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As The Stars Turn (Part Two of Two)

© Emily Woodward

Singin' In The Rain was Gene Kelly's next film after An American In Paris. Given the acclaim that picture received -- culminating in six Academy Awards -- it would seem that Kelly's star had reached its pinnacle when Singin' began production. What, then, would have made more sense than a follow-up vehicle to capitalize on his established talents? Singin' In The Rain is arguably that, by virtue of the way it subscribes to vaudeville tradition. Kelly undertakes a striking "star turn" in the "Gotta Dance!" sequence. Presented as a film, or rather as an idea for a film within a film, the sequence is a radical departure from the main story-line. This is evident in the absence of characters -- Cosmo, Kathy, Lena, R.F., Zelda -- who are integral to the plot. Even the character of Don Lockwood is not really present. Rather, he is submerged in a role which corresponds to Gene Kelly's star persona - the All-American, acrobatic dancer. The yellow pin-striped suit, rakish hat, and glasses he sports at the beginning of the sequence denote small-town American wholesomeness and unsophistication. These qualities are enhanced in contrast with his urban surroundings.

It has been established that Kelly's star persona has come to the big city in order to prove himself as a dancer. This is the motivation for his acrobatic promenading in front of prospective agents. Kelly's talents as a dancer are further exploited when he is accompanied by Cyd Charisse. Because the latter is a more accomplished dancer than Debbie Reynolds, the level of the dancing in this sequence is far more difficult than when Kelly and Reynolds are teamed. In this way, Kelly's "star turn" is made more impressive by the departure from the plot centering on the Lockwood-Selden romance.

Donald O'Connor, as Lockwood's sidekick Cosmo Brown, executes a variety of lesser star turns. However, it is not his star that is being exalted. Rather, O'Connor assumes the persona of Al Jolson. The latter is the star of the first talking picture, The Jazz Singer, frequently mentioned in Singin' In The Rain. O'Connor emulates Jolson in a variety of ways. Early in the film, he protests to Lockwood, "Look at me. I got no glory. I got no fame. I got no money..." In the course of this soliloquy, O'Connor slips out of character as Cosmo. His voice becomes plaintive and trembling, like that of Jolson. Moreover, in getting down on one knee, O'Connor assumes the stance of the "Mammy" singers, of which Jolson was arguably the most renowned. O'Connor later performs a more overt impression of Jolson. To Lockwood and R.F., he sings, "O, my little mammy/Down in Alabamy," just as Jolson sang it at the conclusion of The Jazz Singer. However, his most impressive star turn as Jolson is probably the "Make 'Em Laugh" number. Here, O'Connor emulates Jolson's trademark facial expressions; he rolls his eyes and mugs incessantly. O'Connor's association with Jolson is further evident in the use of a graphic match connecting this scene to one in The Jazz Singer. The camera frames O'Connor in a level medium shot, in which he appears seated at an upright piano. The piano is positioned at the far right of the shot. In The Jazz Singer, Jolson is framed in precisely the same way. This is the case in the scene in which he sings "Blue Skies" to his own piano accompaniment in his mother's apartment on the Lower East Side.

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