Film Analysis Of Don Lockwood's'singin 'In The Rain'

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.

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.

At first glance, Singin’ in the Rain, directed by Gene Kelly and Stanley Donen (1952) and Sunset Boulevard, directed by Billy Wilder (1950) don’t have too much in common. One is a musical comedy about an actor’s transition from silent films to talkies and the other is a film noir drama about an unsuccessful screenwriter’s murder. But upon closer inspection, these movies are about a common problem: the struggles of the film industry when talking pictures took over.

The transition from the era of silent films to the sound era in the mid 1920s was a big transformation for the American film industry and mass entertainment in general. This phase initially brought about much excitement for movie goers who were thrilled with the expectation of hearing the voices of their favorite actors for the first time. However, such expectations were met with much disappointment when the highly fancied actors had voices that did not much the preconceptions of the fans. The technical difficulties and various issues that the American film industry faced during this transition are actually captured in the 1952 movie, “Singing in the Rain”. In part, the film is actually about movie making during the silent-to-sound era as its

A film genre is a motion picture category based on similarities in either the narrative elements or the emotional response to the film. While films have at least one major genre, there are a number of films that are considered crossbreeds or hybrids with three or four coinciding genre or sub-genre types that they can be identified with them and most can be filed into categories that are easily recognizable to audiences (Goodykoontz & Jacobs, 1998, p. 4.1). However, ever so seldom a film comes along that breaks free of its invisible bounds of genre and it leaves the audiences confused about the actual existence of genre. One such film is a film that most are familiar with Steven Spielberg’s classic Saving Private Ryan.

Jukebox musicals began in film and later shifted to theatre. They had begun to make theatre more popular with the public, which had begun to gravitate towards film and music. By combining the two, they gain some of the same as well as a whole new audience. I will discuss how this came to be by speaking of the shift that occurred.

The iconic work of Gene Kelly and Stanley Donen, the directors of Singin’ in the Rain, has lasted for over 60 years. Produced by Metro-Goldwyn-Mayer (MGM) and released in April of 1952, Singin’ in the Rain showcases the talents of Gene Kelly, Donald O’Connor, and Debbie Reynolds. This musical motion picture provides a comedic interpretation on the transition that occurred in the 1920s when motion pictures switched from silent films to talking motion pictures. The transition was hard for numerous actors and actresses in Hollywood, which can be seen throughout this motion picture. Not only is Singin’ in the Rain about the difficulties in transitions, but also the romance of the city of Hollywood and fame. This can be seen through how it relates to the Modernistic movement. Singin’ in the Rain captures the historical influences of the time through the technological advances, accelerated pace of life, and changes to the artistic values.

There are many classic films out there, though only a few help mold future films. Dictionary.com states “classic” means, “serving as a standard, model, or guide”. Singin’ in the Rain is a movie that is just that. A classic. It was filmed in 1952 by leading man himself Gene Kelly and Stanley Donen at MGM Studios. Singin’ in the Rain is a spoof film about the years when film companies and actors were making the transition from silent films to “talkies”. The dynamic acting ability of Gene Kelly and Debbie Reynolds with their great musical numbers and slapstick comedy has made Singin’ in the Rain a movie family’s have enjoyed for years.

Mo' Better Blues is a 1990 music drama film. Mo' Better Blues follows a jazz musician named Bleek Gilliam (Denzel Washington) who is obsessed with his art, but because he begins a path that separates him from the person closest to him. Another band member encountered a problem in another quintet named Shadow Henderson (Wesley Snipes), which led to everyone in the band. Their manager Giant (Spike Lee) is Bleek's best friend because he is a child, but as a manager, he is absolutely horrible, deep gambling debt. In addition, Blake (Bleek) balance the two women indigo (Joie Lee) between the love of life, another name is Clark (Cynda Williams) is a lady of the upcoming singer The His film has a strong message about causality, a bit about fate

The musical film has always held a special place for me. From my time as a drama student in high school, my eyes have been opened to the amazing world of the musical and especially the musical film. The musical film is a film genre in which the characters sing songs that are integrated into the overall story. Since musicals first began in theaters, musical films usually contain similar elements. These elements often simulate that there is a live audience watching. In a sense, the film viewers become the audience members, at a theater production, as the actor performs directly to them. Due to the popularity of musicals in the theater, the style was quickly brought over into film. In 1927, the musical film genre began

A musical film is a genre of movie where songs sung by characters are added into the storyline, occasionally complemented by choreography. The musical numbers in these films do not always develop the plot and characters, but they do give the films a more exciting quality. The primary difference between musical theatre and film musicals is the use of extravagant scenery that would be extraordinarily unreasonable for a stage performance. While making movies, the individuals involved have the luxury of being able to shoot multiple takes and have the time to move backgrounds around or change their entire location. Stage performances, on the other hand, must have scenery that can be easily and efficiently moved on and offstage when it is needed. In order to be able to thoroughly comprehend this relatively recent- in the grand scheme of things- form of entertainment, one should understand the history behind these musical films, be aware of some of the “big names” that are well-known, and recognize major titles that revolutionized musical film forever (Scaruffi, P., 2005).

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.

The importance of music in movies is highly regarded for manipulating the viewer’s emotions and helping them immerse into the story. Music is one of the prime elements in cinema. Without it a movie would feel dull and unexciting. There are three elements in a movie: one is acting, the second is picture, and the third one is music. It is a holy trinity; if incomplete, there would be a lack of sensation and excitement. Both acting and picture can stand independently from one another, but music is the one that makes the movie memorable.

The introduction of sound films in the late 1920’s was a divisive issue among those involved and interested in the emerging motion picture industry. Even though it wasn’t the sudden breakthrough it is often perceived to be, the addition of sound and voice to mainstream cinema revolutionized movie making and led to conflicting viewpoints as to whether or not this innovation was a positive progression for film as an art and as an industry.

The release of Gordon Hollingshead and Alan Crosland’s The Jazz Singer in 1927 marked the new age of synchronised sound in cinema. The feature film was a huge success at the box office and it ushered in the era David Bordwell describes as ‘Classical Hollywood Cinema’; Bordwell and two other film theorists (Janet Staiger and Kristin Thompson) conducted a formalist analysis of 100 randomly selected Hollywood films from the years 1917 to 1960 in order to fully define this movement. Their results yielded that most Hollywood made films during that era were centred on, or followed, specific blueprints that formed the finished product. Through this analysis of Hollywood films the theorists were able to establish stylised conventions and modes of