Setting the gold standard for movie musicals everywhere: "Singin’ in the Rain"

Who doesn’t feel the urge to swing on a lamppost and start singing when it’s pouring down with rain? Since its release in 1952, Singin’ in the Rain has never left the stage of pop culture and has been continuously and incessantly parodied, referenced, or recreated in various forms of media.

As a child, before I had even heard of the film, I knew the famous scene in which Gene Kelly tap dances down a street singing the titular song. It was only recently that I actually watched the film for the first time, and the reasons behind its longevity became instantly clear to me- this is a musical that fully leans into the dramatics of the genre, allowing itself to be over the top and dedicating time to laboriously choreographed dance numbers.

In fact, the film’s successful embodiment of the genre has allowed it to often be labeled as THE exemplary movie musical: it ranks at number 5 on the American Film Institute’s greatest movies, and at the top spot of number 1 for the best musicals of all time.

Despite its vast stylistic differences from the musicals we see being developed today, Singin’ in the Rain has managed to hold on to its popularity. So what is it that has allowed Gene Kelly’s masterpiece to persist in popularity over the decades since its release and remain firmly rooted in public consciousness and affection?

When Singin’ in the Rain was first released in the 50’s, it was already rooted in nostalgia. The film covers the period in the late 20’s when Hollywood was undergoing the transition from silent films to “talkies”. When the film opens, Gene Kelly’s Don Lockwood is at the opening of his latest movie, accompanied by the lead actress Lina Lamont (who thinks they’re dating because she read it in a gossip magazine), and his best friend Cosmo Brown, played by Donald O’Connor.

They’re all very successful in the silent film industry, but when their studio forces them to make the transition to talking pictures they run into all kinds of technical troubles, exacerbated by the fact that Lina has an annoyingly high and whiny voice that completely ruins the seriousness of the films they’re making. After a few failed starts, Don, a talented vaudevillian, decides to star in a musical to save his movie career, enlisting his love interest Kathy Seldon (Debbie Reynolds) to dub over Lina’s annoying voice behind the scenes.

Released slap bang in the middle of the Golden Age of Hollywood, Singin’ in the Rain gave audiences a look back at the humble beginnings of the movies as they had come to know and love. In the same way audiences today watch Singin’ in the Rain and marvel in nostalgia at the colorful and classic 1950’s style of filmmaking and acting, audiences then were invited to explore the romantic notion of Hollywood on the cusp of sound, and thus the cusp of theatrical possibilities.

It would appear that as long as Hollywood has existed, people have loved films about the industry itself, desperate to see inside the glitz and glamour of film production and movie stars. The 1950’s had seen an influx of films portraying the dark side of Hollywood, like Sunset Boulevard, so Singin’ in the Rain provided a change of pace. Singin’ in the Rain balanced both the cutthroat nature of “makin’ it” in Hollywood, with the romantic ideas of success and stardom.

The film certainly sheds light on the competitive nature of the film industry in the scramble of Don’s studio to adapt to the new talking pictures method, but any burgeoning sense of real tension that would undermine the generally upbeat mood of the film is matched with another light-hearted scene or impressive dance number, ensuring the tone of the film doesn’t get too serious.

The joint efforts of co-directors Stanley Donen and Gene Kelly achieved what not many are able to do- a perfect balance of conflict and resolution, creating a tightly packed storyline the hits the notes of humor, romance, and drama in just the right way. Reflecting the aim of Don, Cosmo, and Kathy in the creation of their film, Singin’ in the Rain just wants the audience to be entertained, above all else.

I can’t write an article about the lasting legacy of Singin’ in the Rain without mentioning the dancing. Because the dancing! People just don’t tap dance like they used to. Tap dancing really isn’t a type of dance that gets screen time anymore (save for a few movies like La La Land), and because of that, I think people forget how impressive it can be when done well.

A large amount of the credit for the perfect degree of focus on choreography in this film goes to the fact that Gene Kelly co-directed, and as a talented and experienced dancer himself, he would have had a unique insight into what makes choreography interesting, and what would look most impressive to audiences. There aren’t many other films I’ve seen that feature a lead actor do 3 continuous backflips off of walls (sans stuntman or camera cuts) while still managing to belt out a song, keep a smile on their face, and not appear out of breath at all.

