Discovering Classic Cinema Blogathon– How Nick at Nite, I Love Lucy and Lucille Ball Brought Me to Classic Film

I ‘m coming in hot with a last minute entry for Classic Film and TV Corner’s “Discovering Classic Cinema Blogathon.” I actually saw this blogathon announced awhile back and forgot to enter it. Oops. This is also my first opportunity to type something substantial using my new laptop that my husband got me for Christmas! Woohoo. My introduction to classic film didn’t come via the usual routes. I’m not old enough to have seen any of these movies in the theater during their original run. The first movie I saw in the theater was Disney’s The Little Mermaid at the age of 5 in 1989. Apparently I saw a re-release of The Aristocats in 1987 when I was 3, but according to my mom it did not go well and I did not see the whole movie. Lol. I traumatized my parents enough that it was 2 years before I went back. Having grown up in Salem, OR during the mid-to-late 80s through the early 00s, there wasn’t really any opportunity to see the classics in repertory theaters, as Salem doesn’t have any. While I did watch the annual TV viewings of The Wizard of Oz, and had secretly seen Psycho and The Birds despite my mom not wanting my sister and I to see them (my dad rented them while she was out of town), these did not ignite my love of classic cinema.

I miss 90s Nick at Nite!

One evening in 1994, 10-year old me was flipping channels and came across Nickelodeon’s evening programming, something called “Nick-at-Nite.” For the record, 90s Nick-at-Nite was one of the greatest things ever and I really wish it would come back, but I digress. Anyway, I was instantly sucked in by the colorful graphics, catchy jingles and fun animation that once graced the evening Nickelodeon block. A voiceover came on screen and announced that a show called I Love Lucy was coming up on the schedule. I honestly do not recall if I’d ever seen or heard of I Love Lucy prior to this moment, but I do know that it was not something I watched regularly. The now-familiar I Love Lucy theme song started, the hearts on satin appeared with the cast’s names: Lucille Ball, Desi Arnaz, Vivian Vance, and William Frawley. I still remember the first episode I saw, “L.A. at Last!” with William Holden guest starring. At that moment, I had no idea who the cast members were, let alone William Holden.

I was instantly transfixed by Lucy’s antics. In “L.A. at Last!,” Lucy decides that she and the Mertzes need to find the “celebrity watering hole,” where the stars all gather at the same place, thus saving Lucy time in having to track them down one-by-one. Bobby the Bellboy suggests that the group visit Hollywood’s famed Brown Derby restaurant–a well known hotspot for celebrities. As an aside, I will forever be sad that I cannot go to the Brown Derby, nor can I go to 99% of the famous Hollywood nightclubs of the 30s-50s. No Ciro’s or The Mocambo for me. Anyway, while at the Brown Derby, Lucy, Ethel and Fred are spotting celebrities left and right. We hear multiple celebrities paged to the telephone: Cary Grant, Gregory Peck, Walter Pidgeon, Ava Gardner. Lucy and the Mertzes see each and every one of them (offscreen) get up for the phone. Ethel also manages to offend Eve Arden in the neighboring booth by asking her to identify a caricature of herself as either Judy Holliday or Shelley Winters. Lucy for her part, is in awe of Ethel. “You touched her!” Lucy says, much to Ethel’s dismay at her faux pas.

The greatest day of Nick at Nite’s annual Block Party Summer.

Then, big star William Holden sits down in the booth next to Lucy and the Mertzes. Ethel is immediately starstruck and gets Lucy’s attention. Lucy catches a glimpse of Holden in the booth and is swooning. Being the creeper that she is, Lucy can’t stop staring at Holden, making him very uncomfortable in the process. Lucy’s encounter with Holden at the Brown Derby culminates with her tripping the waiter and causing him to dump a cream pie all over Holden’s head. Later, Holden meets Ricky at MGM and offers to give him a ride home to his Beverly Palms Hotel suite. When Ricky tells Lucy he’s brought a big star home with him, Lucy is overjoyed, until Ricky reveals the big star’s identity. Frantic, Lucy puts on a ridiculous disguise which includes large black cat eye glasses, a scarf to hide her hair, and a big putty nose. The scene that follows is hands down the funniest moment of the entire series (in my opinion). The look on William Holden and Desi Arnaz’ faces when Lucy turns around after “fixing” her putty nose is hysterical. How lucky was I to have this be the first episode of I Love Lucy that I ever saw?

I was hooked on I Love Lucy from then on, watching it at 8:00pm every night–except on Saturdays, I Love Lucy started at 10:00pm. On “Whole Lotta Lucy” Saturdays, Nick-at-Nite showed two episodes of I Love Lucy, followed by an episode of The Lucy-Desi Comedy Hour. Every episode of The Lucy-Desi Comedy Hour featured a different guest star. With the exception of Fred MacMurray, I didn’t know who any of the guest stars were. I also knew very few of the I Love Lucy guest stars, with the exception of John Wayne, Orson Welles, and Bob Hope. As a kid, I always figured that these were people who “were famous at the time.” Lol.

The look on William Holden’s face when Lucy turns around after “fixing” her nose is the funniest scene in the entire series.

Anyway, my family and I were also avid library goers, spending approximately one Sunday afternoon a month perusing the stacks. Now fully obsessed with I Love Lucy and Lucille Ball, I checked out each and every book about her in the library. I read multiple biographies about her, Desi, Vivian Vance, and anything I Love Lucy-adjacent. From these books, I learned that Lucille Ball had a fairly extensive film career and discovered that my library had a large selection of “The Lucille Ball Signature Collection” VHS movies. I watched each and every one. At the same time, my parents’ cable package had just acquired a new channel, the recently launched TCM. Every Sunday, I would find the new TV guide supplement in the newspaper and comb through it, looking to see if any Lucille Ball films or documentaries were scheduled that week. I’d always check PBS, A&E’s Biography program, TCM and AMC (when it showed old films).

From Lucille Ball’s film career, I was introduced to a myriad of different stars who quickly became favorites of mine. Through Lucy’s film, DuBarry Was a Lady, I learned about Gene Kelly. Because of my interest in Gene, I watched Singin’ in the Rain and The Pirate. ‘Rain’ introduced me to Debbie Reynolds and ‘Pirate’ introduced me to Judy Garland, who I was aware of through The Wizard of Oz, but hadn’t seen her in anything else prior. Through Judy, I learned about Fred Astaire (Easter Parade), which led me to Ginger Rogers. Rogers I’d seen before as she’d appeared with Lucy and Katharine Hepburn in Stage Door, which I’d borrowed from the library. From Stage Door, I recognized Eve Arden from the episode of I Love Lucy I’d seen. I continued on this path of constant discoveries and am still on the path somewhat, except that I’m more familiar with all the actors and know that the ones who appeared as guest stars on I Love Lucy weren’t just people who were famous at the time of I Love Lucy’s production era.

Cornel Wilde is no longer known as “Cornel Wilde is in the penthouse!” (I Love Lucy, “The Star Upstairs”). He’s a co-star in the excellent Leave Her to Heaven with Gene Tierney and he’s great in The Big Combo, his film being promoted on his episode of I Love Lucy. Charles Boyer isn’t just “LUCY! I love you, rawrrrrr” ((I Love Lucy, “Lucy Meets Charles Boyer”). He’s Ingrid Bergman’s terrifying husband in Gaslight, or the man who woos Olivia de Havilland in Hold Back the Dawn. Boyer is the man who arranges to meet Irene Dunne at the top of the Empire State Building in Love Affair. Unbelievably, I also didn’t know anything that William Holden did aside from being hilarious in I Love Lucy. I finally saw him in Sunset Boulevard and was blown away. After having seen him in so many films now, I can definitely say that Holden was a bona fide superstar.

