An Analysis Of Singin In The Rain

From the opening moments of the film, Singin’ in the Rain, the viewer is aware that what is said by a character is not always what is so. As they are being interviewed, Cosmo Brown (Donald O’Connor) and Don Lockwood (Gene Kelly) invent fanciful growing-up stories of privilege and pedigree while we are given glimpses of their actual youth - scenes of poor vaudevillian children who were not at all the pedigreed actors of the conservatory they professed. This theme of deception or scandal is made apparent many times during the film. Lina Lamont (Jean Hagen), who is certainly visually stunning, is soon to be put out to Hollywood pasture for her bruising vocals and nasally timbre. The studio recruits honey-voiced Kathy Selden (Debbie Reynolds) to dub over Lina’s nasal affect. And while modest Kathy Selden dreams of cascading down the halls of acting Parnassus, she is a chorus girl who jumps out of party cakes. There is this hiding-behind-a-persona all the characters of Singin’ in the Rain really have perfected. Don Lockwood is unable to utter his developing feelings for Kathy unless he can

In the essay, “All Over But the Shoutin’,” Rick Bragg, the author, depicts the painful strain inflicted upon family’s relationship caused by the reckless action of a father to forgo the future of his wife and kids in pursuit of his own selfish ambitions. The author’s use of rhetorical moves such as tone, stance, and imagery effectively portrayed to his audience that, regardless of how debauch a deed may be, there is always room in one’s heart for forgiveness—you just have to be receptive to its backlash.

The film, Singing In The Rain, directed by Stanely Donen and Gene Kelly, uses many themes, camera angles, and overall simple techniques to engage its audience within the movie and yet still manage to symbolize plentiful acts. The movie mainly focuses on the new era of ‘talking pictures’ and how it affected Cosmo’s career and film, The Dueling Cavalier. Within the many scenes, I chose to focus upon the famous, “ Good Morning,” scene/melody.

Singin’ in the Rain is a comedy musical which was released on 11 April 1952 in the United States. The story is about a nostalgic look at Hollywood in the 1920s.It showed a big star’s life. This film also talks about Hollywood’s star system. Hollywood’s Star system is the promotion and marketing of movie stars in Hollywood which started in the 1910s.The pros and cons of Hollywood’s star system which were depicted in Singin’ in the Rain will be discussed.

The iconic number “Singin’ in the Rain”, introduces the scene with Don (Gene Kelly) giving Kathy a good night kiss, and then begins to sing about his joy of being in love. Which is why the song is carefree and has an upbeat sound, showcasing the songs vibrant and happy mood. The song is in a 4/4 time signature.The tempo of the song is moderato and allegro. The dynamics in this song first starts out quite soft and then it gradually gets louder and stays at that level. It eventually gets louder, mainly the instruments, at sudden points and goes back to a quieter sound. The dynamics goes through many changes from loud then soft then it ends on a soft point. Since the song is sung only by Don (Gene Kelly), the pitch of the song is at the alto.

The first song that I chose was Baptizing Down By The Creek. When I first listened to it, it just reminded me about the country music that we hear nowadays. They are so similar in the melody, and to me, it was not like the original gospel songs. Because first, it has a background music, which is played by guitar, usually the gospel music is a capella. Also, the mood of the song is not anger or sad, but more likely to be peaceful and satisfied. The second song that I chose was My Souls Been Anchored In the Lord. Unlike most of the other recordings, this specific recording is leading by the female singers, and the male singers seem like the accompanying. Also, they use a lot of call-and-response techniques in this song as well. The female singers mostly are the calling part, and the male singers are the responding part. This song brings me a strong feeling of faith and belief. Personally, I think there are lots of differences between these two specific songs. The first one has a melody that we can follow to sing; however, the second does not. The second one is sung in a capella, and obviously it is a polyrhythm song. The female and male vocals sing in different rhythms and

Singin’ in the Rain shows how Don Lockwood, played by Gene Kelly, was able to transition from silent films to talking motion pictures while his costar, Lina Lamont, played by Jean Hagen, had some difficulties. Lina and Don were an on-screen romantic couple but in reality, Don despised her. When their production studio decided to change one of their motion pictures from a silent film to a talking motion picture, Lina’s accented voice caused some problems. The studio hired a diction and voice coach for Lina; however it did not help. Then Kathy

