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Is this the greatest musical ever made? I think so. The Technicolor "how to" film, in my opinion. Like a living cartoon. I love this film and it's a great DVD. I especially enjoy the segments of older films that contain the original songs (the Singing in the Rain bit is *ridiculous*). The only part I could do without is "Make'em Laugh", except of course when O'Connor is running in a circle on the ground...

Does anyone else find Don's "history" (vaudeville to movie stardom) similar to Cary Grant's? I suppose it's probably similar to many early film stars, but it dawned on me last night that is might smell distinctly of Archibald Leach.

Also, the (as they describe it in the documentary) "Dali" inspired bit from the Broadway Melody/Rhythm section reminds me a lot of The Red Shoes (that whole segment does, visually and in it's timing). It's not often that a Hollywood film derails and goes into a ten to twenty minute fantasy dance sequence (Bollywood however, seems to thrive on this). But, there are still so many musicals from that era and before that I haven't seen, I bet this is more common than I assume.

That Red Shoes part wouldn't surprise me. Gene Kelly sold "An American in Paris", the film that he and Vincente Minnelli did a year previous by showing "The Red Shoes" to the MGM executives.

Definitely a great 2-disc DVD set that I proudly own. MGM has always made bare bones DVDs but they did good in also releasing this nice 2-disc edition.

I certainly count myself among those who appreciate the grand legacy of the Freed Unit---I just picked up Easter Parade today---but I have to say that I enjoy Flixy's posts on the subject nearly as much as the films, themselves.

I hope you're teaching a course somewhere, because your enthusiasm is infectious.

Discussion on Funny Face should probably be started in a new thread (in my top 3 musicals; and while I've only visited Paris once, I too could not help but break into the 'Stricly Tourist' number, umbrella and raincoat to boot!)), but I do agree - I'm continually astonished by the artisitic and technical brilliance of all those involved in the genre during this time.

I've tried not to read too much into the Donen/Kelly relationship over the years, but find your thoughts interesting flixy. Donen was obviously in awe of Kelly as a dancer and choreographer and both shared a deeply passionate artistic belief in their work. For Donen, Kelly was probably the ultimate male that he himself would have wanted to be (both were dancers on Broadway at a very young age, yet it was Kelly who was tapped with genius in the field). In Hollywood they direct three genre-defining films that at the time were seen as Kelly's creations, which obviously brought tension between the two. Donen then finds out soon enough that love in not better than ever (!), as he loses his wife to (his own secret love?) Kelly. Freud would have had a field day.

Yet it is Donen, by way of lessons learnt from Freed (surrounding oneself with talent greater than yours) and a more generous spirit and ego, who shines as a director for the next 25 years - Seven Brides, Funny Face, The Pajama Game, Charade, Bedazzled, Two for the Road (his masterpiece), Damn Yankees, The Little Prince. (Again, discussion on Donen's films and recurring themes is probably for another thread).

Kelly, by comparison, went on his wayward way after the break-up, with little to show other than mild curios (Les Girls has its moments, but I've little time for his serious 'acting' roles). Ultimately, it was Kelly who needed Donen (and Minnelli, but that's another story, or is it?)

But with On the Town, Singin' in the Rain and It's Always Fair Weather, it's impossible to quibble about what may have been if circumstances between the two would have been slightly different.

Thanks all. I've learned much. I don't see why this wouldn't be the place to discuss Donen and Kelly's relationship (and other films together or that would relate), it would directly expand one's appreciation of Singin in the Rain, wouldn't it?

Kelly was perfect for Garland, (as was Rita for Fred at the time), bringing out an earthy sexuality missing from her earlier work (the corset scene in Meet Me in St. Louis an early glimpse). I found it noteworthy to hear on the Easter Parade DVD that Garland and Astaire had never met before the shooting of their first scene together, and boy does it show. I always felt Kelly broke his ankle on purpose, just to avoid the production and Chuck Walters.

Interestingly, Kelly is not partnered the same way in the Donen films as in other musicals. Like Fred he shared the ability to dance and act in the frame alone, and is perhaps one reason their personas continue to resonate- in my minds eye anyway. (If only Hugh Jackman would get off his foxtel ass and start to work seriously in film and develop the same character, or am I dreaming?)

