the changing nature of film in 1927--made much more difficult by the fact that Lamont may look glamorous, but she talks more like Fran Drescher in "The Nanny" (1993).

    Aside from the more serious aspects of the plot, Singing in the Rain is a great success as a romance and a musical. It also has an astoundingly rich Technicolor look, and it is charmingly humorous. Kelly and Reynolds click on screen, even if offscreen Kelly, who also co-directed and co-choreographed, was famously difficult to work with--he drove Reynolds so hard (she was a much more inexperienced dancer) that her feet literally started bleeding at one point. The songs are great, they're worked into the story well--which is perhaps surprising given that most of them weren't written specifically for this film--and the choreography is impeccable, frequently jaw dropping and always aesthetically wondrous and sublime. If for nothing else, the film is worth a look for its often-athletic dance numbers, which can resemble Jackie Chan's showy martial arts stunts as much as dancing. It's also imperative viewing for cultural literacy in the realm of film.

    But the more serious aspects of the plot are fascinating as well. In a significant way, Singing in the Rain is about film technology. Film technology is the hinge of the plot, after all. The climax and dénouement are decided by the advent of synchronized sound in the film industry. We see studio head R.F. Simpson (Millard Mitchell) demonstrating sound films at the party where Lockwood sees Selden for the second time, providing two big turning points at once. There are sequences of actors heading off to diction coaches, as happened in reality once sound entered the scene, and also in reality as in the film some actor's careers were jeopardized by having to suddenly master a new skill.

    But Singing in the Rain is about technology on another level, too. Kelly and co-director Stanley Donen go to great lengths to ensure that the film is an exemplar of state-of-the-art film technology in 1952. For example, the beautiful Technicolor cinematography is emphasized by the fabulously colorful costumes and production design--they're showing off cutting edge color. The sound is as good as it could be in 1952, and the fact that this is a musical helps show that off. The sets and effects are complex and an attempt is made to show them off as well.

    Donen and Kelly often play up the artificiality of the sets and effects to emphasize artistry and technology. This is clearly shown in the "Make 'Em Laugh" sequence (and surrounding events) and the extended "Broadway Rhythm Ballet" sequence with Cyd Charisse. Showing off this artistry and technology also occurs very subtly, as with the rain in the "Singing in the Rain" sequence. Even today, rain machines are frequently employed in a way that it appears to be raining on film, but in reality, it's just enough coverage to produce the illusion. In the "Singing in the Rain" sequence, they make sure that you can see the whole area is getting flooded, and they use Gene Kelly's umbrella, as torrents of water bounce off of it, to emphasize that no matter where he goes, "rain" is pouring down on him.

    While there are many musicals I like as much as Singing in The Rain, this is one of the better-loved examples of that genre, and for good reason. Any musical lover has surely seen this already, and if not, they should run out now and pick it up on DVD. If you're relatively unfamiliar with classic Hollywood musicals, this is one of the best places to start.
  • Sober-Friend22 January 2018
    Last year I was very lucky to catch this on the big screen. This film is meant to be seen on the big screen! It was also the first time I saw it at the theaters and I was very impressed with the visuals.

    In this film movies are switching over from being silent to being "talkies". However the film is a spoof of the turmoil that afflicted the movie industry in the late 1920s when movies when the change over went from silent to sound. When two silent movie stars', Don Lockwood and Lina Lamont, latest movie is made into a musical a chorus girl is brought in to dub Lina's speaking and singing. Don is on top of the world until Lina finds out.

    This is such a great film that if you ever get the chance to see this at the movies then DO IT.

    Gene Kelly and Debbie Reynolds made an awesome team.
  • I don't like musicals. They never made any sense to me. Don't get me wrong, I love music; it's an important part of my life. I love movies also, and while the two often compliment each other, sometimes I'm repelled. It's probably the dancing. A person breaking into a complicated dance number, seemingly unaware of their surroundings, or worse yet, in complete synch with a complete stranger is like making fun of the movie, as if to say, "Please don't take us seriously, we like to sing and dance." Or even more ridiculous, "Let's not fight, let's settle this dispute with a song and dance." Forget about suspension of disbelief.

