list http://www.spout.com/ Recent community activity around Singin' in the Rain on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Singin_in_the_Rain/31443/default.aspx Title: Singin' in the Rain
Year: 1952
Director: Gene Kelly, Stanley Donen
Plot: Hollywood, 1927: the silent-film romantic team of Don Lockwood (Gene Kelly) and Lina Lamont (Jean Hagen) is the Toast of Tinseltown. While Lockwood and Lamont personify smoldering passions on screen, in real life the down-to-earth Lockwood can't stand the egotistical, brainless Lina. He prefers the company of aspiring actress Kathy Selden (Debbie Reynolds), whom he met while escaping his screaming fans. Watching these intrigues from the sidelines is Cosmo Brown (Donald O'Connor), Don's best pal and on-set pianist. Cosmo is promoted to musical director of Monumental Pictures by studio head R. F. Simpson (Millard Mitchell) when the talking-picture revolution commences. That's all right for Cosmo, but how will talkies affect the upcoming Lockwood-Lamont vehicle "The Dueling Cavalier"? Don, an accomplished song-and-dance man, should have no trouble adapting to the microphone. Lina, however, is another matter: put as charitably as possible, she has a voice that sounds like fingernails on the blackboard. The disastrous preview of the team's first talkie has the audience howling with derisive laughter. On the strength of the plot alone, concocted by the matchless writing team of Betty Comden and Adolph Green, Singin' in the Rain is a delight. But with the addition of MGM's catalog of Arthur Freed-Nacio Herb Brown songs -- You Were Meant for Me, You Are My Lucky Star, The Broadway Melody, and of course the title song -- the film becomes one of the greatest Hollywood musicals ever made. ~ Hal Erickson, All Movie Guide
Times Tagged: 47
Number of Lists: 70
Number of blog posts: 10
Number of discussion threads: 2
SpoutRating: 4
]]>Mon, 24 Aug 2009 17:08:54 GMTSingin' in the Rain1952Gene Kelly, Stanley DonenHollywood, 1927: the silent-film romantic team of Don Lockwood (<a href="/players/P____97107/default.aspx" style='text-decoration:underline'>Gene Kelly</a>) and Lina Lamont (<a href="/players/P____29551/default.aspx" style='text-decoration:underline'>Jean Hagen</a>) is the Toast of Tinseltown. While Lockwood and Lamont personify smoldering passions on screen, in real life the down-to-earth Lockwood can't stand the egotistical, brainless Lina. He prefers the company of aspiring actress Kathy Selden (<a href="/players/P____59782/default.aspx" style='text-decoration:underline'>Debbie Reynolds</a>), whom he met while escaping his screaming fans. Watching these intrigues from the sidelines is Cosmo Brown (<a href="/players/P____53349/default.aspx" style='text-decoration:underline'>Donald O'Connor</a>), Don's best pal and on-set pianist. Cosmo is promoted to musical director of Monumental Pictures by studio head R. F. Simpson (<a href="/players/P____49698/default.aspx" style='text-decoration:underline'>Millard Mitchell</a>) when the talking-picture revolution commences. That's all right for Cosmo, but how will talkies affect the upcoming Lockwood-Lamont vehicle "The Dueling Cavalier"? Don, an accomplished song-and-dance man, should have no trouble adapting to the microphone. Lina, however, is another matter: put as charitably as possible, she has a voice that sounds like fingernails on the blackboard. The disastrous preview of the team's first talkie has the audience howling with derisive laughter. On the strength of the plot alone, concocted by the matchless writing team of <a href="/players/P____85609/default.aspx" style='text-decoration:underline'>Betty Comden</a> and <a href="/players/P____92415/default.aspx" style='text-decoration:underline'>Adolph Green</a>, Singin' in the Rain is a delight. But with the addition of MGM's catalog of <a href="/players/P____90483/default.aspx" style='text-decoration:underline'>Arthur Freed</a>-<a href="/players/P____83251/default.aspx" style='text-decoration:underline'>Nacio Herb Brown</a> songs -- <I>You Were Meant for Me</I>, <I>You Are My Lucky Star</I>, <I>The Broadway Melody</I>, and of course the title song -- the film becomes one of the greatest Hollywood musicals ever made. ~ Hal Erickson, All Movie Guide47Tag Target (>10)701024http://www.spout.com/ProductImages/t30462o9l04.jpghttp://www.spout.com/films/Singin_in_the_Rain/31443/default.aspxFilm http://www.spout.com/blogs/mconrad3/archive/2009/3/23/41212.aspx Post By: mconrad3
Post To: mconrad3 Blog
Post Date: 3/23/2009 11:28:51 PM
Body: I was never a big fan of musicals. I had to participate in them throughout my elementary school career and even landed a few lead roles, but something about randomly breaking out into song didn't really jive with me. It's probably because it had been parodied so many times in my childhood shows and films that I couldn't take it seriously. Overall even the modern musicals haven't really appealed to me. Of all the musicals I've seen though, the ones from the forties, fifties, and sixties are the ones I can sit through. Singin' in the Rain is no exception. Taking place just at the beginning of the talkie era of filmmaking, I was quite intrigued by the plot and story of the film. In all honesty, I wasn't expecting that much of an interesting story, being that I was of the assumption the entire movie was about singing in the rain. I admit now that I was wrong, and that I actually enjoyed the tale constructed before me. It may be only because it is one of the few original movies I've seen in the last three years, but it is actually pretty well crafted. The music, which the film is defined by, was pretty good. Yes, several of the songs were catchy, but I still found somewhat annoyed by the breaking out into song. I think at this point in my life it can't be helped for me to feel that way. That being said, the amount of production that went into the bigger musical numbers is still astonishing to this day. In a world where green screen is the quick fix for every little thing, set design is something of an art unto itself. I was pleasantly surprised by Singin' in the Rain. It's a more happy and cheery than I'm used to, but it is a well executed feel good film.