CORNEL WILDE IS IN THE PENTHOUSE! CORNEL WILDE!

From reading all the library books about Lucille Ball and her film career, I learned that she made it a point to hire her friends from the movies when she had an opportunity to do so. The film friend of hers who benefitted the most from this is of course, William Frawley, who is now a legend in his own right for playing the irascible Fred Mertz on I Love Lucy. Having seen a good amount of classic films now, Frawley is everywhere. He plays Errol Flynn’s boxing promoter, Billy Delaney, in Gentleman Jim. He also plays a cop in Flynn’s Footsteps in the Dark, and Deanna Durbin’s Lady on a Train. He is also in the perennial Christmas classic, Miracle on 34th Street. Frawley had called up Lucy’s husband and Desilu Production president, Desi Arnaz, and asked for the job of Fred Mertz. CBS was hesitant to take a risk on the alcoholic Frawley, but Lucy and Desi prevailed and Frawley is now a television legend.

I find myself pointing out I Love Lucy characters in various classic films. Elizabeth Patterson who played Mrs. Trumbull is everywhere in classic film. She makes a memorable appearance as Fred MacMurray’s Aunt Emma in Remember the Night. Charles Lane is another character who pops up everywhere He appears as Lucy’s typing instructor in Miss Grant Takes Richmond (also co-starring William Holden). He also appears in uncredited roles in a million excellent pre-code films such as: Blonde Crazy, Employees’ Entrance, 42nd Street, Golddiggers of 1933, She Had to Say Yes, and Blondie Johnson. He made multiple appearances in I Love Lucy: the expectant father (I always say “nine girls” when I see him in a movie), the passport office clerk, the man conducting auditions in the episode where Lucy has to tell the truth for 24 hours, and he plays the Ricardos business manager, Mr. Hickox. Allen Jenkins, has a memorable role in an episode of I Love Lucy playing a police officer who apprehends “Sticky Fingers Sal” and “Pickpocket Pearl” (Lucy and Ethel). Jenkins was almost a mainstay in Warner Brothers films, playing the sidekick to the male lead. He’s in Dive Bomber, Footsteps in the Dark, The Perfect Specimen, all with Errol Flynn. He also supports Humphrey Bogart in Dead End, Racket Busters, and the horribly named The Amazing Dr. Clitterhouse. I even spotted Mr. Martinelli, owner of the pizza restaurant where Lucy works for one episode, as the villain in Marked Woman with Bogart and Bette Davis!

To this day, I Love Lucy and Lucille Ball are still my favorites. I also love Classic Film and I just love how well my favorite television show and my favorite era of filmmaking are so closely intertwined.

This single photo still from Stage Door captures my intertwined love of classic film and I Love Lucy. Lucille Ball, center, is flanked by Katharine Hepburn on the left and Ginger Rogers on the right.

Singin’ in the Rain Blogathon- Songs of Singin’ in the Rain

Singin’ in the Rain is celebrating its 70th Anniversary this year. It is widely considered to be one of the best (if not the best) musicals of all time. I have seen this movie a million times. I’ve seen it in the theater multiple times. I own the huge box set. I love this movie. While it might be a cliche answer, considering its popularity, Singin’ in the Rain is my favorite musical. At the time the film came out however, it wasn’t thought to be anything special. It did turn a profit, but nothing remarkable. Even the origin of the film came from humble beginnings.

Don and Kathy eventually star in “Singin in the Rain” for Monumental Pictures

Arthur Freed, head of the “Freed Unit” and in charge of MGM’s musicals, wanted to develop a film based around the catalog of songs written by himself and composer Nacio Herb Brown. The only original songs written in 1952 for Singin’ in the Rain, were “Moses Supposes” and “Make ‘Em Laugh.” It is pretty clear however, that “Make ‘Em Laugh” is a rip-off of Cole Porter’s “Be a Clown.” There’s a pretty funny anecdote involving Freed showing Porter around the set during the production of Singin’ in the Rain. The cast and crew were rehearsing Donald O’Connor’s memorable “Make ‘Em Laugh” routine. Cole Porter heard the music and said “isn’t that ‘Be a Clown?'” Freed distracted Porter from the song before answering.

Gene Kelly performs the title song, “Singin’ in the Rain.”

The most memorable song in Singin’ in the Rain is the title song, “Singin’ in the Rain,” featuring Gene Kelly’s character, Don Lockwood, doing what else? Singing in the rain. Kelly’s song and dance in the rain is iconic and one of the most indelible scenes of Classic Hollywood cinema. In the musical number, Don is overjoyed after coming up with a plan to save his movie career and falling in love with Kathy Selden, played by the adorable and hugely talented Debbie Reynolds. There are some urban legends surrounding Kelly’s performance of the big title song dance number. One urban legend is that the water is actually milk, with the idea that milk would be more visible on screen. Co-Director Stanley Donen (Kelly was the other director), debunked this myth. One story that is true however, is that Gene Kelly was suffering from a horrible fever during production of his big dance number. It’s amazing that he was able to perform it so well and effortlessly, despite being so sick.

Gene Kelly, Debbie Reynolds and Donald O’Connor sing “Good Morning” in Singin’ in the Rain.

“Singin’ in the Rain” was first heard in 1929, in the film Hollywood Revue of 1929. The song was performed by Cliff Edwards, who is best remembered now as the voice of Jiminy Cricket in Disney’s Pinocchio. Edwards is seen wearing a raincoat and hat, while warbling this song in the rain. It was a big hit in its day, but Gene Kelly definitely added some life to the song in 1952. Another song from Singin’ in the Rain that was recycled, was “Good Morning.” In the 1952 film, Debbie Reynolds, Donald O’Connor, and Gene Kelly sing the song after they realize that it’s past midnight after a disastrous film premiere. This song leads into Cosmo’s (O’Connor) brainstorm–turning Don and Lina Lamont’s (Jean Hagen) film, The Dueling Cavalier, into a musical. Judy Garland was heard singing “Good Morning” in her 1939 film with Mickey Rooney, Babes in Arms.

Donald O’Connor and Gene Kelly harass the poor elocution teacher in “Moses Supposes.”

After it is decided to transition The Dueling Cavalier into a musical, Don and Lina are ordered to attend elocution classes. Miss Lina “And I Can Stan’ it!” Lamont definitely needs all the help she can get. Don, on the other hand, speaks fine, but is forced to go through these classes as well. We see him learning how to pronounce his “A” vowel sounds and say tongue twisters like “Chester chooses chestnuts, cheddar cheese with chewy chives. He chews them and he chooses them. He chooses them and he chews them, those chestnuts, cheddar cheese and chives in cheery charming chunks.” Cosmo shows up he and Don and end up singing “Moses Supposes” with a lot of rhymes. This number is used as a showcase for Gene Kelly and Donald O’Connor, but you cannot help but feel sorry for the poor elocution teacher. “Moses Supposes” was one of the original songs written for the film.

Debbie Reynolds is front and center in “All I Do is Dream of You” in this adorable number.