    This film however, I manage to enjoy. I once was given the task of my film teacher to watch the film and keep track of all the cuts in the film. Well, sometime after ten minutes I lost track because I was so wrapped up in the story. It really is an interesting period in the history of cinema, told well, and with well placed song and dance numbers that at times drag on, but that seems to be more of an excuse to show off the technicolour than anything else. They build you up to it slowly. The first few numbers don't break out at an inappropriate time. It doesn't last though, but by then they've got you.

    With such memorable tunes as these, it's hard to imagine them going wrong. When Gene Kelly sings the title piece, somehow time stands still as you're swept up in one of the most memorable scenes in film history. Just reading the title in print has likely caused you to hum a few bars, or sing a few words. Or maybe, just maybe, walk out without an umbrella when you know it's raining. One thing's for sure, if all Gene Kelly did was choreograph the dance numbers, he more than deserves the co-directing credit he has.

    They simply don't make films like this anymore. Which in some ways is a testament to the film's theme and narrative. The business of show is constantly in a state of evolution. The narrative portrays a time period when silent films were being replaced by "talkies" with sound, yet the musical genre itself has almost all but disappeared with the exception of animated films with musical numbers, and rare live-action pieces.

    One might speculate that Hollywood overdid the musical. Personally, I can't get into them. Most of the time it seems like a drawn out affair, but this film is something special. Considering my feelings about musicals, it would have to take a film of this one's caliber to make me sit up and take notice.
  • jotix1002 January 2006
    The transition from the silent film era to the newly arrived technique of the 'talkies' proved to be the ruin for many well established stars that were great on the screen, but who had no professional training in the theater, or otherwise, and had horrible speaking voices. Thus, a star of the magnitude of Lina Lamont, suffers a hard blow to her career and ego.

    That's the basis of one of the best movies about old Hollywood of all times: "Singin' in the Rain". The film is one of the classics it is because of the marvelous direction of Gene Kelly and Stanley Donen, two men who knew a lot about musicals. The screen play is by one of the best people in the business, Betty Comden and Adolph Green.

    MGM was the studio that employed all the stars one sees in the film, and what a cast they put together: Gene Kelly, Donald O'Connor, Debbie Reynolds, Jean Hagen, Cyd Charisse in a dancing part, Millard Mitchell and Rita Moreno. As if those names weren't big enough, there is the fantastic musical numbers that even, viewing them today, have kept their freshness because of the care in which this film was crafted.

    "Singin' in the Rain" is one of the best musicals of all times. It's right up there with the best of them thanks to the vision of Gene Kelly and Stanley Donen and it will live forever as more people discover this wonderful example of entertainment.
  • 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!
  • This isn't my all time favorite (that goes to "Meet me in St. Louis") but this is definitely in the top 10. This is a fictitous musical comedy of the 1920s when silent films became "talkies". It chronicles how it affects Don Lockwood (Gene Kelly), his leading lady Lina Lamont (Jean Hagen), best friend Cosmo (Donald O'Connor) and Lockwood's new girlfriend Kathey Selden (Debbie Reynolds). Problem is Lina has a voice that can cut glass and doesn't like lockwood falling for Selden...

    This movie has one highlight after another. Almost all the numbers are great--the title tune, "Make 'Em Laugh", "Beautiful Girl", "Good Morning" on and on. My two favorites are two short ones: "Fit as a Fiddle" which has incredible dancing from Kelly and O'Connor and "Would You?" at the end. Kelly isn't that good acting (he never was) but his dancing is superb; Reynolds (only 19 when she did this) is beautiful, energetic and full of life; Hagen is uproarious as Lamont (she was nominated for an Academy Award--she should have won!) and O'Connor is just great as Cosmo (his "Make Em' Laugh" number has astounding dancing). It's hard to believe that Reynolds and O'Connor hated working with Kelly (he was obnoxious, VERY demanding and a tyrant)--it's a credit to their acting that it never comes through.