]]>Tue, 24 Mar 2009 03:28:51 GMTmconrad3mconrad3 Blog3/23/2009 11:28:51 PMI was never a big fan of musicals. I had to participate in them throughout my elementary school career and even landed a few lead roles, but something about randomly breaking out into song didn't really jive with me. It's probably because it had been parodied so many times in my childhood shows and films that I couldn't take it seriously. Overall even the modern musicals haven't really appealed to me. Of all the musicals I've seen though, the ones from the forties, fifties, and sixties are the ones I can sit through. Singin' in the Rain is no exception. Taking place just at the beginning of the talkie era of filmmaking, I was quite intrigued by the plot and story of the film. In all honesty, I wasn't expecting that much of an interesting story, being that I was of the assumption the entire movie was about singing in the rain. I admit now that I was wrong, and that I actually enjoyed the tale constructed before me. It may be only because it is one of the few original movies I've seen in the last three years, but it is actually pretty well crafted. The music, which the film is defined by, was pretty good. Yes, several of the songs were catchy, but I still found somewhat annoyed by the breaking out into song. I think at this point in my life it can't be helped for me to feel that way. That being said, the amount of production that went into the bigger musical numbers is still astonishing to this day. In a world where green screen is the quick fix for every little thing, set design is something of an art unto itself. I was pleasantly surprised by Singin' in the Rain. It's a more happy and cheery than I'm used to, but it is a well executed feel good film. http://www.spout.com/blogs/spoutblog/archive/2008/11/11/37235.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 11/11/2008 7:01:42 PM
Body: Last week I shared some disturbing McDonalds ads that I found in Argentina in addition to a clip of a faux Marilyn Monroe also endorsing the Golden Arches. Compared to some dead celebrity-employed marketing, though, that’s relatively innocent. A black and white photo with a badly inserted color cheeseburger? Even Marlon Brando would have been fine with that unbelievable campaign. As for the Marilyn commercial, I’ve seen some people comment on YouTube that they didn’t know she did a McDonalds ad. But aside from inadvertently confusing some idiots, having an impersonator hawk products isn’t too unethical. This 2005 Volkswagon ad is a little more questionable, as it superimposes the face of Gene Kelly (d. 1996) on the bodies of breakdancers outfitted to look like his character in Singin’ in the Rain. I’d say it’s despicable or blasphemous but I have to admit to having enjoyed it when I first saw it. And the remix of the movie’s titular tune is also appreciable. Also, its painstaking recreation of the iconic scene is to be respected, especially because it doesn’t simply pull some archive footage or photograph of a dead actor and randomly plop it into an advertisement, like the John Wayne Coors spot. From Fred Astaire dancing with a Dirt Devil vacuum to Audrey Hepburn dancing for Gap (or riding a bike for Kirin ice tea) to child star Heather O’Rourke peddling DirecTV, there’s been so many controversial employments of dead people in advertising. It makes me wonder what Heath Ledger will be hawking in ten years. Originally posted on:SpoutBlog
]]>Wed, 12 Nov 2008 00:01:42 GMTSpoutBlogSpoutBlog on spout.com11/11/2008 7:01:42 PM Last week I shared some disturbing McDonalds ads that I found in Argentina in addition to a clip of a faux Marilyn Monroe also endorsing the Golden Arches. Compared to some dead celebrity-employed marketing, though, that’s relatively innocent. A black and white photo with a badly inserted color cheeseburger? Even Marlon Brando would have been fine with that unbelievable campaign. As for the Marilyn commercial, I’ve seen some people comment on YouTube that they didn’t know she did a McDonalds ad. But aside from inadvertently confusing some idiots, having an impersonator hawk products isn’t too unethical. This 2005 Volkswagon ad is a little more questionable, as it superimposes the face of Gene Kelly (d. 1996) on the bodies of breakdancers outfitted to look like his character in Singin’ in the Rain. I’d say it’s despicable or blasphemous but I have to admit to having enjoyed it when I first saw it. And the remix of the movie’s titular tune is also appreciable. Also, its painstaking recreation of the iconic scene is to be respected, especially because it doesn’t simply pull some archive footage or photograph of a dead actor and randomly plop it into an advertisement, like the John Wayne Coors spot. From Fred Astaire dancing with a Dirt Devil vacuum to Audrey Hepburn dancing for Gap (or riding a bike for Kirin ice tea) to child star Heather O’Rourke peddling DirecTV, there’s been so many controversial employments of dead people in advertising. It makes me wonder what Heath Ledger will be hawking in ten years. Originally posted on:SpoutBlog http://www.spout.com/blogs/usesoap/archive/2008/10/29/36782.aspx Post By: usesoap
Post To: usesoap Blog
Post Date: 10/29/2008 8:56:22 PM
Body: "High School Musical" represents everything I despise about the corporate juggernaut known as Disney: Flawless teens seemingly air-brushed by nature, ready-to-market characters prepared to franchise into every imaginable direction (stage play, television series, dolls, ice show, dolls, recording contracts, etc.), and a story you can set your watch to. It's also pretty darn fun, gosh darn it. I realize that the majority of the target audience of 'High School Musical 3: Senior Year' could not give two shakes of Zac Efron's hips as to what my opinion of the film is. So this review go out to all the parents out there. If there is a female child dwelling in your home and who is old enough to form a complete sentence, chances are good she knows of the juggernaut knows as "High School Musical" (or 'HSM' if you wanna b, like, hip). Chance are, too, that you have a musical number or two lodged in your cerebral cortex as it played on an endless loop in your DVD player, or as your child practiced some third-rate karaoke version of it in front of any and all reflective surfaces within your home. For this, their third outing, the East High Wildcats are in their freshly scrubbed final year in this homogenize high school, and the doubts and fears of life outside the hallowed halls are now front and center in the minds of leads Troy (Efron), Gabrielle (Vanessa Hudgens), Chad (Corbin Blue), Taylor (Monique Coleman), and Sharpay (Ashley Tisdale). As with any plot in a film with "musical" in the title, the teens plans to