Singin' in the Rain (1952)

 Gene Kelly & Stanley Donen's "Singin' in the Rain"

The first time I ever saw Gene Kelly and Stanley Donen's 1952 iconic musical "Singin' in the Rain," I was completely blown away. The second time I watched it was nothing different. In fact, the film only blew me away even more. "Singin' in the Rain" revels in its own lightheartedness. It dances effortlessly through the halls of history with a smile on its face. I love this film. It is perhaps one of the most iconic films ever made. And I will go on record saying it is the greatest musical ever put to screen.

The film centers on the transitional period in Hollywood when the industry shifted from silent films to 'talkies.' A group of actors, centering on Gene Kelly's Don Lockwood, all attempt to make a 'talkie' and decide the their leading lady's voice does not suit the new medium, instead opting to make a musical and have Debbie Reynold's Kathy Sheldon do all the voiceover work. 

If you look at the plot of the film, it's clear that one can surmise the main thematic point the film is making. Its central focus in on a changing landscape. The characters are well into their professions and have established themselves as major figures of their craft. However, the entire landscape itself changes. It always changes. Now suddenly, you are no longer valuable and useful to your profession, as the things you are great at now are old hat. You must adapt or die on the vine. If you apply this notion to the landscape found in 1952, you could see how applicable this was to a changing Hollywood landscape. First and foremost, technicolor films had now become the mainstream. Technicolor was introduced decades prior, but the industrial cranking-out of these colorful spectacles was reaching its zenith in the 1950s. 

"Singin' in the Rain" addresses the constantly changing landscape of the film industry and thereby, life in general. However, the film demonstrates the need to adapt to the changing times, as being stuck in your old ways will only mean you get left behind. The tone presented in the film does not encourage any begrudging to this notion. On the contrary, the pure joy and celebration of film and of life points to a greater acceptance of the changing time and of things beyond your control. As I said previously, the film revels in its own lightheartedness. It embraces those changes. When life seems grey and the rain won't stop pouring, you must sing in the rain. You must see the beauty and the bright side of life, despite the hardships and the new environments you face. 

Coming out of the war, this message was all too important. The new landscape of the Hollywood technicolor system was in the forefront of this thematic point. But, the changing landscape of America and even the globe at the time was palpable. "Singin' in the Rain" posits that one can fully embrace these difficult changes and the ever-changing landscape of reality that will forever continue. 

"Singing' in the Rain" not only posits that one should embrace the changing nature of the world, and of film, but it demonstrates its mastery in doing so. The full embrace of technicolor and all the remarkable visual beauty the film has to offer demonstrates the notion that there is nothing to hide from this new behemoth. It's visuals, it's spectacle, and its complete mastery of song and dance is so gleefully celebratory in its own prowess to adapt to the changing nature of film that the film itself acts as an antidote to any hesitation on that front. 

In fact, its own joyous revelry in the creation of spectacle and visual art completely eliminates the fabric of the narrative by the film's end. The film slowly morphs into a metatextual framework operating as a beacon to its own lofty message. When the Don Lockwood character starts musing on the things he could create with his film, the film itself (our "Singin' in the Rain) actually gets to bring his idealized vision of film to life through its impressive climactic sequence that completely knocks you out of your seat. The producer's remarks, "I can't visualize it, I'll have to see it on film" laughably and metatexually notions that what the film has just accomplished far exceeds the expectations of a purely abstract concepts. Film has brought to life something that cannot be topped in the realms of reality itself. 

Because of these notions, "Singin' in the Rain" is a celebration of film and the various and wonderful directions it could possibly go. It's a film that recognizes the frustrations that comes with new and changing landscapes, but ushers us forward with its skilled hands and demonstrates to us the capacity to embrace the new landscapes that terrify us so. It's a film that celebrates beauty and art. It's a film that makes you believe in the magic of cinema and more importantly, in your own ability to create something beautiful, especially in the face of insurmountable odds. Even when it's raining, say good morning and just start singin'.