Singin’ in the Rain (1952) is one of my mom’s favorite movies, but the last time I had seen it was probably when I was five or younger. (The only two things I had retained from that age was the last scene and the “Moses Supposes” number). As such, I was pretty excited to see what I would think of it now, and even though I expected to like it, I was pleasantly surprised. It’s a great film, with one big exception I get to later.
I think the biggest reason I loved it was how natural the humor was, especially the back and forth between Don and Cosmo. (My favorite two lines include “Okay, you’re a cab” and “Hey, Joe! Get me a tarantula!”) There’s simply a chemistry there that is scarcely achieved in cinema.
Singin’ in the Rain does a lot of things simultaneously, and it uses sound to employ lots of them. One moment is the film’s asynchronous sound during the first premiere of Don’s talkie. The repetition of “no, no, no” and “yes, yes, yes” being voiced by the wrong actor is very comical for the audience (both in the film and the real life viewers. But it also sparks Cosmo’s idea to have Kathy lip sync for Lina’s role. It’s this duality of many scenes that truly make the movie shine.
What’s more, the title song “Singin’ in the Rain” expertly employs a great deal of action accompanying Don’s emotion. In this scene, both internal diegetic sound and external diegetic sound play key parts. This song is an entire musical number of one person, but in the reality of the movie, Don is singing alone in the pouring rain. None of the passersby can hear the music that is clearly in his head (as proven by the loud timpani synchronizing with Don’s stomping in the puddles). In this circumstance, the full orchestra actually is diegetic, it’s simply in Don’s head. Without the music, people might think he’s crazy, which is exactly what happens when the police officer approaches him with disapproval.
Lastly, one major part in many of the numbers, (especially the ones with Cosmo), is mixing. A lot of the energy put into these songs is placed in the very physical choreography, as shown by “Make them Laugh” and “Moses Supposes”. Without mixing the physical sound effects with the words being sung, these numbers would feel far less dynamic.
So what didn’t I like about the movie? Well, the entire ten-ish minute sequence of the proposed musical finish in The Dancing Cavalier. It has no context, little to no dialogue, three separate songs and three separate plot threads that don’t mean anything to the main directive of the film. I was honestly exhausted when I watched this movie, and had I known it was practically meaningless, I would have taken the chance to shut my eyes until it was over. There probably is a good reason for that sequence to be in the film, but it never would have made it through if I had produced it.
Overall, it’s a great movie. Rarely do I enjoy anything with important romantic plot narratives, but this one worked for me because it was neither overdramatic nor unrelatable. It depicted a very plausible relationship between two people, which was nice.