put on a group show, much to the dismay of the the self-absorbed Sharpay, who wants a one-woman show for her finale. And while it may feel like a cheap money-grabbing ploy to splash the big screen with this third installment, considering the first two films were squished into the confines of the small screen where their ratings shot through the ceiling, but considering the emotional resonance of high school's senior year, it seems rather fitting. It does not hurt that the cast don't seem phased by their universal omnipotence in the rooms of pre-pubescent girls and give each number their all. But the most inspired bits of this outing are compliments of director/choreographer Kenny Ortega. Ortega has lent his moves to movies since 1980s roller disco camp classic "Xanadu," and whose career since has busted some moves ("Dirty Dancing," the under-appreciated "Newsies") and lost its grooves ("Shag" or "Salsa," anyone?) -- and he's next set to direct the remake of the 80s equivalent to "HSM," "Footloose" in 2010) -- but he finds his groove early here and channels his inner Fosse. He never misses an opportunity to toss in a nod to musicals past, from the faux-tough "West Side Story" orneriness of "The Boys are Back," to the Busby Berkely-inspired "A Night to Remember," and even the spinning room of "Roman Holiday" for good measure. It's not a far cry from the "put on a show" mentality of Judy Garland and Mickey Rooney so many decades ago. And as a parent of a young daughter who adores "Singin' in the Rain," it's a tad refreshing to witness another musical that can be easily inserted into the DVD player without fear of her emulating the pelvic thrusts of so many other hungry starlets in the current pop stratosphere. The only time "HSM3" trips on its stage is when it attempts to shoehorn its newest batch of fresh-faced cast members (poised and ready for their "High School Musical 4" debut, coming to a TV near you in 2009). They possess little of the mile-wide charisma of Efron or Tisdale's catty histrionics. It's a fitful send-off to seniors so squeaky clean, they make "ABC's Afterschool Specials" look like Larry Clarke's "Kids" by comparison. It's a cheery, chipper finale so wholesome it may leave calcium deposits in its wake, but so gleefully in love with its own power of positivity, it happily earns its tasseled mortarboard.
]]>Thu, 30 Oct 2008 00:56:22 GMTusesoapusesoap Blog10/29/2008 8:56:22 PM"High School Musical" represents everything I despise about the corporate juggernaut known as Disney: Flawless teens seemingly air-brushed by nature, ready-to-market characters prepared to franchise into every imaginable direction (stage play, television series, dolls, ice show, dolls, recording contracts, etc.), and a story you can set your watch to. It's also pretty darn fun, gosh darn it. I realize that the majority of the target audience of 'High School Musical 3: Senior Year' could not give two shakes of Zac Efron's hips as to what my opinion of the film is. So this review go out to all the parents out there. If there is a female child dwelling in your home and who is old enough to form a complete sentence, chances are good she knows of the juggernaut knows as "High School Musical" (or 'HSM' if you wanna b, like, hip). Chance are, too, that you have a musical number or two lodged in your cerebral cortex as it played on an endless loop in your DVD player, or as your child practiced some third-rate karaoke version of it in front of any and all reflective surfaces within your home. For this, their third outing, the East High Wildcats are in their freshly scrubbed final year in this homogenize high school, and the doubts and fears of life outside the hallowed halls are now front and center in the minds of leads Troy (Efron), Gabrielle (Vanessa Hudgens), Chad (Corbin Blue), Taylor (Monique Coleman), and Sharpay (Ashley Tisdale). As with any plot in a film with "musical" in the title, the teens plans to put on a group show, much to the dismay of the the self-absorbed Sharpay, who wants a one-woman show for her finale. And while it may feel like a cheap money-grabbing ploy to splash the big screen with this third installment, considering the first two films were squished into the confines of the small screen where their ratings shot through the ceiling, but considering the emotional resonance of high school's senior year, it seems rather fitting. It does not hurt that the cast don't seem phased by their universal omnipotence in the rooms of pre-pubescent girls and give each number their all. But the most inspired bits of this outing are compliments of director/choreographer Kenny Ortega. Ortega has lent his moves to movies since 1980s roller disco camp classic "Xanadu," and whose career since has busted some moves ("Dirty Dancing," the under-appreciated "Newsies") and lost its grooves ("Shag" or "Salsa," anyone?) -- and he's next set to direct the remake of the 80s equivalent to "HSM," "Footloose" in 2010) -- but he finds his groove early here and channels his inner Fosse. He never misses an opportunity to toss in a nod to musicals past, from the faux-tough "West Side Story" orneriness of "The Boys are Back," to the Busby Berkely-inspired "A Night to Remember," and even the spinning room of "Roman Holiday" for good measure. It's not a far cry from the "put on a show" mentality of Judy Garland and Mickey Rooney so many decades ago. And as a parent of a young daughter who adores "Singin' in the Rain," it's a tad refreshing to witness another musical that can be easily inserted into the DVD player without fear of her emulating the pelvic thrusts of so many other hungry starlets in the current pop stratosphere. The only time "HSM3" trips on its stage is when it attempts to shoehorn its newest batch of fresh-faced cast members (poised and ready for their "High School Musical 4" debut, coming to a TV near you in 2009). They possess little of the mile-wide charisma of Efron or Tisdale's catty histrionics. It's a fitful send-off to seniors so squeaky clean, they make "ABC's Afterschool Specials" look like Larry Clarke's "Kids" by comparison. It's a cheery, chipper finale so wholesome it may leave calcium deposits in its wake, but so gleefully in love with its own power of positivity, it happily earns its tasseled mortarboard. http://www.spout.com/blogs/karina/archive/2008/6/17/31360.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 6/17/2008 11:01:01 PM