The choreography in this film is so unique, clear from the very opening scenes that show the audience flashbacks of Don and Cosmo’s vaudeville performances, which, by the way, just so happens to be a casual little performance in which they sing, play the violin, and tap all at the same time. I know the audience has to boo them for story progression, but that might have been the most unrealistic thing about this film.

There isn’t a weak link in the cast, but Donald O’Connor is the standout performer, cemented in his impossibly energetic solo, “Make ‘em Laugh”. Using the props scattered around the set, O’Connor’s 3-minute solo is chock full of every gag he could possibly make, all of which he delivers with bucket loads of charm and perfect comedic timing. It’s even more incredible to know that O’Connor somehow had the energy to do that while smoking up to 4 packs of cigarettes a day.

The story of Gene Kelly’s high fever while filming the titular song has become a popular piece of trivia about the film, Kelly’s demanding nature when it came to perfecting the choreography has also become well known.

Debbie Reynolds, who had never danced professionally before this movie, famously said the two hardest things she ever had to do in her life was giving birth and making this film. 19-year-old Reynolds had to work extra hard to keep up with her co-stars, both of whom were experienced, confident dancers.

Notably, Reynolds, Kelly, and O’Connor filmed the “Good Morning” sequence for 15 hours straight, after which Reynolds promptly fainted and was brought to a doctor. But no matter how hard Reynolds had to work to keep up, you would never know her lack of experience with dancing when watching the film.

While the process of filming these dance sequences might have been difficult and long, the finished product only shows three smiling leads, moving with incredible grace and effortlessly light steps. So, maybe Kelly wasn’t the most pleasant director, but he got results, and it’s clear in the smooth synchronization of the dances. If anything, it feels like this was a movie that was made primarily for Gene Kelly and Donald O’Connor to be able to show off their dancing abilities- and if that really was the case, I’m not mad about it at all.

It often happens that newer musicals of the 21st century stray away from big dancing numbers, or if anything, leave the majority of the dancing to the ensemble or background characters. It seems as though they’re unwilling to draw focus away from the main story- and I don’t think that’s a bad thing, every musical is different.

But musicals like Singin’ in the Rain from this era are on the opposite end of the scale. The leading actors were expected to be at the forefront of the dance numbers, and they were happy to hit pause on the main story to give way to an extravagant choreographed sequence.

The longest and most elaborate dance number of this movie is the “Broadway Melody” scene, an extended fantasy sequence that arises from Don’s movie pitch to his boss. This scene gives way fully to melodramatics, and the actual storyline of the film is dropped for several minutes.

In fact, by the time this scene ended I had actually forgotten it was all in Don’s head and was trying to remember how we got here. Not complaining! The several minutes dedicated to this melody gives the ensemble a chance to truly shine, and if for some reason the audience hadn’t already been made aware of the extent of Kelly’s dance skills, they certainly would have been by the end of this song.

The medley is almost laughably extravagant, reaching its peak when Kelly’s dream sequence character has a dream sequence of his own (you still following me? Sorry Inception, Singin’ in the Rain did it first), dancing against a heavenly pink-hued backdrop with an ever-perfect Cyd Charisse, who is wearing a white dress with a ridiculously long train that is billowing in the wind.

Despite the over the top nature of everything, it works. The sequence is gorgeous. Cyd Charisse and Gene Kelly together are perfectly synced and graceful. Charisse looks stunning in each of her costume changes over the course of the sequence, from the iconic green dress that she vamps Kelly with to the billowing white satin number.

The cyclical melody of the song and Kelly’s continuous cries of “Gotta Dance!” make the energy magnetic. In approximately 13 minutes, Kelly takes us through a dazzling panorama of an aspiring performer’s life, love, and longing. The more I write about it, the more I really do think Gene Kelly only made this movie as an excuse to get paid to showcase his dance skills and choreography- but that’s fine by me.

The developing relationship between Kathy and Don is rooted in a trope we have all come to know and love as a staple of film; the classic enemies to lovers. I know, arguably they weren’t exactly enemies, but the film sets them up as immediately at odds and frustrated with each other, basically, the typical “screwball” comedy set up that was so popular at the time. Their developing relationship is first cemented in the “You Were Meant for Me” number, a gorgeously staged scene in which their mutual liking of one another translates to wide-eyed, smiling looks at each other, so sweet and innocent in their affection that the progression of their relationship feels seamless.