    I only have one (small) complaint--the big, elaborate production number with Cyd Charisse in the middle. It LOOKS great and colorful--but it brings the film to a screeching halt and is way too long. After it ends I have trouble remembering where the film left off! Still, that's a small problem. This remains one of the 10 best movie musicals ever made. HIGHLY recommended!
  • 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.
  • Many good things can be and have been said about this one and they're all true. It's a great movie. The title number gives us Don Lockwood (Kelly)...In love as no other person has ever been in love, no doubt. He steps out the door and it's raining but he's oblivious to the rain. Who needs an umbrella when you've got wings on your heart and on your feet? Not the incomparable Gene Kelly as he treats us to THE single finest moment in the history of cinema. Do not miss this one.
  • Gene Kelly and Stanley Donen have produced the best musical written directly for the screen. They have used the period in film history during the transition to sound movies and embroidered it with the wonderful songbook of Arthur Freed and Nacio Herb Brown. The icing on the cake, of course is the choreography of Kelly and Donen. From the first moment, the movie takes flight as Kelly relates the tale of his rise as a silent film star with his sidekick, the incomparable Donald O'Connor. Watch the flying feet of O'Connor and Kelly in the "Fit as a Fiddle" number. It doesn't get much better than this. Everyone is familiar with the classic "Singin' in the Rain" sequence. Donald O'Connor's hysterical "Make 'em Laugh" number is probably the funniest musical three minutes on film. Even the Broadway Ballet is a kaleidoscope of color and movement, with a minimum of the highbrow balletic choreography found in the later "An American in Paris."

    What makes "Singin'" such an entertaining classic is its superb integration of comedy and music. Jean Hagen gives the performance of her life as the vocally challenged silent film star, Lena Lamont. Every scene she's in is a comic gem. Her "fingernails on a blackboard" voice and massacre of the English language make her a figure of ridicule. However, in the end when she finally gets her comeuppance, one can't help feeling a little sorry for her.

    This delightful film has been given its due on video. On VHS it can be purchased with the complete remastered soundtrack on CD. The laserdisc versions include one with commentary by film historian Ronald Haver (Criterion) and the film-only version from MGM/UA Home Video with a restored Dolby Digital stereo soundtrack., Last,but not least,is a masterful rendering on DVD with, unfortunately, no supplementary material to speak of.

    This is truly a film for all time that can be watched just for its entertainment value and studied as probably the apex of the Hollywood musical in its Golden Age.
  • This is my favorite movie musical with no stage forebear.

    Consider what's in the mix: A cachet of songs, all tried-and-true from other movies. A cast that was at the top of its form, all the way from Kelly himself to the supporting leads played by Rita Moreno and Millard Mitchell. A script that is, at once, romantic and exciting and sharp and funny.

    Stir together with a generous heaping of MGM color and a dash of a director with a stellar pedigree and the result is, well, something like "Singin' in the Rain."

    There's not a misstep in the movie's entire 103-minute running time. I love the pokes at early filmmaking ("She never *did* figure out where that microphone was, boss!") and the sheer energy of the musical numbers ("Fit as a Fiddle," "Good Mornin'").

    Not only that, but there's not a more romantic scene in all of filmdom that can compare with Reynolds and Kelly dancing to "You Were Meant for Me." Their side-by-side tap dancing says more about how they feel about each other than pages and pages of dialog.

    Great stuff!

    If you think this movie is just the sequence of Kelly splashing like a five-year-old in a puddle, you obviously haven't seen the entire film. Do so--now! You won't regret it!

    PS: In the "rent-this-too" category, if you've seen and love "Singin' in the Rain," check out "The Band Wagon." It skewers the world of theater in much the same way as this film roasts Hollywood!
  • 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.

    Wonderful.
  • Spikeopath4 March 2008
    Singing In The Rain is to me the greatest musical ever made, sure many others push it close, The Wizard Of Oz for one will always be a 10/10 movie in my opinion, but Singing In The Rain is a film that has no flaws, it is a perfect movie.