Body: Why didn’t Cyd Charisse––who died in Los Angeles on Tuesday at the age of 86––ever fully become the Ginger Rogers to Gene Kelly’s Fred Astaire? To compare Charisse directly to Rogers would be unfair; the former was an athletic show-stopper who regularly held down solos seemingly designed to draw attention to their own difficulty, while the latter’s dance career revolved around the uneviable task of making Fred Astaire’s choreography seem spontaneous and easy. And Charisse also made movies with Astaire––The Band Wagon and Silk Stockings offered two of her biggest roles––but her chemistry with the big baller of ballroom and tap dance was virtually nonexistant. The impossibly leggy, mildly exotic, confident almost to the point of camp Charisse added counterpoint nuance to Kelly’s weird barrel-chested blue-collar ballet. It never felt like it was a perfect pairing, and that was maybe what was exciting about it: as a partner and as a choreographer, Kelly knew how to use and play off their incongruities. They first danced together in the meta “Broadway Melody Ballet” number from Singin’ in the Rain. It’s a refractory narrative within the narrative, completely inconsequential to the film’s primary story except as an ironic commentary on the impossibility of “pure” romance in the Hollywood workplace. Charisse and Kelly’s two dances here are not only improbably directly sexual, but their relationship––a self-conscious fiction through which Kelly moves from sexual obsession to romantic fantasy to shrugging disavowal and amelioration of disappointment in work––is far more convincing that the Kelly/Debbie Reynolds relationship that plays on the film’s top layer. As the above clip of “Love Is Nothing But A Racket,” the bizarre mock-violent comic competition number deleted from Kelly and Stanley Donen’s 1955 flop It’s Always Fair Weather shows, they had a chemistry that was much rougher than that of Astaire and Rogers. Watching Kelly and Charisse dance, you never get the sense that you’re looking at two people who are destined for life-long love. They look more like two people who are going to really, really hurt one another. That this formula failed to draw much of a following in its day is maybe not so much of a surprise after all. There is plenty of evidence of Charisse in motion on YouTube. Originally posted on:SpoutBlog » Karina Longworth
]]>Wed, 18 Jun 2008 03:01:01 GMTKarinaKarina on SpoutBlog6/17/2008 11:01:01 PM Why didn’t Cyd Charisse––who died in Los Angeles on Tuesday at the age of 86––ever fully become the Ginger Rogers to Gene Kelly’s Fred Astaire? To compare Charisse directly to Rogers would be unfair; the former was an athletic show-stopper who regularly held down solos seemingly designed to draw attention to their own difficulty, while the latter’s dance career revolved around the uneviable task of making Fred Astaire’s choreography seem spontaneous and easy. And Charisse also made movies with Astaire––The Band Wagon and Silk Stockings offered two of her biggest roles––but her chemistry with the big baller of ballroom and tap dance was virtually nonexistant. The impossibly leggy, mildly exotic, confident almost to the point of camp Charisse added counterpoint nuance to Kelly’s weird barrel-chested blue-collar ballet. It never felt like it was a perfect pairing, and that was maybe what was exciting about it: as a partner and as a choreographer, Kelly knew how to use and play off their incongruities. They first danced together in the meta “Broadway Melody Ballet” number from Singin’ in the Rain. It’s a refractory narrative within the narrative, completely inconsequential to the film’s primary story except as an ironic commentary on the impossibility of “pure” romance in the Hollywood workplace. Charisse and Kelly’s two dances here are not only improbably directly sexual, but their relationship––a self-conscious fiction through which Kelly moves from sexual obsession to romantic fantasy to shrugging disavowal and amelioration of disappointment in work––is far more convincing that the Kelly/Debbie Reynolds relationship that plays on the film’s top layer. As the above clip of “Love Is Nothing But A Racket,” the bizarre mock-violent comic competition number deleted from Kelly and Stanley Donen’s 1955 flop It’s Always Fair Weather shows, they had a chemistry that was much rougher than that of Astaire and Rogers. Watching Kelly and Charisse dance, you never get the sense that you’re looking at two people who are destined for life-long love. They look more like two people who are going to really, really hurt one another. That this formula failed to draw much of a following in its day is maybe not so much of a surprise after all. There is plenty of evidence of Charisse in motion on YouTube. Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2008/6/17/31359.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 6/17/2008 11:00:53 PM
Body: Why didn’t Cyd Charisse––who died in Los Angeles on Tuesday at the age of 86––ever fully become the Ginger Rogers to Gene Kelly’s Fred Astaire? To compare Charisse directly to Rogers would be unfair; the former was an athletic show-stopper who regularly held down solos seemingly designed to draw attention to their own difficulty, while the latter’s dance career revolved around the uneviable task of making Fred Astaire’s choreography seem spontaneous and easy. And Charisse also made movies with Astaire––The Band Wagon and Silk Stockings offered two of her biggest roles––but her chemistry with the big baller of ballroom and tap dance was virtually nonexistant. The impossibly leggy, mildly exotic, confident almost to the point of camp Charisse added counterpoint nuance to Kelly’s weird barrel-chested blue-collar ballet. It never felt like it was a perfect pairing, and that was maybe what was exciting about it: as a partner and as a choreographer, Kelly knew how to use and play off their incongruities. They first danced together in the meta “Broadway Melody Ballet” number from Singin’ in the Rain. It’s a refractory narrative within the narrative, completely inconsequential to the film’s primary story except as an ironic commentary on the impossibility of “pure” romance in the Hollywood workplace. Charisse and Kelly’s two dances here are not only improbably directly sexual, but their relationship––a self-conscious fiction through which Kelly moves from sexual obsession to romantic fantasy to shrugging disavowal and amelioration of disappointment in work––is far more convincing that the Kelly/Debbie Reynolds relationship that plays on the film’s top layer. As the above clip of “Love Is Nothing But A Racket,” the bizarre mock-violent comic competition number deleted from Kelly and Stanley Donen’s 1955 flop It’s Always Fair Weather shows, they had a chemistry that was much rougher than that of Astaire and Rogers. Watching Kelly and Charisse dance, you never get the sense that you’re looking at two people who are destined for life-long love. They look more like two people who are going to really, really hurt one another. That this formula failed to draw much of a following in its day is maybe not so much of a surprise after all. There is plenty of evidence of Charisse in motion on YouTube. Originally posted on:SpoutBlog