After dropping Don Lockwood off at a Hollywood party, Kathy Selden (Reynolds) makes her big splash in Singin’ in the Rain with her adorable performance in “All I Do is Dream of You.” Kathy and a chorus line of girls are seen in cute pink outfits while doing the Charleston amidst a storm of confetti. Don is instantly smitten with her, and so is my husband. My husband finds Debbie absolutely adorable in this number. My favorite part of “All I Do is Dream of You” is when Debbie so effortlessly removes a piece of confetti from her face. Whether that was scripted, I don’t know, but she made it look so easy. What an amazing lead role film debut for Debbie. She was so talented. “All I Do is Dream of You” can be heard as an instrumental song in the Marx Brothers’ A Night at the Opera.

After Kathy sings “All I Do is Dream of You,” she unfortunately ends up hitting Lina in the face with a pie that she intended for Don. She runs out of the party in embarrassment. Lina reciprocates by having her fired. Don looks in vain for Kathy, but doesn’t have any luck. Eventually, Cosmo ends up performing a very acrobatic rendition of “Make ‘Em Laugh” in an attempt to cheer Don up. Let’s face it, this song is “Be a Clown.” There is no mistaking that. However, for all intents and purposes, it’s “Make ‘Em Laugh” in Singin in the Rain. Donald O’Connor’s solo dance is absolutely fantastic. I don’t know any other dancer(s), except for maybe The Nicholas Brothers, who could have performed the acrobatics required of this dance number. O’Connor is amazing.

If there’s one thing I love, it’s a random fashion show inserted into a film.

One of my absolute favorite things in a Classic Hollywood film is the random fashion show. Singin’ in the Rain does not disappoint and features a fashion show in the middle of the film during the “Beautiful Girl” montage. This section of the film is kind of random. My husband doesn’t like it because he feels like it is disjointed from the rest of the film. Me on the other hand, enjoy it because it features a fashion show and this section also serves as a way to get Don back with Kathy when we discover that Kathy is now working as a chorus girl in this musical number on an unnamed film. Singin’ in the Rain very effortlessly segues from the musical interlude to the story involving Kathy and Don. The other purpose that this section serves is that it shows how Monument Studios has had to adapt in face of the burgeoning technology of “talking pictures.” Now they’re producing musicals–a genre that wouldn’t have been possible during the silent era.

The “Beautiful Girl” montage opens with a mash-up of “I’ve Got a Feelin’ You’re Foolin,” “The Wedding of the Painted Doll,” and “Should I?” Images of flappers, women dressed as toy soldiers, and a man with a megaphone are seen. “I’ve Got a Feelin’ You’re Foolin'” debuted in 1936 in Broadway Melody of 1936. “The Wedding of the Painted Doll” was heard in another ‘Broadway Melody’ film, Broadway Melody of 1929. Finally “Should I?” was heard in Lord Byron of Broadway in 1930. The montage transitions into a man singing “Beautiful Girl” which was heard in the film Stage Mother in 1933. Kathy Selden is one of the chorus girls in the “Beautiful Girl” number. This scene then switches into an amazing fashion show–one of my favorite random fashion shows in film.

Cyd Charisse and Gene Kelly in my favorite number from Singin’ in the Rain.

The ‘Broadway Melody’ films provided a lot of music to Singin’ in the Rain. In the big closing number, Broadway Melody is presented as the imagination of Cosmo Brown and Don Lockwood as they pitch the revamped version of The Dueling Cavalier to Monument Pictures Studio head, RF Simpson (Millard Mitchell). The big “Broadway Melody” number was featured in Broadway Melody of 1929 along with “The Wedding of the Painted Doll.” “Broadway Rhythm” was also featured in 1936, in Broadway Melody of 1936, along with “I’ve Got a Feelin’ You’re Foolin’.” I love this part of the film. Cyd Charisse as the flapper in that green, fringed dress is gorgeous. She and Gene together are sizzling hot. This is one of the sexier dance numbers during the Golden Age of Hollywood. I love the music. Charisse is seen later wearing a white version of the same dress and later, a white dress with her own hair, and an enormous, flowing white veil. This is a very dramatic number set to an original song, the “Broadway Ballet,” composed by Nacio Herb Brown. This number is fantastic and I love it.

In the Classic Hollywood era, it is easy to find costumes and songs recycled from other previous films. If you have a great costume, or a great piece of music, why not re-use it? Singin’ in the Rain is proof that you don’t have to develop an entire catalog of new songs if you have songs that will suit the purposes of the film. However, the caveat to this is that you have to have writers that are talented. Props have to be given to the writing team of Adolph Green and Betty Comden. They were given a stack of songs and told to write a story using these songs, and boy did they deliver!

LINA: I’m a shimmering, glowing star in the cinema firmament.

Jean Hagen as “Lina Lamont” in Singin in the Rain (1952)

No! No! No!
Yes! Yes! Yes!
No! No! Nooooooooooo!

The Judy Garland Blogathon–Judy & Gene

The Gumm Sisters. Judy is bottom center. Mary Jane is on the left and Virginia is on the right.

96 years ago today, one of the world’s best entertainers was born.  Judy Garland was born Frances Gumm in 1922 in Grand Rapids, Minnesota.  As a young girl, she performed with her two sisters, Mary Jane and Virginia as part of the Gumm Sisters vaudeville act.  Frances was the youngest and most talented in the group.  When Frances was five, the Gumm family moved to the Los Angeles area.  Mrs. Gumm tried to keep her daughters in the minds of show business executives by having them appear in various short films.  The Gumm sisters toiled in short films, dance classes and schooling for a few years until 1935 when Frances was discovered by MGM.  The Gumm sisters had changed their last names to “Garland” at the end of 1934.  In addition, Frances changed her name to Judy.

MGM studio head, Louis B. Mayer, saw Judy performing with her sisters and was immediately impressed with Judy’s talent.  He requested that Judy and her father come down to MGM and meet with him in his office.  Judy sang “Zing! Went the Strings of My Heart” for Mayer.  She was immediately signed to a contract.  However, soon MGM found that Judy was difficult to cast.  She was thirteen–too old to be a child star and too young to be an adult star.  Judy spent a few years playing the girl next door parts, co-starring with huge MGM star Mickey Rooney in his Andy Hardy series.  In 1939, Judy was cast in her star-making role: Dorothy Gale in The Wizard of Oz.

Judy Garland in “The Wizard of Oz.” In her most memorable screen moment. singing “Somewhere Over the Rainbow.”

After ‘Oz,’ Judy was seventeen and was eager to move onto more mature parts.  MGM however, kept her pigeonholed into girl next door parts.  She appeared as a goody goody teen in Babes in Arms and Strike Up the Band with Mickey Rooney.  In 1940, Judy finally snagged her first adult role in Little Nellie Kelly, playing a dual role to boot!  By 1940, much to MGM’s chagrin, there was no doubt that Judy was grown up.  She had already been embroiled in a hot and heavy affair with bandleader Artie Shaw until he ran off with Lana Turner.  Judy was devastated.  She then got together with musician David Rose, whom she married in 1941.  By 1942, Judy was a huge star at MGM and was transitioning into adult roles.  One of her major adult roles was as a vaudeville star in For Me and My Gal.

Gene Kelly making his film debut with star Judy Garland, in “For Me and My Gal.”

For Me and My Gal is notable for not only being one of Judy’s early adult roles, but also for being Gene Kelly’s film debut.  Gene had been making a name for himself on Broadway, first as a choreographer and then as the star of Pal Joey.  MGM objected to Gene’s casting, but Judy supported him and campaigned for him to get the part.  Throughout production, movie veteran Judy supported Gene and gave him acting tips, especially when it came to adjusting his stage acting for the silver screen.  Gene always remembered Judy’s kindness when he made his first film and continued to support her throughout the rest of her life.

