Singin’ in the Rain Screen 100 of 8 reviews

Singin’ in the Rain

1952

Singin’ in the Rain Poster
  • It was a terrific idea that worked because of a combination of studio system factors that can never again meld so perfectly or with such exuberant innocence. Yet it was, quite literally, the product of blood, sweat, and tears—almost two years of it. It was also a hell of a lot of fun to make.

  • [...There are] many scenes are more famous than this one, but none better captures the anarchy that sets apart Singin’ in the Rain, widely considered the greatest movie musical of all time. And it’s that anarchy—its rule-breaking, illogical, freneticism—that gives the film its energy and personality. For a film so widely beloved, Singin’ in the Rain is truly mischievous, the ultimate expression of a genre that is more about spirit than cause-and-effect narrative relations.

  • The most exquisite and exuberant dream of the dream machine in transition, Stanley Donen and Gene Kelly’s Singin’ in the Rain includes perhaps one of the greatest examples of how art, with its constant advances and detractions, can at once wildly embellish and find the emotional truth of an artist’s persona.

  • Throw in the fact that the Technicolor is stunning and the jokes still pack a punch 50 years later, and you have a clever, comic masterpiece. SINGIN' IN THE RAIN is a theater-going experience not to be missed--watching it on TV just doesn't do it justice.

  • It shouldn't be as good as it is: it glorifies Hollywood, during the silent era at that, is drenched in nostalgia, packed to the gills with dated songs, and all dressed up around a slapdash plot. Popular maybe, but good? Well, the plot is crazy, but crazy like a fox.

  • A series of renewable epiphanies, self-contained like pop songs designed for heavy rotation—a fantasy playlist of flashing idea-bulbs. What if we shot a picture that talked? What if the talking picture sang and danced too? What if love makes you weatherproof? Compulsive viewing amounts to double and triple takes: Donald O'Connor back-flips the bird at the laws of physics; Gene Kelly breathes underwater.

  • The set represents nothing but a set, in a city which is nothing but a set. Is not the California of old also that of Zorro? And is not Lockwood the rival, or the replica, of Douglas Fairbanks who played the famous avenger in Niblo's 1920s film?

  • One of the shining glories of the American musical... The tone ranges from the lyrical (the title number) to the burlesque ("Moses Supposes") to the epic ("Broadway Melody"), but through it all runs a celebration of movement as emotion.

More Links