]]>Wed, 18 Jun 2008 03:00:53 GMTSpoutBlogSpoutBlog on spout.com6/17/2008 11:00:53 PM Why didn’t Cyd Charisse––who died in Los Angeles on Tuesday at the age of 86––ever fully become the Ginger Rogers to Gene Kelly’s Fred Astaire? To compare Charisse directly to Rogers would be unfair; the former was an athletic show-stopper who regularly held down solos seemingly designed to draw attention to their own difficulty, while the latter’s dance career revolved around the uneviable task of making Fred Astaire’s choreography seem spontaneous and easy. And Charisse also made movies with Astaire––The Band Wagon and Silk Stockings offered two of her biggest roles––but her chemistry with the big baller of ballroom and tap dance was virtually nonexistant. The impossibly leggy, mildly exotic, confident almost to the point of camp Charisse added counterpoint nuance to Kelly’s weird barrel-chested blue-collar ballet. It never felt like it was a perfect pairing, and that was maybe what was exciting about it: as a partner and as a choreographer, Kelly knew how to use and play off their incongruities. They first danced together in the meta “Broadway Melody Ballet” number from Singin’ in the Rain. It’s a refractory narrative within the narrative, completely inconsequential to the film’s primary story except as an ironic commentary on the impossibility of “pure” romance in the Hollywood workplace. Charisse and Kelly’s two dances here are not only improbably directly sexual, but their relationship––a self-conscious fiction through which Kelly moves from sexual obsession to romantic fantasy to shrugging disavowal and amelioration of disappointment in work––is far more convincing that the Kelly/Debbie Reynolds relationship that plays on the film’s top layer. As the above clip of “Love Is Nothing But A Racket,” the bizarre mock-violent comic competition number deleted from Kelly and Stanley Donen’s 1955 flop It’s Always Fair Weather shows, they had a chemistry that was much rougher than that of Astaire and Rogers. Watching Kelly and Charisse dance, you never get the sense that you’re looking at two people who are destined for life-long love. They look more like two people who are going to really, really hurt one another. That this formula failed to draw much of a following in its day is maybe not so much of a surprise after all. There is plenty of evidence of Charisse in motion on YouTube. Originally posted on:SpoutBlog http://www.spout.com/blogs/karina/archive/2008/5/30/30183.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 5/30/2008 12:00:48 PM
Body: The above clip, a mashup for scenes from The Bandwagon and Daddy Long Legs set to Michael Jackson’s “Smooth Criminal,” is just the latest in a long line of mashups, through which Fred Astaire magically dances from the 1930s, 40s and 50s into the 80s, 90s and beyond. There’s “Fred Astaire’s Billy Jean“, “Fred Astaire Hip Hop,” “Fred Astaire Brings SexyBack,” “Fred Astaire Is Bringing SexyBack,” and surely more I’ve yet to come across. Although each clip has its nice moments of intertexual collage (I especially like the way the same footage from Royal Wedding is recycled to different ends: in “Billy Jean,” set to the line, “The kid is not my son,” it’s a contemplation of paternity; in “Brings SexyBack,” it’s a placeholder for seduction) “Smooth Criminal” really draws attention to this way this method of mashup makes the entirety of filmed dance history seem less like a timeline than a series of arrows pointing back to the same point. For all of their ability to tap into and inspire the zeitgeist of their respective heydays, dancers like Michael Jackson and Justin Timberlake resemble Astaire more than anything else in their contemporary cultures. For whatever reason, the iconography of the solo male dancer is always looking back, as if there’s nothing new do with the male body set to music that Fred Astaire hadn’t thought of. This theory does give short shrift to Gene Kelly, who had a distinct style and presence that was not chiefly Astairean, but for whatever reason, the evidence suggests he’s been less influential on pop stars of the future. Maybe it’s because, compared to someone like Timberlake, he was built like a boxer, and with the exception of Singin’ in the Rain, his characters were often (gasp!) working class, or at least certainly not the blinged-out party crashers that Astaire tended to play, which make his images so compatible with lines like “VIP, drinks on me,” never mind lyrics that equate seduction to some kind of surreptitious crime. Does Gene Kelly have an analgous modern pop star? And if so, where’s that mashup? Originally posted on:SpoutBlog » Karina Longworth
]]>Fri, 30 May 2008 16:00:48 GMTKarinaKarina on SpoutBlog5/30/2008 12:00:48 PM The above clip, a mashup for scenes from The Bandwagon and Daddy Long Legs set to Michael Jackson’s “Smooth Criminal,” is just the latest in a long line of mashups, through which Fred Astaire magically dances from the 1930s, 40s and 50s into the 80s, 90s and beyond. There’s “Fred Astaire’s Billy Jean“, “Fred Astaire Hip Hop,” “Fred Astaire Brings SexyBack,” “Fred Astaire Is Bringing SexyBack,” and surely more I’ve yet to come across. Although each clip has its nice moments of intertexual collage (I especially like the way the same footage from Royal Wedding is recycled to different ends: in “Billy Jean,” set to the line, “The kid is not my son,” it’s a contemplation of paternity; in “Brings SexyBack,” it’s a placeholder for seduction) “Smooth Criminal” really draws attention to this way this method of mashup makes the entirety of filmed dance history seem less like a timeline than a series of arrows pointing back to the same point. For all of their ability to tap into and inspire the zeitgeist of their respective heydays, dancers like Michael Jackson and Justin Timberlake resemble Astaire more than anything else in their contemporary cultures. For whatever reason, the iconography of the solo male dancer is always looking back, as if there’s nothing new do with the male body set to music that Fred Astaire hadn’t thought of. This theory does give short shrift to Gene Kelly, who had a distinct style and presence that was not chiefly Astairean, but for whatever reason, the evidence suggests he’s been less influential on pop stars of the future. Maybe it’s because, compared to someone like Timberlake, he was built like a boxer, and with the exception of Singin’ in the Rain, his characters were often (gasp!) working class, or at least certainly not the blinged-out party crashers that Astaire tended to play, which make his images so compatible with lines like “VIP, drinks on me,” never mind lyrics that equate seduction to some kind of surreptitious crime. Does Gene Kelly have an analgous modern pop star? And if so, where’s that mashup? Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2008/5/30/30182.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 5/30/2008 12:00:39 PM