By 1948, Judy and Gene were huge musical stars.  It was also by this time that Judy was having her well-documented personal issues.  Judy initially was excited about shooting The Pirate, she thought it would be fun.  Director Vincente Minnelli (and Judy’s husband) also thought it would be a nice change of pace for he and Judy.  However, the production was in trouble as soon as it began.  Production was delayed two months because of Judy’s mental health.  She was then worried that co-star Gene would steal all her thunder.  Gene would regularly assist in choreographing the routines–he saw The Pirate as a way to make the dancing more ballet-like, a dance style that Gene was very familiar with.

Hypnotized Judy screams out for Macoco in “The Pirate.” MACOCO!

Judy experienced multiple paranoia episodes during production and barely even showed up to shoot her scenes.  She was only present about 35 days out of the 100+ days of production.  When Judy was absent, the filmmakers would shoot around her.  During Judy’s absences, Gene would work closely with Minnelli on coming up with ideas for scenes and such.  When Judy would show up for work, she’d notice Gene and Vincente’s close relationship and become jealous.  She also thought that her husband had developed a crush on Gene (By all accounts, Gene was straight and did not reciprocate the crush).  Judy’s paranoia, combined with her addiction to pills, led to a nervous breakdown.

Gene Kelly’s shorty shorts in “The Pirate.”

Judy’s mental health issues caused production to stretch from the planned two months to six.  In the end though, Judy pulled out a great performance–like she usually did.  Judy’s Manuela is one of her funniest performances–especially when she is hypnotized and starts crying out for Macoco.  “Mack the Black” is one of Judy’s most memorable songs.  The Pirate ended up losing money at the box office and was considered one of Judy, Gene and Minnelli’s worst films.  However, now The Pirate has found its audience and it is considered one of the classic musicals.   If you only watch one part of The Pirate, watch the scene where Gene dances with fire while wearing shorty shorts.  You won’t regret it.

In 1948, MGM wanted to re-team their two biggest musical stars, Judy and Gene, in another film, this time Irving Berlin’s Easter Parade.  Judy was supposed to play a waitress whom Gene’s character discovers and molds into his new dance partner.  Gene’s partner, played by Cyd Charisse, has decided to leave the act and strike out on her own. Just prior to production however, Gene broke his ankle during a heated volleyball game at his home.  Gene managed to coax Fred Astaire out of retirement and asked him to take his place.  Cyd Charisse ended up tearing a ligament in her knee and she was replaced by Ann Miller. If you can’t get Gene Kelly and Cyd Charisse, I guess Fred Astaire and Ann Miller will have to do (lol).  Easter Parade was a smash hit and soon MGM was eager to pair Judy and Fred up in The Barkleys of Broadway.

The Barkleys of Broadway was supposed to feature Judy and Fred as a successful husband and wife musical comedy team.  However, Judy’s character meets a famous playwright who suggests that she take up dramatic acting.  Fred’s character of course is upset.  Judy started production on the film but was soon fired after it was apparent that she had a serious addiction to prescription pills and alcohol.  MGM fired Judy from the film.  They then had the brilliant idea of reuniting Fred with his old RKO dance partner, Ginger Rogers.  Judy fumed at being replaced by Ginger.  It was known that Ginger had an unusually high amount of peach fuzz on her face.  Judy, feeling vindictive, sent Ginger a shaving mug and brush to “congratulate” her on the role (I don’t know if this anecdote is true, I read it somewhere, but if it is, it’s horribly petty on Judy’s part.  But it’s also hilarious).

Judy and Gene dance the “Portland Fancy” in “Summer Stock.”

In 1950, Judy was cast and then fired from Annie Get Your Gun, due to her normal attendance issues and mental problems.  Busby Berkeley had also been hired to stage the musical numbers and Judy absolutely loathed him.  They had had their run-ins on previous Judy films.  MGM gave her one last shot and re-teamed her with co-star Gene in Summer Stock.  By this point, Gene was a huge star and he didn’t want to appear in a typical “let’s put a show on in the barn!” musical.  And in fact, Summer Stock does feature the gang putting a show on in the barn, albeit, a very large and fancy barn.  Neither Gene, nor director Charles Walters wanted to do the film, but both men did so as a favor to Judy, whom they liked and wanted to help.

In Summer Stock, Gene appears as the director of a small-time musical theater troupe.  One of the members of this troupe happens to be Judy’s sister, Gloria DeHaven.  Gene is also dating Gloria.  The theater troupe has been looking for a place to practice and hold their show.  Gloria suggests sister Judy’s barn on the family farm.  It is apparent that Judy is working hard to keep her family farm going, even through hard times.  Gloria on the other hand, doesn’t want to be a farmer, she wants to be an actress.  Eventually, Gloria ends up leaving the show and Gene ends up coaxing Judy to join the show after seeing that she has singing and dancing talent.  The conflict is that Judy is dating Eddie Bracken, the son of a very boisterous and bossy man who only wants to unite the two oldest families in town.  Eddie however, is such a wimp, that it’s hard to see why Judy even tolerates him.  By the end of the film, she doesn’t and has fallen for Gene–who in return, has fallen for her.  It’s a simple story, nothing groundbreaking, but it features a lot of memorable songs and dances.

The horrible “Heavenly Music” number featuring Phil Silvers and Gene Kelly. I hate this number so much, I wish it would just die and go away. Judy apparently was supposed to be in this number too, but called in sick and they went ahead with the number anyway. I think Judy knew what she was doing. Shrewd move on her part, I say.

During production, Judy experienced her usual issues, but MGM studio head Louis B. Mayer pressured the film crew to keep going and to accommodate Judy’s issues.  He didn’t want to see her get fired from her third consecutive film.  In one incident, Judy did show up for work, but wasn’t up to filming.  To take the heat off of her, Gene feigned an ankle injury, so that he would be the cause of the production delay.  Gene choreographed two of the most memorable numbers in the film: “You, Wonderful, You” which he performs with simply a squeaky floorboard and a newspaper, and “The Portland Fancy” which features Judy and Gene in a fun dance-off.  Spoiler Alert: Gene wins! Thankfully, Gene was not responsible for creating the god-awful “Heavenly Music” number.  He only had the misfortune of appearing in it.  Supposedly, Judy was supposed to appear in it too, but called in sick that day.  It was decided to go on without her and film it with just Phil Silvers and Gene.  I don’t think Judy was sick, she knew what she was doing.  She didn’t want to have any part of that terrible number.

Judy Garland in “Get Happy” in “Summer Stock.”

After filming completed, it was decided that Judy needed a big solo number.  By this point, she had taken a well needed vacation and had lost 15-20 pounds.  “Get Happy” was the number that was selected.  Judy looks noticeably thinner in this number and looks and acts more like the Judy Garland that everyone knows.  “Get Happy” is one of the highlights of Summer Stock and is one of Judy’s best numbers.  Summer Stock was released and was a big hit.

Judy was then re-teamed with Fred Astaire and assigned Royal Wedding.  Judy was replacing June Allyson who had to drop out of the film due to pregnancy.  However, Judy’s demons once again re-surfaced and she was replaced by Jane Powell.  At the end of 1950, MGM and Judy made the mutual decision to terminate Judy’s contract.  Judy wouldn’t return to the silver screen until 1954’s A Star is Born.  Judy’s performance as Esther Blodgett/Vicki Lester is tremendous, especially her rendition of “The Man That Got Away.”  Judy was nominated for the Oscar and in my opinion, she should have won.  However, Grace Kelly ended up walking away with the award for her performance as Bing Crosby’s plain and disgruntled wife in The Country Girl.  Judy was devastated by the loss.