Singin’ in the Rain Genre Analysis Singin’ in the Rain (1952) is an American musical directed by Stanley Donen and Gene Kelly, who also stars as a lead in the film, alongside Donald O’Connor and Debbie Reynolds. Singin’ in the Rain is about a film studio converting from silent films to films with sound and its effects on the actors. Singin’ in the rain could be considered a hybrid film, due to its combination of the comedy, romance, and musical genres. Singin’ in the Rain plays on certain tropes to assure itself as a musical, mainly that of vibrant musical number with many actors on the screen at once singing and performing a choreographed dance multiple times in the film. Like in other musicals, the musical numbers happen spontaneously

This melodious song was originally sung by Judy Garland as Dorothy in The Wizard of Oz but in 1993 Israel Kamakawiwo’ole remade the song to the melody of Over the Rainbow and What a Wonderful World. Kamakawiwo’ole’s voice coupled with new lyrics create a masterpiece of a song. Listening to the lyrics makes me believe that everything will turn out ok, and dreams will come true. In “Somewhere Over the Rainbow,” Kamakawiwo’ole wants the listener to know that better times are coming, you might just have to look over the rainbow to find them.

Whiskey Lullaby is a song sung by Brad Paisley (ft. Alison Krauss) which narrates the story of a soldier coming back from war to find his wife in bed with another man. After this, the man drinks away his life trying to escape the pain until he commits suicide. Then the song continues to talk about how the woman follows down the same path after hearing about his death. In the end of the song they both get buried next to each other which symbolizes how they are finally together. The audience for this country song is those who have served or who have had family members serve. The unexpectedness of how life will figure itself out when the soldiers return. Also, how hard it is for families when their loved ones are out fighting, and they are

Not all films which adhere to the classical Hollywood paradigm eschew issues. The film Singin’ in the Rain follows Don Lockwood, a popular silent film actor, as he attempts to maintain his star status during the advent of “talkies”. Lockwood’s journey manifests fame’s capricious temperament, the studio’s commercial interest, and the influence of outside variables on a film. Singin’ in the Rain uses Lockwood’s struggle with celebrity to expose the importance of public image and self esteem.

Singing in the Rain and A Clockwork Orange are both Classical Hollywood films. However, singing in the Rain closely follows what classical Hollywood film is supposed to be and A Clockwork Orange definitely tests the idea. Classical Hollywood Cinema is a type of traditional studio based style of making films in both the sound and silent periods. The directors of these types of films want you to simply watch and not worry about why the characters are doing what they’re doing. They want you to enjoy what you’re watching. They are also filmed with a sort of structure in the beginning the characters are all introduced to the viewers. There are then complications or conflict added to the plot. Then the resolution occurs where the conflict of the film has a confrontation and the protagonist ways his or her options. Finally, all major conflicts and issues in the film are resolved and generally the protagonist lives happily ever after. While the protagonists live happily ever after the antagonists of the films are punished from their actions throughout the film.

The "movie within a movie" plot of Singin in the Rain allows the movie to get away with separate full-scale production numbers as well as in scene numbers. Although the latter is supposed to be spontaneous, all the musical numbers incorporate the typical Hollywood musical ploys. As Feuer points out in "The History of the Hollywood Musical: Innovation as Conservation", "Singin in the Rain demystifies silent movies, serious theater and early talkies while glorifying musical comedy." The characters perform perfected choreography while accompanied by either an orchestra full of strings for the romantic sequences or playful horns for the comedic sequences. The "Broadway Melody" number in particular seems to exhibit numerous musical clichés both in film and theater. There is a large flashy set, hundreds of dancers, and various musical genres presented. First, the music is high paced and hectic during the urban part of the scene as Don walks through the city. Second a jazz rhythm is played during the beginning of the bar scene. During the later part of the bar scene, Don engages in a sexual dance with an exotic looking woman dressed in green. The music transitions to a slinky and sensual melody with trumpets and soft drums. As with many other movies such as The Three Caballeros, the exotic

The downpour recounts an idiosyncratic phenomenon from his childhood that lingered a cherished occurrence on the writer’s mind; watching as the rain drenched earth and everything on it, then becoming shadowed by the vehement thunder to follow, impacted the writer tremendously as the result/damage of the aforementioned coerced an aesthetic appreciation towards this phenomenon. This heavy downpour embarked the unforgettable memories of playing outside in the heavy rain as he reminisced on the vast imagery of nature’s elements along with the striking sounds that followed. In this extract, the writer’s application of stylistic devices and emotive languages such as: his amplification of “The Downpour” in his description, energizing personifications,

Morning Song, by Sylvia Plath, was written in February 1961, the same month she suffered a miscarriage.