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Singin' in the Rain (1952)

Approved | | Comedy, Musical, Romance | 11 April 1952 (USA)
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A silent film production company and cast make a difficult transition to sound.

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(story by), (story by)
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Top Rated Movies #94 | Nominated for 2 Oscars. Another 5 wins & 7 nominations. See more awards »

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Cast

Complete credited cast:
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Dancer
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Zelda Zanders
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Storyline

1927 Hollywood. Monumental Pictures' biggest stars, glamorous on-screen couple Lina Lamont and Don Lockwood, are also an off-screen couple if the trade papers and gossip columns are to be believed. Both perpetuate the public perception if only to please their adoring fans and bring people into the movie theaters. In reality, Don barely tolerates her, while Lina, despite thinking Don beneath her, simplemindedly believes what she sees on screen in order to bolster her own stardom and sense of self-importance. R.F. Simpson, Monumental's head, dismisses what he thinks is a flash in the pan: talking pictures. It isn't until The Jazz Singer (1927) becomes a bona fide hit which results in all the movie theaters installing sound equipment that R.F. knows Monumental, most specifically in the form of Don and Lina, have to jump on the talking picture bandwagon, despite no one at the studio knowing anything about the technology. Musician Cosmo Brown, Don's best friend, gets hired as Monumental's ... Written by Huggo

Plot Summary | Plot Synopsis

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MGM's Musical Treasure ! See more »


Certificate:

Approved | See all certifications »

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Details

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Language:

Release Date:

11 April 1952 (USA)  »

Also Known As:

Cantando bajo la lluvia  »

Box Office

Budget:

$2,540,800 (estimated)
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Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Western Electric Sound System)

Color:

(Technicolor)|

Aspect Ratio:

1.33 : 1
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Did You Know?

Trivia

Don and Cosmo were shown as touring through a variety of small towns as part of their vaudeville career. These included Dead Man's Fang (Arizona), Oatmeal (Nebraska) and Coyoteville (New Mexico). These are all fictional although there is a town called Oatmeal in Texas and one called Coyoteville in California. See more »

Goofs

In the diction coach scene, the coach's arm changes positions between shots in a couple of places. See more »

Quotes

[first lines]
Dora Bailey: [broadcasting on radio] This is Dora Bailey, ladies and gentlemen, talking to you from the front of the Chinese Theater in Hollywood. What a night, ladies and gentlemen, what a night! Every star in Hollywood's heaven is here to make Monumental Pictures' premiere of "The Royal Rascal" the outstanding event of 1927! Everyone is breathlessly awaiting the arrival of Lina Lamont and Don Lockwood!
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Connections

Featured in One Hundred and One Nights (1995) See more »

Soundtracks

Singin' in the Rain
(1929)
Music by Nacio Herb Brown
Lyrics by Arthur Freed
Originally from The Hollywood Revue of 1929 (1929)
Sung by Gene Kelly (uncredited)
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Frequently Asked Questions

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User Reviews

 
The Divine Miss Charisse
10 September 2005 | by (United States) – See all my reviews

I'm going to confine my comments about "Singin' in the Rain" to the "Broadway Rhythm" sequence where Cyd Charisse steals the movie without saying a word. In my view, Charisse, who is still gorgeous at 83, was the quintessential movie dancer of the 1950s. Her height, elegance, aloofness and those impossibly long legs -- along with an uncanny ability to match her style to that of her partner -- makes watching her dance a mesmerizing experience.

Many have said that the two numbers in "Singin' in the Rain" that feature Charisse probably belong in another movie. I don't know… as the flapper in jade, she sexes up Kelly's rube character to a steamy height unusual in movies of that era. In a dance full of wonderful moves, my favorite comes after she's left him with her cigarette holder. She sashays away from him, blowing on her nails in studied boredom. She's gotten some distance away, and as she tosses her right hand back, he throws down the cigarette holder, grabs her hand and brings her flying up to his chest, where she proceeds to slide down Kelly's thigh to the floor for one of several prone positions she takes during this duet, from which she returns to a standing position with amazing grace. I'm not wild about dances that rely heavily on props, but this one does so very effectively: they're amusing and they reinforce character.

And thank heaven for the artistic control that allowed Kelly to keep the "crazy veil" number in the picture. Charisse has discussed that dance, where she got to show off her early ballet training, most charmingly for a "Word of Mouth" feature on TCM. She and others have noted over the years that the wind machines required to keep that impossibly long veil moving and undulating between and above her and Kelly made filming a nightmare. But it looks effortless, on a set that is a subtle optical illusion—not as deep nor as sloped as it appears to be.

Both dances end the same way. Whether she's a cheap gangster's moll in garish green or a Grecian goddess in white, less obviously in a mobster's sway, Charisse is invariably lured back to reality by proffered baubles and menacingly tossed coins. But at the end of the crazy veil number, she's the one tossing the coins.

Wonderful.


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