Because this gif from “An American in Paris” featuring Gene does not get featured nearly enough on this blog.

While Gene Kelly’s star soared even higher after Summer Stock (his last pairing with Judy), Judy’s collapsed except for her brief renaissance in A Star is Born.  Gene went on to create two of the most influential and highly regarded musicals of all time: An American in Paris and Singin’ in the Rain.  Gene’s rendition and dance to “Singin’ in the Rain” is probably the most famous musical number of all time.  Judy herself had sung “Singin’ in the Rain” in Little Nellie Kelly (1940).  The famous “Good Morning” song performed and danced by Gene, Donald O’Connor and Debbie Reynolds was also performed by Judy and Mickey Rooney in Babes in Arms (1939).  These songs were used in the film to show the development and transition of silent to talking pictures.  I would argue that Judy was one of the major players in helping the transition.  Gene’s contributions were important of course, but films had transitioned by the time he came on the scene.  Judy was right there almost from the beginning.

Without Judy Garland, there might not have been a Gene Kelly.

Judy and Gene are “Ballin’ the Jack” in “For Me and My Gal.”

Favorite Performers: Gene Kelly

Even with the scar, Gene is pretty cute!

Today marks the 22nd anniversary of Gene Kelly’s passing at the age of 83.  I remember hearing of his death in the sixth grade and feeling so sad.  I was a few months shy of twelve at the time.  I had just discovered Nick at Nite the year prior and had just discovered Gene Kelly by way of his appearance with Lucille Ball in DuBarry Was a Lady (1943). While ‘DuBarry’ wasn’t his best film, I liked Gene.  He just had that je ne sois quoi about him.  After seeing him with Lucy, I was hooked.  I religiously checked the TCM listings (then in its infancy) for Gene’s movies and tried to set the VCR to record them.  With each recording, I’d cross my fingers hoping that I’d set up the recording correctly and that the tape wouldn’t run out before my recording was complete.  Between TCM and the ever reliable Hollywood Video, I managed to see a few of Gene’s films.  When I heard that he had died, I remember watching Singin’ in the Rain (1952) and The Pirate (1948) with my friend who also loved him.

While I love Fred Astaire, I would never compare him with Gene.  Honestly, they’re like apples and oranges.  Sure, they’re both dancers and both men, but that’s pretty much where the similarities end.  In the end though, I think I have to give Gene the edge–if only because I love the fabulous elaborate dance numbers he put together in his films.  Astaire, to his credit, did do some pretty fantastic numbers in his post-Ginger Rogers films.  However, Astaire never put together such productions like the ballet in An American in Paris (1951) and the “Broadway Melody” number in Singin’ in the Rain–two of my favorite numbers of any musical ever made.   Gene was a pioneer and an innovator not only in musicals but in the world of film itself.

Fred Astaire and Gene Kelly in “Ziegfeld Follies (1945)”  Two fantastic, yet very different dancers.

Gene was born in Pittsburgh in 1912.  As a child, he was reluctantly enrolled in dance classes with his brothers.  Gene dreamed of playing shortstop for the Pittsburgh Pirates baseball team–not being a world renowned movie star, dancer, choreographer and director.  At some point, Gene had a change of heart and gave up on his dream of being a professional baseball player.  Lucky for us, he decided to dedicate himself to dancing. By the early 1930s, Gene was a teacher at his own dancing school. By the late 1930s, Gene had established a very successful dance studio and decided to move to New York City to find work as a choreographer.  He didn’t find much success during his first stint in New York.  By 1940, he was back in his hometown starring in and choreographing local theater productions.  It was in one of these productions where he was discovered and given a larger part.  That part led to an even larger part in a bigger production and so on.

By 1940, Gene was back in New York appearing on Broadway in Pal Joey–a play which was later made into a 1957 film starring Frank Sinatra, Rita Hayworth and Kim Novak. During Gene’s appearance in Pal Joey, he was approached by Hollywood mogul David O.Selznick for a Hollywood contract.  By the time Gene made his film debut in 1942 in For Me and My Gal with Judy Garland, Selznick had sold Gene’s contract to MGM.  During the next couple of years, Gene appeared in a few dramatic films and even appeared in a musical with Lucille Ball who had recently signed with MGM after a long stint at RKO as “The Queen of the Bs.”

Gene Kelly, Lucille Ball, Red Skelton, Virginia O’Brien, Tommy Dorsey, Rags Ragland and Zero Mostrel in “DuBarry Was a Lady.”

Gene’s big big break was when he was loaned to Columbia to appear with Rita Hayworth in Cover Girl (1944).  It was this film where he finally started to show glimpses of what he would achieve later.  One of the best dance numbers in this film is when Gene dances with his own reflection.  For the next decade or so, Gene appeared in a remarkable series of films that gradually built upon one another and showcased the innovative film and storytelling techniques and dance routines that Gene would become known for.  Gene was lucky to come around at just the right time–the Golden Era of the Hollywood musical from the mid-1940s through the mid to late 1950s.

By the late 1950s, the public’s tastes had changed and intense dramas and issue driven films were more popular.  The musicals of the 1960s and beyond definitely have a different feel about them and feel gritty and grim–which is a definite contrast to the glamorous and sparkly looks of their predecessors.  By this point in his career, Gene had mostly retired from dancing and turned into a director.  One his biggest films was 1969’s Hello, Dolly! which was nominated for seven Academy Awards, winning three. In 1980, Gene returned to the big screen in the musical Xanadu.

Gene Kelly and Olivia Newton-John in that cinematic classic, “Xanadu.”

Despite its reputation as one of those “so bad, its good” movies, I love Xanadu.  It has everything you’d want in a film: Gene Kelly, Gene Kelly roller skating, Gene Kelly playing the clarinet, Olivia Newton-John singing catchy 80s pop songs, a big roller skating dance number, flashbacks, Greek Gods, magic, neon… This film has everything.  When asked about why he made this film, Gene stated that the film had a great concept, it just didn’t quite turn out.  I think it turned out great.  This is truly one of the gems from 1980.  After Xanadu, Gene was pretty much retired and spent the remainder of his life making the award show circuits (picking up a Cecil B. DeMille award in 1981, Kennedy Center Honors in 1982, AFI Lifetime Achievement Award in 1985, and a Lifetime Achievement Award from the Screen Actors Guild in 1989, just to name a few of the honors he received).  By the late 1980s-early 1990s, Gene’s health steadily declined until his passing in 1996.

My favorite Gene Kelly movies:

Words and Music (1948),”Slaughter on Tenth Avenue.” Gene and Vera-Ellen only appeared in a segment of this musical biopic starring Mickey Rooney and Tom Drake, however, they are definitely the highlight.  “Slaughter on Tenth Avenue” is definitely a sexy number, a trait that is unusual in the goody two shoes MGM movies of the 1940s.  Vera-Ellen’s character is killed and she dies on the staircase, on her back, right in front of the camera.  All we see of Vera-Ellen’s character is her chest and legs.  This number also has great music that I really like.

Gene Kelly and Vera-Ellen in “Slaughter on Tenth Avenue” in “Words and Music.”