But to Steven's original question - is Singin' in the Rain the greatest musical? Impossible to say. Close to the finest script, as it captures the magic-time of silents into sound with the right balance of slapstick, humour and love. But as monumental as the Broadway Melody number is (with Cyd's legs probably pushing me off the fence at an early age), the film actually doesn't need it. The film also lacks the emotional punch of The Band Wagon and Meet Me in St. Louis (not that it strives to anyway). Personally, I've always had a very soft spot for the early films of Chevalier and MacDonald, with The Merry Widow close to the most perfect film musical I've seen. Love Me Tonight also shines with the interplay between character and song sublime. But ofcourse, these films lack dance, dance, dance. Over at RKO, Fred and Ginger were leading the way incorporating character development through movement, bewitching the audience to impossible hights.

(It must be said there are many people who believe Fox made the finest musicals, but really, unless you are on your third bottle of red, I wouldn't bother entertaining their fancies. Great use of colour tho.)

Sadly, it's been many years since I've seen the von Sternberg films, and continue to pray each day Universal get a move on with the DVDs. Mention of Mamoulian also brings thoughts to the flawed, slightly too long, yet oddly compelling Silk Stockings. I'm aware Fred in in the flic, but I'd say it's Cyd's finest solo work (ok, along with The Girl with the Yaller Shoes number from Meet Me in Las Vegas). Mamoulian throws in a nod or two to MacDonald during the lingere clad 'Without Love' number and Cyd's communist wardrobe is heaven to many a Melbourne girl in winter. Speaking of Cyd, we really need Nick Ray's Party Girl on DVD, maybe as part of a musical-noir boxset (ok, now I'm really dreaming.)

Yes, that's a fucking umbrella

When does that come out?

The umbrella isn't even red, how do you screw that up?

If that picture is even roughly to scale, that's a pretty tiny umbrella.

In related news, there's not a single Warner blu from the past 6 months (including preorders) that I've bought or plan to buy.

Gregory wrote:In related news, there's not a single Warner blu from the past 6 months (including preorders) that I've bought or plan to buy.

Not even The Butterfly Effect 2?

I think the last Warner Blu I bought was Meet Me in St. Louis back in December. Once they announce a version of Singin' in the Rain without all that ridiculous shit in the box, I'll certainly be picking it up too. But yeah, probably nothing else in between.

Gregory wrote:If that picture is even roughly to scale, that's a pretty tiny umbrella.

Guess I'll just have to start drinking enormous motherfucking cocktails.

zedz wrote:

Gregory wrote:If that picture is even roughly to scale, that's a pretty tiny umbrella.

Guess I'll just have to start drinking enormous motherfucking cocktails.

Thanks for the laffs!

I already have a number of umbrellas, don't want to disrupt the receding perspective sight-lines of my uniform Blu-ray collection with any bulky packaging, can do without a glossy souvenir "book", already have a library size backlog of main feature supplements I never get to, and don't want to pay close to $ 50 (discounted, no less!) for any of the foregoing. I would assume the Blu-ray disc to be released in the UK will be the same transfer as found in the overburdened USA release, right?

isakborg wrote:I already have a number of umbrellas, don't want to disrupt the receding perspective sight-lines of my uniform Blu-ray collection with any bulky packaging, can do without a glossy souvenir "book", already have a library size backlog of main feature supplements I never get to, and don't want to pay close to $ 50 (discounted, no less!) for any of the foregoing. I would assume the Blu-ray disc to be released in the UK will be the same transfer as found in the overburdened USA release, right?

It'll be the same transfer. There will be a standalone movie version of the Blu-ray in the U.S. shortly after this monstrosity is released but the U.K. disc will probably still be cheaper.

n/a

jonah.77 wrote:

If that picture is even roughly to scale, that's a pretty tiny umbrella.

That is because the umbrella is intended to shield your DELUXE EDITION SINGIN' IN THE RAIN GIFT SET WITH BONUS BOOK, UMBRELLA, AND VIAL OF RAINWATER FROM THE M-G-M STUDIO LOT, rather than your person, from the elements.

Could be useful to a friend of mine who has a cat that pees on his boxed sets. He just needs about 500 umbrellas.

DVDBeaver on the Blu-ray, so it looks like the Blu-ray contains the commentary, the new documentary, a jukebox, and trailer. Looks like if you want to get the extras that were on disc 2 of the DVD set, you need to either buy the umbrella box, or find an old DVD copy.

Looks like another case of them posting blurred screen captures. What's on the disc will likely be quite a bit nicer.

There's no way the subtitle overlay would be that soft.

That blows. They at least should've included the deleted scene.

From the comments: "...studio executives thought the running time of the film was going to be too long if this had stayed in."

It's great that it at least still exists, though ^.