| Metro-Goldwyn-Mayer (MGM) | Release Date: April 11, 1952 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
17
Mixed:
0
Negative:
0
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Critic Reviews
Watching Singin' in the Rain is an exuberant, magical experience – a journey deep into the heart of feel-good territory. Sitting through the film's 102 minutes is like ingesting a mood-altering drug. It's the perfect antidote to the blues and the blahs, and a way to bolster, enhance, and extend a natural high.
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Many things reinforce the enduring greatness of Singin’ in the Rain, but its most charming element is the filmmakers’ love for and dedication to the basic tenants of cinema as pure enchantment, and an open indulgence of all the bells and whistles that have been allowed it to grow into something bigger and (arguably) better over the decades.
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Singin’ in the Rain might have been the last musical of the ’50s to convey irrepressible optimism through what Alan Greenspan would call “irrational exuberance.” But what exuberance! Look at it and try to think of a contemporary picture that has half as much vivacity, fun, joy. When your movie-loving grandpa says, “They don’t make ’em like they used to,” he is surely thinkin’ of Singin’ in the Rain.
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Escapism raised to the level of art, Singin' In The Rain inventively satirizes the illusions of the filmmaking process while celebrating their life-affirming joy. Half parody, half homage, the movie became the apex of the splashy MGM musical, while showcasing the collaborative possibilities of the studio system.
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Very likely the greatest musical MGM or anyone else ever produced, SINGIN' IN THE RAIN has everything--great songs, great dances, a wonderful, nostalgic story, and a dependable cast, although we're beginning to find Kelly and O'Connor a trifle overanimated in scenes they needn't be (butthen whenever we see the talented yet obsequious Mr. Kelly play modest, we get a strange olfactory sensation--that of ham baking)
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One of the shining glories of the American musical, this 1952 feature was fabricated (by screenwriters Betty Comden and Adolph Green) around a collection of old songs written by producer Arthur Freed and brought to bright, brash, and exuberant life by directors Stanley Donen and Gene Kelly. The setting is Hollywood's troubled transition to sound, and there is just enough self-reflexive content (on the eternal battle between illusion and reality in the movies) to structure the film's superb selection of numbers.
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With so many films dedicated to the agonies of filmmaking, Singin’ overflows with the pleasure of movie creation, stitching together references to Hollywood history with more alacrity than Tarantino. One of the highpoints of hoofin’ history but, more importantly, an unadulterated joy.
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This exuberant satire of Hollywood in the late 20s, at the time of the transition from silents to talkies, is probably the most enjoyable of all American movie musicals.
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