Body: The above clip, a mashup for scenes from The Bandwagon and Daddy Long Legs set to Michael Jackson’s “Smooth Criminal,” is just the latest in a long line of mashups, through which Fred Astaire magically dances from the 1930s, 40s and 50s into the 80s, 90s and beyond. There’s “Fred Astaire’s Billy Jean“, “Fred Astaire Hip Hop,” “Fred Astaire Brings SexyBack,” “Fred Astaire Is Bringing SexyBack,” and surely more I’ve yet to come across. Although each clip has its nice moments of intertexual collage (I especially like the way the same footage from Royal Wedding is recycled to different ends: in “Billy Jean,” set to the line, “The kid is not my son,” it’s a contemplation of paternity; in “Brings SexyBack,” it’s a placeholder for seduction) “Smooth Criminal” really draws attention to this way this method of mashup makes the entirety of filmed dance history seem less like a timeline than a series of arrows pointing back to the same point. For all of their ability to tap into and inspire the zeitgeist of their respective heydays, dancers like Michael Jackson and Justin Timberlake resemble Astaire more than anything else in their contemporary cultures. For whatever reason, the iconography of the solo male dancer is always looking back, as if there’s nothing new do with the male body set to music that Fred Astaire hadn’t thought of. This theory does give short shrift to Gene Kelly, who had a distinct style and presence that was not chiefly Astairean, but for whatever reason, the evidence suggests he’s been less influential on pop stars of the future. Maybe it’s because, compared to someone like Timberlake, he was built like a boxer, and with the exception of Singin’ in the Rain, his characters were often (gasp!) working class, or at least certainly not the blinged-out party crashers that Astaire tended to play, which make his images so compatible with lines like “VIP, drinks on me,” never mind lyrics that equate seduction to some kind of surreptitious crime. Does Gene Kelly have an analgous modern pop star? And if so, where’s that mashup? Originally posted on:SpoutBlog
]]>Fri, 30 May 2008 16:00:39 GMTSpoutBlogSpoutBlog on spout.com5/30/2008 12:00:39 PM The above clip, a mashup for scenes from The Bandwagon and Daddy Long Legs set to Michael Jackson’s “Smooth Criminal,” is just the latest in a long line of mashups, through which Fred Astaire magically dances from the 1930s, 40s and 50s into the 80s, 90s and beyond. There’s “Fred Astaire’s Billy Jean“, “Fred Astaire Hip Hop,” “Fred Astaire Brings SexyBack,” “Fred Astaire Is Bringing SexyBack,” and surely more I’ve yet to come across. Although each clip has its nice moments of intertexual collage (I especially like the way the same footage from Royal Wedding is recycled to different ends: in “Billy Jean,” set to the line, “The kid is not my son,” it’s a contemplation of paternity; in “Brings SexyBack,” it’s a placeholder for seduction) “Smooth Criminal” really draws attention to this way this method of mashup makes the entirety of filmed dance history seem less like a timeline than a series of arrows pointing back to the same point. For all of their ability to tap into and inspire the zeitgeist of their respective heydays, dancers like Michael Jackson and Justin Timberlake resemble Astaire more than anything else in their contemporary cultures. For whatever reason, the iconography of the solo male dancer is always looking back, as if there’s nothing new do with the male body set to music that Fred Astaire hadn’t thought of. This theory does give short shrift to Gene Kelly, who had a distinct style and presence that was not chiefly Astairean, but for whatever reason, the evidence suggests he’s been less influential on pop stars of the future. Maybe it’s because, compared to someone like Timberlake, he was built like a boxer, and with the exception of Singin’ in the Rain, his characters were often (gasp!) working class, or at least certainly not the blinged-out party crashers that Astaire tended to play, which make his images so compatible with lines like “VIP, drinks on me,” never mind lyrics that equate seduction to some kind of surreptitious crime. Does Gene Kelly have an analgous modern pop star? And if so, where’s that mashup? Originally posted on:SpoutBlog http://www.spout.com/blogs/nevermoresraven/archive/2008/4/18/27491.aspx Post By: NevermoresRaven
Post To: NevermoresRaven Blog
Post Date: 4/18/2008 6:14:47 PM
Body: Ok, not really. I think people would freak out if I sang this entire review, and that has nothing to do with my total lack of singing skill. Anyway, we all know the 1952 classic "Singin' in the Rain" and the song that goes along with it. The plot follows Don Lockwood(brilliantly portrayed by the immortal Gene Kelly) and his co-star Lina Lamont(Jean Hagen) as their carrers in the silent film industry are challenged by the new technology on the block, the talkie. To stand up to this new threat Don, his best friend Cosmo(Donal O'Connor), and his love interest Kathy(Debbie Reynolds) decide to make a musical out of Lockwood and Lamont's flop of a first talkie.This film is called a classic for a reason, because it sets a standard not easily met by most. The last few years have seen the semi-resurgance of the musical genre(Hairspray and Sweeny Todd being the tow biggest offenders), but nothing seems to hold a flame to this film. Now i'm not a big fan of musicals, but this movie is just so much fun to watch. The songs are captivating(the title track being the most obvious along with "make 'em laugh"), however the whole "Broadway Meoldy" seemed to go on a little too long. The dancing is even fun to watch(in particular, Cosmo and Don at an alliteration coach and they start danicing in his office...thus scuffing the hell out of the guy's floors).The acting is top notch, and the singing adds a feeling of depth to the characters and seems to give the actors a good chance to show off thier pipes. Gene Kelly gives a mesmerizing performance, and Donald O'Connor's song and dance number "Make 'em Laugh" was spectacular(considering they had no special effects to speak of, those stunts are impressive).Overall, this is a must see. Even if you're like me and very skeptical of musicals(something about throwing songs in to advance the plot randomly irks me I guess). This is a great movie, regardless of your views on the song and dance thing.