    Don Lockwood is a star of silent movies but his life is boring, then talking movies arrive and with them he eyes an opportunity to greatly improve his life. A chance encounter with dancer Kathy Selden will further shape his destiny, and along with best pal and partner Cosmo Brown, their respective fortunes will hopefully dovetail towards fulfillment.

    Where do you start? The film is a homage to happiness, be it film making or love, or friendships and honour, the film is pure and simply joyous from the first reel to the triumphant last shot. Featuring stunning choreography, Singing In The Rain doesn't cop out by merely having characters plodding thru a script and then bursting into song occasionally, each song furthers the characters and fleshes out the story unfolding to keep the plot lines tight and crucially, important.

    Make 'Em Laugh, Good Morning, and Singing In The Rain are just some of the brilliant songs and dance routines on show here, with the latter a now legendary piece of cinematic history that speaks volumes for the joyous nature of the film, whilst the finale sequence of the 'Broadway Ballet' is magic & elegance personified. The cast are uniformly excellent, Gene Kelly, Donald O'Connor & Debbie Reynolds interplay together like they were hatched from the same egg, and the joint direction from Stanley Donen (along with Kelly) is seamless.

    Full of hat tipping and self-referencing winks, Singing In The Rain regularly hits the top ten lists of critics and movie fans alike, so lets not beat around the bush about it...it flipping well deserves it. 10/10 in every respect.
  • This is one of those handful of films that is universally loved and respected and I have to join the crowd on that. For over 50 years it has been considered the best musical ever made and I can't argue with that, either, especially with the newly- restored DVD version that came out a short time ago. The film never looked and sounded better!

    In a nutshell, the reason for the high praise, I would think would be: 1 - Likable lead characters (Debbie Reynolds, Gene Kelly, Donald O'Connor); 2 - Excellent song-and-dance numbers, capped off by one of the most famous of all-time, the title song "Singin' In the Rain," featuring Kelly; 3 - Very good humor throughout the film, aided by Jean Hagen's dumb blonde imitation, which may be the best ever put on film; 4 - Spectacular color (please get this latest 2-disc DVD), and 5 - of course, simply a very entertaining film start-to-finish.

    A few side comments: Kelly gets the legacy with his title song dance but O'Connor's dancing in here is just as good. In fact, one of his solo routines reportedly exhausted him so much he could not work for five days. A nice bonus is seeing Cyd Charisse in here, showing off her dancing skills and great legs.
  • Everybody knows Gene Kelly singing and dancing in the films title number, but this is just one of the many magical musical numbers in this epic piece of blissful entertainment. Set during the turbulent period when Hollywood was converting from silent films to sound, ‘Singin' in the Rain' is a perfect example of everything that is good and right about movie-making. Gene Kelly in his greatest role is an all singing, all dancing sensation and his acting is pretty damn good too. Donald O'Connor excels as his exuberant sidekick and almost steals the show with the unsurpassed ‘Make ‘em Laugh'. Debbie Reynolds is feisty and sexy as Kelly's love interest, while Jean Hagen gives one of the screen's greatest supporting performances as the horrid Lena Lamont, a silent screen goddess whose voice will just not cut it in talkies.

    The musical numbers flow fast and furious as Gene and Donald perform amazing feats of choreography with ‘Fit as a Fiddle' and ‘Moses Supposes' while ‘Good Mornin' will have you dancing in the aisles. If ‘Singin' in the Rain' had no musical numbers it would still be a contender for the funniest film ever made. The problems with experiments with sound films are painfully funny, and Kelly's silent sparring with the demonic Hagen is hilarious. The accolade of sheer perfection can be conferred on few films, and such a title is perhaps even an understatement in this case. And never before did rain look like so much fun.
  • tedg10 December 2002
    Warning: Spoilers
    Spoilers herein.

    This is a nearly perfect film from my perspective: It feels naturally improvised. Its episodes are radically discontinuous, but feel like fluid transitions. It has some great numbers, including the incomparable Cyd Charisse.