Once established as a couple, each subsequent scene in which they interact radiates pure happiness that leaps off of the screen. They are wholly content with each other, emulated in Gene Kelly’s infectious joy that is the titular performance. This is a couple with undeniable chemistry, and it is so exciting to watch them grow together throughout the film.

As I mentioned in the introduction to this article, this is a musical that fully leans into the theatrics that the musical genre has room for. In recent years, new musicals seem to have pulled away from some of the more traditional elements of musicals, including elaborate costumes, sets, and dance sequences, becoming much more modern and contemporary.

While I really enjoy these types of musicals too, there is something incredibly fun and joyous about the way in which musicals like Singin’ in the Rain allow time for extensive musical sequences, and in doing so drives home what it is that makes musical theatre film so fun and unique. It is abundantly clear that the people involved in this film were musical theatre people first, and movie people second. The slips into songs feel logical, obvious, and easy, and each actor appears to be so at ease with the music that it never feels awkward, stilted, or random.

Gene Kelly in particular just belongs to the stage, and dances in a way that makes it feel like it would be weird if he wasn’t dancing. The sets are expansive, colorful, and romantic, designed specifically with the performance numbers in mind, and when Don and Kathy twirl around a soundstage while singing “You Were Meant for Me", it dreamily looks like they’re amongst the clouds. The wholehearted embrace of the musical genre gives a wonderful energy to the film, which translates directly to the audience. 

With no better way to say it, Singin’ in the Rain is everlasting joy. The passion of the three leads is contagious. While we have the usual ebbs and flows of plot, and a brief but present dramatic climax where it feels like things might just go wrong for our lead characters, the majority of the movie is happy and energetic.

The smiles hardly ever leave Gene Kelly, Debbie Reynolds, or Donald O’Connor’s faces, least of all while they’re singing and dancing. It’s just delightful. And- what I don’t think people realize prior to watching it- this is a funny film! Don and Cosmo have fun with people, playing off of one another for laughs. A great comical moment is at the beginning of the film, where Don assuredly and confidently tells of the easy way he broke into Hollywood- while the audience is shown flashbacks of Don and Cosmo working gimmicky jobs and getting booed by audiences.

Surprisingly, Singin’ in the Rain wasn’t immediately understood to be the pinnacle of movie musicals but was somewhat overshadowed by Gene Kelly’s earlier movie musical An American in Paris. Despite musicals being vastly popular at the time and award show favorites, Singin’ in the Rain was not nominated for best picture, nor were the three leads. Surprisingly, Jean Hagen was the only actor to score a nomination for her supporting role as Lina Lamont (not surprising she got nominated, but surprisingly she was the ONLY nomination).

It is only in the years since the film has become considered the best of the best. Everything in the film clicks- the chemistry of the main 3, the precision and smiles with which each dance number is painstakingly performed, the catchy and upbeat songbook, and the culmination of Don and Kathy’s love story, which might as well end with them both riding off into the sunset (their kiss in front of a billboard has similar vibes).

No matter what they would later do with their careers, Gene Kelly is remembered in public consciousness as swinging on a lamppost in the rain with a high fever, Debbie Reynolds is remembered tap-dancing along to “Good Morning”, and Donald O’Connor is remembered backflipping off of walls. And there’s a reason- no other movie musical has quite managed to capture the infectious, crazy spirit of Singin’ in the Rain. It truly was the blueprint.

While they aren’t as popular amongst the general public anymore, musicals are still being made. Every few years a blockbuster like La La Land or Chicago comes out of Hollywood and invigorates the genre once again. And you can see remnants of Singin’ in the Rain in all of them, whether it comes through in the direction, the music style, the choreography, or simply in the general atmosphere of the film. I can appreciate the way that musical theatre has evolved over the decades.

Recent musicals like Hadestown and Hamilton would never have been made back in the 1950s, and not just because of their content but because their music and lyrical style are so different from what was being written back then. And don’t get me wrong- I love the musicals that are being written today!

But upon discovering Singin’ in the Rain for the first time I am reminded of how much fun the classic musicals are. They weren’t afraid to embrace the dramatics and cheesiness that can inevitably arise from the sudden bursts of song and dance, and with this embrace they set the gold standard for movie musicals forevermore.