]]>Fri, 18 Apr 2008 22:14:47 GMTNevermoresRavenNevermoresRaven Blog4/18/2008 6:14:47 PMOk, not really. I think people would freak out if I sang this entire review, and that has nothing to do with my total lack of singing skill. Anyway, we all know the 1952 classic &quot;Singin&#39; in the Rain&quot; and the song that goes along with it. The plot follows Don Lockwood(brilliantly portrayed by the immortal Gene Kelly) and his co-star Lina Lamont(Jean Hagen) as their carrers in the silent film industry are challenged by the new technology on the block, the talkie. To stand up to this new threat Don, his best friend Cosmo(Donal O&#39;Connor), and his love interest Kathy(Debbie Reynolds) decide to make a musical out of Lockwood and Lamont&#39;s flop of a first talkie.This film is called a classic for a reason, because it sets a standard not easily met by most. The last few years have seen the semi-resurgance of the musical genre(Hairspray and Sweeny Todd being the tow biggest offenders), but nothing seems to hold a flame to this film. Now i&#39;m not a big fan of musicals, but this movie is just so much fun to watch. The songs are captivating(the title track being the most obvious along with &quot;make &#39;em laugh&quot;), however the whole &quot;Broadway Meoldy&quot; seemed to go on a little too long. The dancing is even fun to watch(in particular, Cosmo and Don at an alliteration coach and they start danicing in his office...thus scuffing the hell out of the guy&#39;s floors).The acting is top notch, and the singing adds a feeling of depth to the characters and seems to give the actors a good chance to show off thier pipes. Gene Kelly gives a mesmerizing performance, and Donald O&#39;Connor&#39;s song and dance number &quot;Make &#39;em Laugh&quot; was spectacular(considering they had no special effects to speak of, those stunts are impressive).Overall, this is a must see. Even if you&#39;re like me and very skeptical of musicals(something about throwing songs in to advance the plot randomly irks me I guess). This is a great movie, regardless of your views on the song and dance thing. http://www.spout.com/blogs/pippin06/archive/2008/3/19/26393.aspx Post By: pippin06
Post To: Reel Thoughts
Post Date: 3/19/2008 8:26:23 AM
Body: What's the AFI Project, you ask? For more information, or if you just enjoy my bemused ramblings, read here: http://www.spout.com/blogs/pippin06/archive/2008/3/1/25756.aspxSingin' in the Rain is on the following AFI lists:The Original Top 100 (#10)100 Funniest Films (#16)100 Years...100 Passions (#16)100 Greatest Film Songs (#3 - "Singin' in the Rain;" #49 - "Make 'Em Laugh;" #72 - "Good Morning")25 Greatest Movie Musicals (#1)The Revised Top 100 (#5)Singin' in the Rain is also one of my favorite movies. It's funny and cheerful and song-and-dancy, and it didn't get its exalted status as America's best-loved musical film for nothing. The plot: Don Lockwood (the handsome Gene Kelly) and Lina Lamont (Jean Hagen) are silent film stars who betray a smoldering passion onscreen, but offscreen, they are like oil and water. While Lina has eyes for Don, Don "caaann't stan'" Lina, who is beautiful but brainless and way too self-involved. Don, instead, likes Kathy Selden (Debbie Reynolds - she played this part at 17!), whom he met whilst dropping into her convertible from a cable car above in an effort to escape screaming fans. Hollywood is experiencing a change - talking pictures are coming into focus, and the studios begin the scramble to catch up with "The Jazz Singer." The trouble? Lina's voice is even less charming than her personality, and it's up to Don, Kathy, and Don's best friend and pianist extraordinaire Cosmo Brown (the excellent Donald O'Connor) to figure out a way to save the disastrous new Lockwood-Lamont talkie, the "Dueling Cavalier," from total annihilation at the hands of the inept Lina.I love this movie, and the AFI loves it too, because it has all of the winning ingredients for a musical film and even a non-musical film, if one were to compare: a funny, brilliant, tongue-in-cheek script that is as much satirical today as it was in 1952; excellent and believable performances from all of the film's stars, including a young Rita Moreno; songs that have stood the test of time, including AFI's number one choice, the title song; and knock-out dancing from Gene Kelly and Donald O'Connor. No one dances like that anymore; they were athletic and graceful, and it's thrilling to watch them in the opening flashback sequence and during "Make 'Em Laugh" (another quintessential song), "Moses Supposes," and "Good Morning." Plus, the scene where Gene Kelly actually sings in the rain is one of the best filmed sequences in terms of camera work, art direction, and the whole ball of wax in all of American cinema. I hold to that and will never be convinced otherwise! It's breathtaking and iconic, and it makes you want to pick up an umbrella and go get soaked right along with the eternal Gene Kelly.Plus, I just love seeing Lina get her comeuppance in the end. She's quite annoying, really.Musicals might not be for everyone, but I love them, and I think this, as well as The Wizard of Oz and the Sound of Music, are the best there is. This is a qualified masterpiece (read: a 10!). The action is fast-paced, the dialogue is quick and witty, the costumes (particularly in the "Broadway Melody" sequence) are jaw-dropping, and the characters are beyond endearing. Plus, it's just a joy to sing along with. I pull this movie out every now and again just because - I obviously own it - and it never gets old for me because it does what it set out to do so effectively: entertain me. Sometimes, I randomly sing "Singin' in the Rain" and "Good Morning" during the course of my day just because they put a "smile on my face." If you haven't seen this film, you should give it a try. You might be surprised, even if you despise musicals. I think it deserves its places on those AFI lists, and this certainly won't be the last time I watch it.