    But what really puts this on my `must see' list is the deep self-reference. Superficially, it is a movie about a movie, but actually the folding is a whole lot more complex, even psychedelic. The narrative structure is flashbacks, flashforwards, about the movie, IS the movie, about the fooling behind the movie (oddly, Debbie's non-movie songs were dubbed by someone else!). It has nested abstractions, and encompassing ones. It has several manner of annotative features. And the internal movie itself grows while we watch to have internal nesting of different types: the original costume drama becomes a vision from a modern newcomer whacked on the head. And further, there is the Charisse number which is another abstraction.

    There were precessors: `Kane' (41) introduced the use of many parallel narrative devices, `Children of Paradise' (45) had conflated reality and performance: `Red Shoes' (48) took it to dance, and those are must see as well. But here, the technique becomes visual jazz improvisations on reality. Thrilling.

    None of the people involved ever came close on other projects. Odd.

    Ted's evaluation: 4 of 4 -- Every visually literate person should experience this.
  • It has long been thought that the musical era was born out of pure enthusiasm over the ability to put sound on film. And while the case holds water, it is not entirely correct. As `Singin' In the Rain,' so eloquently shows; comedy, charm, music, and dance can all be featured successfully within one film.

    `Singin In the Rain,' is also generally known as the greatest musical of all time. Roger Ebert, the late Gene Siskel, Leonard Maltin, and many other prominent critics agree with that opinion. The plot was born from a song and used others that had been around for many years, ever since `the talkies' were born in the late 20s. The screenplay was written according to the songs. Although the cast had been cast, and re-cast several times; the end result was one of perfect chemistry. The combination of the ever-so talented Gene Kelly (arguably 1 of the 2 best film dancers ever) and Debbie Reynolds worked very well, despite complications that arose off the set. And Donald O'Connor was born for his role as Cosmo Brown, the best buddy to Kelly's Don Lockwood. His wit keeps the film fresh and funny. If you took a drink for every smart remark he made, you'd be drunk, before Lockwood gets the girl!

    All the characters in this film are dynamic, save Cosmo Brown and Lena Lamont (played by Jean Hagen). This was perfect for what was called for, for this film to succeed. This helps the film `move,' where other musicals fail. This is where the irony enters; since this film was written in reverse of this philosophy. Being able to incorporate quality songs into a quality storyline is a skill no studio has ever mastered, even to this day. Even, MGM, which was known as `the king of the musicals', failed more often than it succeeded. To this day, no one has mastered it; although Disney has almost reached MGM proportions with its animation department.

    As the film opens, the premiere for one of the famed `Lockwood/Lamont' films is taking place for `The Royal Rascal.' As the stars arrive, one by one, Cosmo Brown arrives. A bit later Lockwood and Lamont arrive. Lockwood tells a `story' of how he and Cosmo get to stardom. To celebrate the release, there is a party at the studio's producer's house. But to get there, Lockwood must go by a different rout than everyone else, finding Kathy Selden (Debbie Reynolds) in the process. After a few cute surprises and accidents, Don gets a conscience attack. After finally finding her, he realizes that he cares for her. Meanwhile, Cosmo Brown keeps up his antics and funny nature. The comic relief is never amiss in this film. Lamont soon learns of the romance and is up to something, but what? What do you think she is, `.dumb or something?'

    The co-director (also co-directed by Gene Kelly) Stanley Donen called the `Moses Supposes' dance sequence with Kelly and O'Connor, the best dance sequence ever. I agree that it is in the Top 3, but not the best, that's in another film; which Donen directed, for another review. All numbers in this film are memorable, where most from other films are not.