On the Town (1949). This film is the final film that Gene made with Frank Sinatra and I feel that it is their best.  I like Anchors Aweigh but cannot stand Kathryn Grayson, so that film pales a little bit in comparison with ‘Town.’  I thought Gene had a great rapport with not only Frank but love interest Vera-Ellen.  My favorite number in this film is actually the “Prehistoric Man” number that mainly features Ann Miller, but Gene provides some amusing backup.  However, for Gene’s best number in this film, that honor would have to go to “A Day in New York” where all his co-stars, save for Vera-Ellen (who had ballet training, which non of the actor cast members had).  Vera-Ellen and Gene make a great duo–which is interesting because I don’t typically think of Gene as being part of a dancing team.

An American in Paris.  This film is widely considered Gene’s masterpiece and won the 1951 Oscar for Best Picture over the likes of A Streetcar Named Desire and A Place in the Sun.  While I like ‘Desire,’ and ‘Sun,’ give me ‘Paris,’ any day.  This film is so much fun and such a delight to both the eyes and ears that it makes an enjoyable experience each time I see it.  The best number in this film is of course the seventeen minute ballet at the end of the film.  This was a huge gamble for Kelly, director Vincente Minnelli and producer Arthur Freed.  Not only was the ballet expensive to produce, but it was unknown whether the audience would respond to it.  Well the audience did and the film was a huge hit, winning six Oscars, including the aforementioned “Best Picture” Oscar.  Gene was also given an Honorary Oscar for his versatility and achievement in choreography on film. My favorite part of the entire ballet is the Toulouse Lautrec part.  Could anyone else but Gene Kelly wear a flesh colored leotard?

Gene Kelly’s flesh colored leotard in the Toulouse Lautrec part of the ballet in “An American in Paris.”  I’m not going to lie, this gif was the whole reason for this post.

Singin’ in the Rain.  This is probably Gene’s best known film and honestly, it is probably the best musical ever made.  I love this movie.  From the amazing cast (Gene, Donald O’Connor, Debbie Reynolds, Jean Hagen) to the great music, fun storyline, great costumes, everything.  This film is almost perfect.  The only thing marring this fabulous film, in my opinion, is the fact that Debbie Reynolds’ character has three different singing voices.  O’Connor is hilarious and has his amazing “Make ‘Em Laugh” dance routine.  Has there ever been a dance that looked so physically exhausting? Jean Hagen is hilarious as Lina Lamont, Gene’s delusional co-star and Hollywood-manufactured love interest.  Lina has a horrendous voice that is fine in silent film (because obviously you can’t hear her), but in a talkie… ugh.  And Debbie is just adorable as Gene’s love interest and the studio’s new discovery, threatening to supplant Lina’s status as top female star at the studio.  Pretty much every number in this film is fantastic, but my favorite would be the “Broadway Melody” number toward the end of the film.  It is colorful, has great dancing, a storyline, and fun music.  My favorite part of it is the part where Gene dances with Cyd Charisse, who is wearing a fringed and beaded green flapper dress.  The music is fantastic and Gene and Cyd just sizzle on screen.  This is one of the sexier musical numbers during the production code era.  The best part is when Gene lifts Cyd up with just one arm.

The most famous moment in Gene Kelly’s entire career, singing (and dancing) the title song from “Singin in the Rain”

Other favorite Gene Kelly films:

–Summer Stock (1950). “Get Happy” is probably one of the best numbers in Judy Garland’s career.  On the flipside, “Heavenly Music” is probably one of the absolute worst numbers in Gene’s career.  I loathe that number.  The only good part is when the dogs run out on stage.

–The Pirate.  This film failed at the box office in 1948, but it’s a great film.  Perhaps it was ahead of its time.  Gene has all kinds of great athletic numbers, including one where he dons shorty shorts and dances with fire.  Judy is great and looks gorgeous and there is a fantastic number at the end where Gene dances with the amazing Nicholas Brothers.  They sing “Be a Clown” which suspiciously sounds like “Make ‘Em Laugh” from Singin’ in the Rain.  Cole Porter’s “Be a Clown” came before Nacio Herb Brown and Arthur Freed’s “Make ‘Em Laugh.”  However, both The Pirate and Singin’ in the Rain were produced by Arthur Freed. Hmm…

-Les Girls (1957).  Gene dances with Mitzi Gaynor in a fantastic number called “Why Am I So Gone (About That Gal?).”  Mitzi looks great and she and Gene have a great dancing chemistry.

Gene Kelly and Shirley MacLaine spoofing the big 1940s musicals in “What a Way to Go!”

–What a Way to Go! (1964) This film stars Shirley MacLaine as an inadvertent black widow who just wants to live a simple life, free of material possessions.  The present day part of the film features her telling the story of how she met and married each of her husbands and how money led her husband to his eventual death–the kicker being that it was Shirley who in trying to help her husband’s psyche, ends up leading him to riches.  With each death, Shirley inherited her husband’s fortune.  She’s worth millions upon millions of dollars and just wants to give it all away.  She’s sent to a psychologist (Robert Cummings) because who wouldn’t want all that money? In this film, Gene plays Shirley’s fourth husband, Pinky Benson.

When Shirley meets Gene, he is working as a two-bit clown in a small club. His act is lame and nobody in the club pays attention to him.  She feels sorry for Gene because he’s a very nice man and she senses that underneath the clown getup, he does have some talent.  One night, Gene is running late and doesn’t have time to put on the clown costume.  She convinces him to go out without the costume and just perform his act.  Well, Gene’s simple soft-shoe routine is a sensation and soon he’s off to Hollywood.  We are then treated to a send up of the big flashy MGM musicals as Shirley describes her life with Gene to the psychologist (each of her stories about her different husbands is a spoof of a different genre of film).  Shirley is up to the task of dancing with Gene and they do a really great and funny number together.  Gene’s character eventually becomes a huge, egotistical star who lives in an all-pink mansion (his character’s name is “Pinky” after all), and by all-pink, I mean ALL-PINK.  He eventually meets his fate when he is crushed to death by a stampede of adoring fans.

 

 

National Classic Movie Day–Top 5 Favorite Actors

So sorry I missed my last two advertised Blogathon events.  Frankly, I’ve been really busy at work and at the time I signed up for the events, I wasn’t anticipating how busy we’d be.  Inventory Control in the warehouse has been crazy and everyone (myself included) have been working mandatory 10-hr shifts + OT on Saturdays.  We’re halfway through the month, so if I can get through May, I should have more time to dedicate to writing.  I did not want to miss National Classic Movie Day.  This year, we’ve been asked to discuss our Top Five Favorite Actors, which believe me, is was quite an arduous task just to narrow down my favorites.

Without further ado…

Errol and I have the same sunglasses!

My boyfriend, Errol Flynn.  He’s the whole package: unbelievably attractive, charming, athletic, gifted, great accent, tall, he’s got everything.  Aside from his physical attributes, Flynn is a highly underrated actor.  One of Warner Brothers top stars of the 1930s-1940s, Flynn provided a nice alternative to the gangster and “weepy” films that also permeated the movie landscape at the same.  Though dozens of actors have tried, nobody can top Flynn’s portrayal of the legendary Sherwood Forest outlaw, Robin Hood in The Adventures of Robin Hood.  Flynn was born to steal from the rich and give to the poor.   He is one of the few male performers who completely steals the viewer’s gaze (or maybe the female viewer, lol) from the female lead.  Who even notices “her” when he’s on the screen? Did I mention that he’s super cute? And that accent! ::swoon::

Best Known Films: The Adventures of Robin Hood, Captain Blood, The Sea Hawk, Dodge City and They Died With Their Boots On.

My Favorite Films: Gentleman Jim, Uncertain Glory, The Sisters, The Adventures of Robin Hood, Never Say Goodbye and Footsteps in the Dark.

