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“Singin’ In the Rain” has finally gotten the “special” treatment this masterpiece deserves. The recent digital transfer is stunning– both visual and audio. I’ve seen this film I don’t know how many times in theatres, including several screenings in the unusual 3-strip Technicolor. This transfer, as with “The Wizard of OZ,” is as conclude as you can come by to seeing a 3-strip print in a theatre.
Many reviewers have complained about the commentary track and it is the low-point of this edition. So skip it, if you don’t like it.
Instead, throw on the second disc, which is a goldmine. First, there is the profitable PBS documentary on the Arthur Freed Unit, “Musicals Elegant Musicals.” This is an often revealing 90-minute film about the musical films Freed produced. Plenty of broad excerpts, too. It tends to puffery, but not excessively.
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Then there is a unusual documentary, “What A Sparkling Feeling,” on the making of “Singin’ In the Rain.” Watching both these documentaries, you don’t need the commentary track. Most of it was lifted from these documentaries.
In addition, this supplementary disc includes the songs primitive in “Singin’ In the Rain,” as they first appeared in their unique written for films and later films that archaic the songs again. Some of these are unintenionally comical today. But it is really a atomize course in the history of movie musicals. My accepted is Eleanor Powell in the number that introduced “You Are My Lucky Star.” A beautfully done, very ’30’s black-and-white number that builds into an all stops-out dream-dance sequence. (Were Americans ever this innocent? ) Others include Bing Crosby extraordinary introducing “Glorious Girls,” Judy Garland and Mickey Rooney introducing “Respectable Morning,” Cliff Edwards (aka Ukele Ike, Jiminy Crickett) introducing “Singin’ In the Rain” with what appears to be every star then under-contract to M-G-M in 1929, “Broadway Melody” in a immense number led by the irreplaceable Eleanor Powell and help from some of the best talent of the time including “eccentric dancer” Buddy Ebsen and the vast singer Frances Langford–the best number by far in this retrospective. And there is another whole portion of audio excerpts from the recording sessions.
In short, this is an improbable collection that any musical or film buff should care for.
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It is lawful, as one reviewer distinguished, that the “Broadway Melody” number in “Singin’ In the Rain” is a flaw in the plug of the film. Pauline Kael pointed this out too. She considers the film a enormous one. For myself, I don’t mind, the number is too damned well-conceived and animated. Again, thanks to being on DVD, you can jump to the next scene if you don’t care to peep it. I’ve tried it and the film definitely runs smoother narratively. But I missed it, and played after the film.
If you admire SITR, as I do, this is a must steal. If you’re fervent and have never seen it, rent it and choose for yourself.
Let’s hope that Warner Brothers does a 50th anniversary edition of “Bandwagon” next year with a digital and audio refining that equals or surpasses this. And a better commentary track. Bet Scorssee would join in the commentary.
ONE LAST THING
“Singin’ In the Rain” was not shot in widescreen, but in the only format obsolete for studio pictures before the extinguish of 1953. It was designed to be shown in 1.37:1, Which unbiased about the ratio of most tv screens. YOU ARE NOT MISSING ANYTHING. I wish you young film buffs would educate yourselves about the history of film aspect ratios.
Also Michael Kidd had nothing whatsoever to do with the choregraphy in “Singin’ In the Rain.” He comments on it, but never claims he did any of it, for the simple reason he did none. He was probably in Current York over-seeing his legendary choregraphy for the novel stage production of “Guys and Dolls.” Which is probably why he got the “Bandwagon” assignment a year after “Singin’ In the Rain.” He did all the choregraphy in “Bandwagon” and the following year, 1954, for “7 Brides For 7 Brothers.”
Kelly and Donen worked in partnership on the choregraphy and direction “SITR.” And it is really impossible now to choose who was responsible for what.
SINGIN’ IN THE RAIN’s anecdote is well known, and concerns 1920s calm romantic acting team Don Lockwood (Gene Kelly) and Lina Lamont (Jean Hagen.) Exertion is that sound is coming in–and Lina’s speaking shriek could peel paint off the wall. The solution? Don’s best friend (Donald O’Connor) and appreciate interest (Debbie Reynolds) have the inspiration of revamping Lockwood and Lamont’s debut sound film as a musical, with Reynolds dubbing Hagen’s vocals. The resulting record is a high-energy, extremely witty, and truly dazzling film laced with period songs by Arthur Freed, a film that many regard as the single finest musical to emerge from Hollywood.
In many respects SINGIN’ IN THE RAIN is a throwback to the early musicals of the era it satirizes, for many of its musical numbers (’Make ‘em Laugh’ is a considerable example) have absolutely nothing to do with the tale it tells–but unlike such early musicals the storyline is exceptionally strong, and since the film is about the creation of an early “all talking, all dancing, all singing” movie in which such musical numbers were typical, they have here a sure validity that could not otherwise be achieved. The cast is absolutely flawless, and without exception Kelly, Reynolds, O’Connor, and Hagen (particularly memorable as the literally unspeakable peaceful star) give the finest performances of their respective careers. The musical numbers range from the vibrant and complex ‘Good Morning’ to the lyrical ‘You Are My Lucky Star’ to the brilliantly conceived and executed title song, each without exception the definition of perfection. The art designs are meticulous, delicate, and recreate the late-silent and early-sound era of Hollywood with powerful wit and charm. As a whole, SINGIN’ IN THE RAIN possesses an engergy and vitality that simply makes you bounce in your seat from excitement.
SINGIN’ IN THE RAIN is a musical that even people who detest musicals fancy. Whether or not you believe it “the” finest musical ever created by Hollywood is, ultimately, a matter of personal preference; there are several contenders for that title, most notably MEET ME IN ST. LOUIS, GIGI, and THE WIZARD OF OZ. But no matter where you personally imperfect it, SINGIN’ IN THE RAIN is certainly ONE of the best, a film that simply gains in distinguished and well-liked stature with every passing year, a national and a world fancy of cinematic art.
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