    There is only one detraction in this film. It is the `Broadway Melody' sequence. It begins with another interesting and amusing song and dance number by Mr. Lockwood, trying to convince his producer of something. But the scene becomes too long and unnecessary. Cyd Charisse is an amazing talent, but the dance number she has in the film, should have been deleted. It is mesmerizing, but is out of place in this film. This 13 minute sequence should have ended at about 7-8 max. Still, this detail is so minute, that it isn't a bad detraction. When this film was released in 1952, it opened to luke-warm reviews and average box office receipts. It wasn't until it's `10th Anniversary,' that people began to notice that `Singin' In the Rain' was special and has been known as such ever since. The AFI, when it released it's list of `The 100 Greatest Films Ever,' ranked this film No.10, to put it at the highest mark for a musical of any era and place Ms. Debbie Reynolds as half of the only mother/daughter combination on the list*. `Singin' In the Rain,' is always fun to watch, the film has also been recently released on DVD with tons of extras. As enduring as Mr. Kelly's lamppost lean is, so this film echoes Mr. Lockwood's sentiments of nothing; nothing but pure joy that is.

    Personal Rating: 99 on a 100 point scale

    *Note-Ms. Reynolds' daughter, Carrie Fisher appeared in AFI's No. 15 film, `Star Wars.'
  • "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.
  • Warning: Spoilers
    "Singin' in the Rain" could be considered on the top of movie musicals... It is fresh, imaginative and enjoyable...

    Arthur Freed wrote the lyrics to the songs and they were excellent, specially the title number "Singin' in the Rain" which Stanley Kubrick repeated it in his black comedy "A Clockwork Orange," in 1971...

    But the mysterious power of "Singin' in the Rain" remains in the script, written by Betty Comden and Adolph Green whose sprightly adaptation were also shown in musicals like "On the Town," "It Always Fair Weather," and "Bells Are Ringing." The film is a brilliant musical, the best picture by far of Hollywood in transition...

    It is a gentle satire on the movie modes and manners of the twenties, put together around the problem that faced several actors and studios in their transition from silent films to talkies... This transition is in reality horror and shock to several film stars who failed for not having enough way of speaking, effective word order between image and voice...

    "Singin' in the Rain" is the story of a wildly funny sex goddess played by Jean Hagen who steals the classic as an aggressive no-talent squeaky-voiced silent-screen goddess forced to use blackmail to keep her star in the Hollywood sky… Jean was in love with Kelly who wanted to substitute her by the talented chorus girl Debbie Reynolds..

    "Singin' in the Rain" is rich in the brilliant way in which it is written and done... Its three production numbers are extraordinary, illuminating the picture with different forms of entertainment and bright colors… The big number 'Broadway Ballet,' is a surrealistic extravaganza filled with magic, huge cast, spectacular use of light, color, costumes and sets, plus a marvelous ballet danced by Kelly and Cyd Charisse...

    Gene Kelly became legendary as a choreographer and director... With Stanley Donen, in addition to "Singin' in the Rain," he made "On the Town," and "It's Always Fair Weather." Taken all together, they are constituent element to surpass most of musical achievement...
  • A perfect movie in every sense, 'Singin In The Rain' has rightly gone down in history as the best musical picture ever. But it is much more than that. A sparkling comedy, with a cast that is 100% perfect, and one of the best movies about movies ever made too.

    Gene Kelly's genius has never been more apparent than in this movie, but, as always he never steals the show, in fact here practically having the show stolen from him by Donald O'Connor's gravity defying 'Make 'Em Laugh' and Jean Hagen's unforgettable Lina Lamont. Kelly's title number is the epitome of carefree nonchalance. The guy's in love and he isn't going to let a little rain get in the way. This 'classic' scene is possibly the feelgood moment to beat all others. I defy anyone not to succumb to the Kelly's Irish charm during this number, if you haven't already been won over.

    But a musical is just a musical without a decent story. That's where Comden and Green's pertinent screenplay comes in. Using Nacio Herb Brown's songs from the era in which the movie is set we are taken back to Hollywood in transition, a time when silent movies were ousted by the talkies. For what is generally regarded as just a light-hearted song and dance movie 'Singin In The Rain' takes a pretty accurate line and takes a satirical swipe at the studios and the gossip mongers of the day. There were stars, like Lina Lamont, whose careers disintegrated on the advent of talking pictures, and others, like Kathy Seldon, whose stars were beginning to rise. For a while, there weren't enough voice coaches to go round! The race to match the success of 'The Jazz Singer' was truly chaotic, with studios churning out potboiler after potboiler to cash in on the talking picture. It was also a time when MGM itself started it's reign of the musical genre with epic production numbers, and casts of thousands. In a sense,'Singin In The Rain' both lampoons and celebrates it's own ancestry and place in cinema history.