Alan Hale and Errol Flynn in Gentleman Jim.  ‘Jim’ is a great Errol eye candy film by the way… you know, if that’s what you’re into 😉

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The Star Who Introduced Me to Classic Film: Lucille Ball.  In 1995, when I was in the sixth grade, I discovered Nick at Nite.  How I ended up on the channel, I don’t know and I don’t care.  The first show I watched was I Love Lucy.  I was immediately hooked.  I thought this show was hilarious.  Then, I ended up falling in love with the shows that came on after I Love Lucy, like The Mary Tyler Moore Show, I Dream of Jeannie, Bewitched, The Dick Van Dyke Show, The Brady Bunch and The Munsters.  But ‘Lucy,’ was always my favorite.  On weekdays, I made sure to have all my homework and such completed, so that I was ready to go at 8pm to watch “my shows” uninterrupted.  On Saturdays, Nick at Nite had the “Whole Lotta Lucy Saturday” which was my favorite day, because you got to watch two episodes of I Love Lucy and an episode of The Lucy-Desi Comedy Hour.

From my love of Lucy and my natural curiosity, I started borrowing books about Lucille Ball and I Love Lucy from the library.  It was from these books that I learned that Lucy had been a movie actress prior to being on I Love Lucy.  Soon, I needed to watch all the Lucy movies that I could get my hands on.  Lucille Ball appeared in dozens of films before hitting it big in radio and television–she could never seem to find her niche in film.  At this same time, TCM was in its infancy and soon I was scouring the TV Guide (remember the paper TV Guide that used to come in the Sunday newspaper?) looking at TCM’s schedule to see what Lucille Ball films were airing.  I would rig up the VCR and cross my fingers that 1) The recording actually worked; and 2) The tape didn’t run out!

From my exposure to Lucille Ball on TCM, I was exposed to other actors which led me to learning about other actors and so on.  I discovered Katharine Hepburn and Ginger Rogers through Stage Door (which also featured Lucy); I discovered Gene Kelly through Du Barry Was a Lady (featuring, you guessed it, Lucy).  From Gene Kelly, I discovered other favorites like Ann Miller and Cyd Charisse.  I Love Lucy started me down the glorious wormhole that is classic film.  I never tire of classic film.  I never tire of Lucille Ball; and I never tire of I Love Lucy.

Best Known Films: Stage Door, The Long Long Trailer, Yours Mine and Ours, Mame and The Big Street.

My Favorite Films: The Long Long Trailer (My #1 favorite film of all time), Stage Door, The Affairs of Annabel, Miss Grant Takes Richmond, Five Came Back, Next Time I Marry and Beauty For the Asking.

My spirit twin, Lucy Ricardo

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Judy looks longingly at “the boy next door” Tom Drake, in Meet Me in St. Louis.  I don’t blame her, he’s cute!

The Star to Whom I Just Want to Give a Big Hug: Judy Garland.  Poor Judy.  She had such a sad, tragic life.  She had a lot of problems that unfortunately affected her work.  However, you would never know of her problems from watching her on screen.  She is so charming and such a joy to watch.  She was a very unique performer.  She wears her emotions on her sleeve.  As an audience member, you feel every feeling she’s emoting on screen. She’s very underrated as an actress and only appeared in a handful of films where she didn’t sing.  One of her greatest performances is as Esther Blodgett/Vicki Lester in A Star is Born.  Frankly, as much as I like Grace Kelly, Garland was robbed of the Best Actress Oscar in 1955.  Her performance is brilliant and also features one of her greatest musical performances, the torch song, “The Man Who Got Away.”

I find it tragic that MGM (allegedly) treated her so poorly when she was under contract.  Louis B. Mayer referred to her as “[his] little hunchback” and frequently made unkind comments about her appearance.  As a teenager, Judy was often cast as the less attractive buddy to the male star.  This is most evident in her films with Mickey Rooney.  Judy was Mickey’s friend, but she was never the object of his affections.  It didn’t help that Judy competed with the likes of Lana Turner and Ava Gardner who were all her peers when she was at MGM.  I think Judy was very pretty.  She had a unique beauty.   Frankly, I find Judy prettier than Lana Turner, only because Turner seems to have a bit of a generic blonde starlet look about her.  Judy is her prettiest in Meet Me in St. Louis and Easter Parade.

Judy’s performances and songs often have an underlying sadness about them and that’s why I want to give her a hug.

Best Known Films: The Wizard of Oz, A Star is Born, Meet Me in St. Louis, Easter Parade, and the Mickey Rooney films (Babes in Arms, Girl Crazy, Babes on Broadway and Strike Up the Band).

My Favorite Films: Meet Me in St. Louis, Easter Parade, The Clock, The Pirate, The Harvey Girls, Summer Stock and Presenting Lily Mars

Perhaps Judy’s greatest number: “Get Happy,” from Summer Stock

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“Dignity, always, dignity.” From Singin’ in the Rain

Star Who I Could Watch Dance ALL DAY LONG: Gene Kelly.  I love Gene Kelly.  I love Fred Astaire too, but I love Gene Kelly and would venture to give him a slight edge over Astaire.  I would never compare the two men as dancers, as they have two completely different styles, but in terms of films, I love Gene’s films just a wee bit more.  I have found that some people are not fans of Gene’s because they find him too hammy or what not.  I don’t.  I find his smile endearing and also enjoy the massive musical numbers he puts on.  The ballet in An American in Paris is exquisite and a real joy to watch.  The Broadway Melody in Singin’ in the Rain is amazing.  Gene’s greatest on-screen moment may be his performance of the title song from Singin’ in the Rain.  Gene’s joy and enthusiasm is contagious in this number.  I defy anyone to watch it and not instantly feel happier.  If it doesn’t move you, then you’re made of stone and I don’t know if I want to watch movies with you anymore.

Each of Gene’s movies are so innovative and so different from one another.  They really are a work of art and demonstrates how much Gene loves dancing and showcasing the artistry of dance.  His films, like On the Town, An American in Paris and Singin’ in the Rain, elevated the musical film as an art form.  One of his greatest contributions to the musical is forming the plot around the music and dancing so that it makes sense within the context of the film.  Many opponents of musicals dislike them because they find the musical interludes random and they cannot suspend their disbelief.  I’ve found that Gene’s musicals (and many of Astaire’s as well) so beautifully incorporate the music and dance into the film and the dance numbers seem natural and not random at all.

I remember when he died.  I was in the seventh grade and so sad– I watched Singin’ in the Rain in his honor.

Best Known Films: Singin’ in the Rain, An American in Paris, Brigadoon, On the Town, Anchors Aweigh, For Me and My Gal

My Favorite Films: Singin’ in the Rain, An American in Paris, On the Town, The Pirate, Summer Stock, What a Way to Go!, Cover Girl, Xanadu

My favorite moment of the ballet from An American in Paris

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“Fasten your seat belts, it’s gonna be a bumpy night.” All About Eve

Actor Who I’d be Terrified of, but Also Fascinated By: Bette Davis.  I love Bette Davis.  She is amazing.  She seems like she would have been completely intimidating in person, but also a joy to listen to.  She is compelling in her 1971 Dick Cavett interview (I highly recommend watching it on You Tube or Hulu if you have a chance).  I could listen to her recollect about her life and career all day.