]]>Wed, 19 Mar 2008 12:26:23 GMTpippin06Reel Thoughts3/19/2008 8:26:23 AMWhat&#39;s the AFI Project, you ask? For more information, or if you just enjoy my bemused ramblings, read here: http://www.spout.com/blogs/pippin06/archive/2008/3/1/25756.aspxSingin&#39; in the Rain is on the following AFI lists:The Original Top 100 (#10)100 Funniest Films (#16)100 Years...100 Passions (#16)100 Greatest Film Songs (#3 - &quot;Singin&#39; in the Rain;&quot; #49 - &quot;Make &#39;Em Laugh;&quot; #72 - &quot;Good Morning&quot;)25 Greatest Movie Musicals (#1)The Revised Top 100 (#5)Singin&#39; in the Rain is also one of my favorite movies. It&#39;s funny and cheerful and song-and-dancy, and it didn&#39;t get its exalted status as America&#39;s best-loved musical film for nothing. The plot: Don Lockwood (the handsome Gene Kelly) and Lina Lamont (Jean Hagen) are silent film stars who betray a smoldering passion onscreen, but offscreen, they are like oil and water. While Lina has eyes for Don, Don &quot;caaann&#39;t stan&#39;&quot; Lina, who is beautiful but brainless and way too self-involved. Don, instead, likes Kathy Selden (Debbie Reynolds - she played this part at 17!), whom he met whilst dropping into her convertible from a cable car above in an effort to escape screaming fans. Hollywood is experiencing a change - talking pictures are coming into focus, and the studios begin the scramble to catch up with &quot;The Jazz Singer.&quot; The trouble? Lina&#39;s voice is even less charming than her personality, and it&#39;s up to Don, Kathy, and Don&#39;s best friend and pianist extraordinaire Cosmo Brown (the excellent Donald O&#39;Connor) to figure out a way to save the disastrous new Lockwood-Lamont talkie, the &quot;Dueling Cavalier,&quot; from total annihilation at the hands of the inept Lina.I love this movie, and the AFI loves it too, because it has all of the winning ingredients for a musical film and even a non-musical film, if one were to compare: a funny, brilliant, tongue-in-cheek script that is as much satirical today as it was in 1952; excellent and believable performances from all of the film&#39;s stars, including a young Rita Moreno; songs that have stood the test of time, including AFI&#39;s number one choice, the title song; and knock-out dancing from Gene Kelly and Donald O&#39;Connor. No one dances like that anymore; they were athletic and graceful, and it&#39;s thrilling to watch them in the opening flashback sequence and during &quot;Make &#39;Em Laugh&quot; (another quintessential song), &quot;Moses Supposes,&quot; and &quot;Good Morning.&quot; Plus, the scene where Gene Kelly actually sings in the rain is one of the best filmed sequences in terms of camera work, art direction, and the whole ball of wax in all of American cinema. I hold to that and will never be convinced otherwise! It&#39;s breathtaking and iconic, and it makes you want to pick up an umbrella and go get soaked right along with the eternal Gene Kelly.Plus, I just love seeing Lina get her comeuppance in the end. She&#39;s quite annoying, really.Musicals might not be for everyone, but I love them, and I think this, as well as The Wizard of Oz and the Sound of Music, are the best there is. This is a qualified masterpiece (read: a 10!). The action is fast-paced, the dialogue is quick and witty, the costumes (particularly in the &quot;Broadway Melody&quot; sequence) are jaw-dropping, and the characters are beyond endearing. Plus, it&#39;s just a joy to sing along with. I pull this movie out every now and again just because - I obviously own it - and it never gets old for me because it does what it set out to do so effectively: entertain me. Sometimes, I randomly sing &quot;Singin&#39; in the Rain&quot; and &quot;Good Morning&quot; during the course of my day just because they put a &quot;smile on my face.&quot; If you haven&#39;t seen this film, you should give it a try. You might be surprised, even if you despise musicals. I think it deserves its places on those AFI lists, and this certainly won&#39;t be the last time I watch it. http://www.spout.com/blogs/jakestevens/archive/2007/10/11/20708.aspx Post By: JakeStevens
Post To: JakeStevens Blog
Post Date: 10/11/2007 11:52:50 AM
Body: I was dreading watching this film as I am not a fan of musicals, but since it's #10 on AFI's 100 Greatest American Films list, I decided to give it a go. Why did I wait so long to see this film? It's very funny, fast-paced and the camera work is phenomenal! Most of the jokes still hold up well today, and it's all so giddy and the songs so familiar, you just can't help but smile. The song that really won me over was "Make 'Em Laugh" (what a number!), but "Moses Supposes" was really good, too. It goes without saying, but Gene Kelly and Donald O'Connor are damn good dancers. Even if you don't care for musicals with dancing, you can't help but watch because they're like robots they are so in-synch with each other. One gripe, though: when Jean Hagen's character goes to the press as a counter-measure of the studio heads dubbing Debbie Reynold's voice for hers, she would've had to talk to the reporters for them to print an interview, thus they would've heard her voice and written something about it - small loophole, though. Give this one a chance -there's a reason it's as highly rated as it is.
]]>Thu, 11 Oct 2007 15:52:50 GMTJakeStevensJakeStevens Blog10/11/2007 11:52:50 AMI was dreading watching this film as I am not a fan of musicals, but since it&#39;s #10 on AFI&#39;s 100 Greatest American Films list, I decided to give it a go. Why did I wait so long to see this film? It&#39;s very funny, fast-paced and the camera work is phenomenal! Most of the jokes still hold up well today, and it&#39;s all so giddy and the songs so familiar, you just can&#39;t help but smile. The song that really won me over was &quot;Make &#39;Em Laugh&quot; (what a number!), but &quot;Moses Supposes&quot; was really good, too. It goes without saying, but Gene Kelly and Donald O&#39;Connor are damn good dancers. Even if you don&#39;t care for musicals with dancing, you can&#39;t help but watch because they&#39;re like robots they are so in-synch with each other. One gripe, though: when Jean Hagen&#39;s character goes to the press as a counter-measure of the studio heads dubbing Debbie Reynold&#39;s voice for hers, she would&#39;ve had to talk to the reporters for them to print an interview, thus they would&#39;ve heard her voice and written something about it - small loophole, though. Give this one a chance -there&#39;s a reason it&#39;s as highly rated as it is. http://www.spout.com/members/0/tags/love/MemberTagFilms.aspxlove
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