    Exhilarating, exuberant, and mesmerising. Still, in my opinion, the most entertaining, and the best, movie ever made!
  • Although it was somewhat overshadowed by An American in Paris in it's time, it is now justifiably considered one of the best Hollywood musicals ever made. It's my favorite musical, Gene Kelly film, and one of my favorite MOVIES.

    Kelly was without a doubt at the peak of his amazing career as an actor, director, choreographer, and above all dancer. Each scene is dripping with bright, vibrant colors and plenty of laughs. Kelly's class and charm just exudes from the screen.What makes the film so extraordinary is the way each song and dance number flow effortlessly and are perfectly intergrated into the story. These numbers not only showcase the amazing ability of Kelly, Donald O'Connor, and even Debbie Reynolds, but also the exuberance of that happy and carefree feeling of the 1920's.

    Some of the standout numbers are of course the title dance through the rain, and Broadway Melody, but also the hilarious "Make Em Laugh" where O'Connor displays his talent of blending humor and acrebatic movements, and "Good Morning" where Reynolds holds her own between the 2 greatest dancers of the time.

    This film is an American classic and an absolute must see. It's the perfect movie to watch if you want to laugh, smile, or just simply watch something that leaves you with a good feeling. I know I am always left with a glorious feeling in my heart.
  • Definitely one of the most genuinely feel-good films I've ever seen. For a musical, it did not fit the mold of being a bit on the corny side. And some musical films I've seen are a bit stale, but this one is far from that label. I was just beginning to see Gene Kelly's work (I had first seen An American in Paris--which is another gem) and I was captivated by his energy and how overall talented he is. Definitely a great dancer of his time. It was also the first film I saw of Debbie Reynolds' earlier work. It is very clear why it's considered one of the best films of all time. It's witty, romantic, charming, and contains beautiful musical numbers. I definitely recommend it to be an addition to anyones film collection.
  • Everybody remembers the scene. It's the one where he walks along the street, dancing, and singin' in the rain. The musical sequence has yet to be surpassed by any film -- even my all-time-favorite musical, "Grease" (1978), doesn't stand a chance. In fact, there's another great musical number in "Singin' in the Rain," with Donald O'Connor throwing his body around like a rag doll. Even though the singin' in the rain number is the infamous trademark of the film and musicals everywhere, my personal favorite is "Make 'em Laugh."

    Not many people know, however, that Gene Kelly had a 103 degree fever during the filming of the infamous scene -- a dangerous thing to do, in retrospect, considering that he was flailing about and working up a sweat in pouring water with such a high temperature. But even then, not many people know that the "rain water" pouring down on the joyously cheesy street was actually composed of water and milk. The milk was added to the mix in an effort to achieve the effect of raindrops showing up on screen. (Mel Gibson noted once that most of the time during the filming of "Braveheart" it was raining around them, but it was basically impossible to notice any rainfall in the film since the sheets of liquid were so thin.)

    "Singin' in the Rain" can probably be called the greatest musical of all time, even though my guilty pleasure is "Grease" (how outdated the film is, and yet how amusing it remains!). Every serious filmgoer knows this movie, and just yesterday as I watched Britain's countdown to the greatest musical ever made, I noted that "Singin' in the Rain" was high on the list ("Grease" was no. 1, although any list that posts "Buffy the Vampire Slayer: The Musical" higher on a list than "Singin' in the Rain" can't be trusted).