Bette Davis has an interesting career trajectory.  She started out with small parts in a variety of pre-code films.  Many of these films are not good, but she has a few early films here and there that show that Bette had that certain something.  Her big break was Of Human Bondage in 1934.  Many felt that Bette was robbed of the Oscar for her performance in that film, and that her 1935 Oscar win for Dangerous was a consolation prize for having lost to Claudette Colbert the year prior.  Bette had to fight for good roles at Warner Brothers, which was very male driven.  She was on suspension many times, which paid off in the end, when she finally became Warner Brothers’ top female star.  The tides turned for Bette in 1938 when she won her second Oscar for Jezebel.  From then on, through the end of the 1940s, Bette churned out one hit film after another.  By the end of the 1940s, Bette’s star was waning. She left Warner Brothers after filming ended on the hilarious (albeit, unintentionally, I think) Beyond the Forest. She had a bit of a comeback with the amazing All About Eve, however this didn’t end up materializing with any other huge parts. By the 1960s, her career had segued into “psycho-biddy horror films” (as they’re known). I for one, really enjoyed her small role as an elderly aunt in 1976’s Burnt Offerings.

I love Bette because she really gives her all in her roles–she sacrifices glamour in name of the character.  In The Private Lives of Elizabeth and Essex, Bette had no qualms about playing a 60 year old Queen Elizabeth I to Errol Flynn’s 30 year old Lord Essex.  She shaved her hairline to mimic the real Elizabeth I’s balding and studied very hard in an attempt to play the Queen as true to life as possible.  In Mr. Skeffington and Now, Voyager, Bette allows herself to appear very unattractive as it fits within the confines of the plot.  In ‘Skeffington,’ Bette’s character is very vain and goes through great lengths to maintain her appearance.  After a bout of diphtheria, Bette’s character’s looks are ruined and she must cope.  In Now, Voyager, Bette appears as a frumpy, overweight, bushy eyebrow-ed spinster who undergoes a makeover which changes her life.  Even when Bette is completely bonkers, like in What Ever Happened to Baby Jane?, she commits.  “Go big or go home” seems to be her motto.

Best Known Films: Jezebel, Now Voyager, Mr. Skeffington, All About Eve, What Ever Happened to Baby Jane?, Dark Victory

My Favorite Films: Now Voyager, All About Eve, Mr. Skeffington, What Ever Happened to Baby Jane?, The Sisters, Three on a Match, June Bride, The Letter, Little Foxes and Beyond the Forest.

If you ever get a chance to see Beyond the Forest, do it.  Bette is hilarious.  She is the queen of camp.

“Rain” Blogathon–“Singin’ in the Rain” (1952)

 

Rain in movies is often used to evoke feelings of depression, despair, unhappiness, etc.  Film noir often uses rain to set the mood of the film.  In Key Largo (1948), the constant rain storm keeps the action contained onto the ship and gives the film a claustrophobic feeling.  While, noir and other more serious types of films tend to use rain as a way to make the scene dreary, scary, what not, other genres of film use rain for other purposes.  Romantic films like The Notebook (2004) and Breakfast at Tiffany’s (1961) use rain to create romantic kissing scenes.  Often times, in romantic films, the characters will be somewhat on the outs, only to realize their love for one another during a horrific rainstorm.  Their romantic feelings for one another will culminate with a passionate clinch and kiss in the pouring down rainstorm.  Other films, such as Pleasantville (1998) and Beauty and the Beast (1992) may use rain to symbolize change.  It is the idea of change that is represented so beautifully in Singin’ in the Rain (1952).  Gene Kelly in an iconic scene, memorably dances down the street in the pouring down rain.

“…doo-dloo-doo-doo-doo, doo-dloo-doo-doo-doo…” 

And so starts one of the most memorable rain scenes in film.

Gene Kelly’s joy is infectious in one of the most delightful musical number ever to appear on screen

Singin’ in the Rain is quite simply one of the best (if not the best) musicals ever made.  It tells the story of Hollywood’s transition from silent films to “talkies.”  Stars Don Lockwood (Gene Kelly) and Lina Lamont (Jean Hagen) are great romantic stars and are also involved in an off-screen romance–at least according to Monumental Pictures’ publicity department.  In reality, Don cannot stand Lina.  She on the other hand, cannot allow her ego to believe that someone doesn’t love her.  Cosmo Brown (Donald O’Connor) is in charge of the studio’s music department and is also Don’s best friend.  Don ends up involved with an aspiring actress, Kathy Selden (Debbie Reynolds) who Lina is intensely jealous of.  Not only is Don in love with Kathy and not Lina, but Kathy also threatens Lina’s career.  Kathy can sing and dance–two things Lina can’t do.  After the hilarious failure of Monumental Pictures’ first talkie, Cosmo, Kathy and Don come up with the idea to turn their turkey of a movie into a musical.  After dropping his love Kathy off at home and excited about their new venture, Don is on Cloud Nine.  Not even a torrential downpour can dampen (pun intended) his spirits.

Kelly’s “Singin’ in the Rain” number is simply put, one of the greatest things to ever grace the silver screen.  His excitement over his new romance and the new direction his career is heading is infectious.  Even though he starts out carrying his umbrella, he quickly puts it away.  Kelly’s character Don, is so happy about his life that he doesn’t even care that he’ll be soaked on the way home.  He gleefully taps and skips his way down the sidewalks with a big smile on his face.  Don sees a lamp post, jumps up and twirls around.  He pretends his umbrella is a guitar, and playfully tips his hat to the woman in the store window advertisement.  He taps into his inner child, without a worry in the world during his magical walk down the street.  Don throws and catches his umbrella and allows water from the downspout dump on his head.  He pretends to balance on a curb.  Don’s rain dance culminates with him splashing around in the massive puddles.  A cop finally ends the number when he stops and stares at this guy essentially playing in the road.  Don unconcerned, croons “I’m singin’ and dancin’ in the rain” and walks down the sidewalk, arms still swinging happily.  His glee and enthusiasm is contagious.  It is impossible to not feel happier after seeing this scene.  In a way, the rain represents a new life.  It washes away all the unhappiness and annoyances of his previous life and now he can start anew, with his new film persona and lady love.

A party pooper stops all the fun

The song “Singin’ in the Rain” was not written for Singin’ in the Rain.  In fact, all the songs in the film, except “Make ‘Em Laugh” (which sounds exactly like Cole Porter’s “Be a Clown”) were used in past musicals.  “Singin’ in the Rain” was crooned by Cliff Edwards in the 1929 musical, The Hollywood Revue of 1929.  Judy Garland gives a rousing rendition of the song in the 1940 musical, Little Nellie Kelly.  In 1971’s A Clockwork Orange, the song was used in a more disturbing fashion.  Star Malcolm McDowell hums the iconic song while raping a woman.  Gene Kelly’s rendition of the song plays over the closing credits.  Kelly himself was not pleased to be associated with this film. In 2007, Usher re-created the famous musical number in an homage to Kelly’s famous number, complete with the same style suit and everything.

Even though “Singin in the Rain” was more than 20 years old by the time it was used as the title song for the 1952 classic and had been performed multiple times by different artists, even by big star Judy Garland, it is Gene Kelly’s rendition that is the most famous.  The image of Gene Kelly twirling on the lamp post while ‘singin’ in the rain’ will forever be a part of American pop culture.  In an era where the word “iconic” is thrown around too often and too loosely to the point where it doesn’t really mean much, the image of Gene Kelly singing and dancing in the rain truly meets the definition.  The song itself has such a catchy tune, it’d be hard to find someone who at least doesn’t know the main part of the chorus.  Even Cary Grant was humming it in the shower in North By Northwest.

One of the most famous scenes in film history