    Don Lockwood (Kelly) is a silent film star in 1927, an ex-musician living an on-screen romance with Lina Lamont (Jean Hagen) and letting the publicity take their screen relationship to a whole new level (think Ben and Jen's recent tabloid romance). The press loves to think that its two biggest stars are the nation's cutest couple, but in reality Lockwood despises Lamont, and Lamont -- having read trashy magazines -- believes their relationship to be factual. "Oh, Donny!" Lina cries. "You couldn't kiss my like that and not mean it just a teensy bit!" Lockwood: "Meet the greatest actor in the world -- I'd rather kiss a tarantula." Lina: "You don't mean that." Lockwood: "I don't? Hey Joe, get me a tarantula!"

    When the silent film studio begins the transition from silent film to new "talkies," it means that Lockwood will have to take acting lessons in able to learn to truly be able to act, and Lamont -- a squeaky-voiced young lady -- will have to learn to learn proper grammar. (Some scenes with a grammar instructor reminded me of "My Fair Lady," truth be told, although it was filmed 12 years afterwards.)

    Lockwood meets a young girl named Kathy Seldon (Debbie Reynolds), who refuses to fall victim to his Hollywood charm but eventually learns to love the guy after he gets her out of a tight squeeze or two.

    Meanwhile, Lockwood's pal, Cosmo (O'Connor), suggests that they start to stage film musicals instead of feature "talkies" -- that way, all Lockwood needs to do is sing and dance, something he already excels at. ("Make a musical! The new Don Lockwood: he yodels! He jumps about to music!")

    But people want Lockwood and Lamont, not Lockwood by himself, and the prospect of losing money is not a bright prospect for the film company. So Lina is filmed in the musicals with him, and towards the end of our film, sweet young Kathy dubs over Lina's voice and is given no credit for the task. Lamont is too embarrassed to admit that she can't sing, and so she blackmails the film distributor -- if they credit Kathy at the end of her new feature film, she'll take legal action.

    And so comes the climatic finale on stage as Lockwood reveals the true singer behind the film (ironic, since it was Lamont herself who dubbed over Reynolds' voice during the sequence). As Roger Ebert noted, the scene where Lockwood bursts onto stage and fingers out Kathy from the crowd of onlookers is corny, but it's sweet and exactly the time of emotionally uplifting moment that is rarely made nowadays.

    Gene Kelly's notorious cruelty on the set of "Singin' in the Rain" has become a sort of folklore, and it's true. He berated the actors if they messed up a single dance number. O'Connor later admitted that he was extremely frightened to make a single mistake, afraid that Kelly would lash out at him.

    That strictness doesn't shine through Kelly's character in "Singin' in the Rain." In fact, many of the dance moves (such as the frantic splashing in the puddles) look quite haphazard, but they were all choreographed to an extreme.

    Is that why the film is highly regarded as perhaps the definitive American musical? That probably has something to do with it. I think it's mostly the joy of it all, though -- bright, cheery, happy, and uplifting, the film is one of the most purely fun films of all time. It doesn't demand anything like some films, but it gives a lot back.

    The ads for "Singin' in the Rain" promised a glorious feeling, and in that way the film lives up to its slogan. It is fun and bright and glorious and entertaining. It doesn't take itself seriously, but it offers the viewer a chance to experience something quite rare -- an all-around great movie.

    What a glorious feeling, indeed.

    5/5.
  • 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.
  • Let's get things straight: this is by no means a bad musical. There are some wonderful numbers- "Make Em' Laugh", "Good Morning", that one where the gal with the long leg dangles a hat in front of Gene Kelly- but the film itself is disappointing. I've always found Gene Kelly too arrogant and annoying to want to watch him as a romantic lead, a bit too uptight to be comic and his dancing's better in An American in Paris. Debbie Reynolds is cute but not earth-shattering. Donald O'Connor is fabulous- he's the reason to watch this film. His talent, particularly for comedy, exceeds Kelly's talents. He's definitely underrated.

    I was told that the whole spoofing of the advent of the talkies was hilarious. It's mildly amusing at best. The characters didn't really grab me either. It's a total myth that the story of a musical can get away with being complete fluff. Even if the story's a bit of a stretch (or a lot if it's Brigadoon), it should at least be entertaining. This film really ought to have simply been a revue.

    I think that nostalgia and hype may have clouded the judgement of quite a few viewers.
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