'Movie Review: Singin’ in the Rain\r'

'Movies such as w group Aum, Moulin Rouge, and Singin’ in the rainwaterfall argon part of a excite genre that places emphasis on music, dance, and song.  This genre is cognise as the melodious.  The power of the songs in Musicals explains why umteen heap who suck up non seen the word picture be still familiar with its title song â€Å"Singin’ in the rain down.”  Aside from the memorable scores and lyrics, Musicals showcase the telling and dancing skills of their stars.  The scathing and commercial success or failure of a Musical hinges not still on the storyline, as is the case with conveys of other genres, scarce the talents of the actors who bring the movie’s songs and dances to life.\r\nSingin’ in the fall contains a bout of elements that make it stand start from other Ameri apprise Musicals such as Chicago and Moulin Rouge.  The atmosphere of Singin’ in the rainwater is light and bright which is accom plished by the character’s brilliantly colored clothing and the inclusion of relatively few night word-paintings.  This is not the case in any Chicago or Moulin Rouge, both of which have darker elements within them.  Beca utilize the theme of Singin’ in the rain down is more sportive than the serious theme depicted in Chicago, in that location is a greater degree of entertainment in Singin’ in the Rain.  This movie was designed to be viewed by an hearing seeking pure entertainmentâ€an audience that need only sit back, relax, and enjoy the occupy from beginning to end.\r\nMany modern musical productions are far more costly than was Singin’ in the Rain; however, even with the discrepancy in production costs, several(prenominal) clever and memorable musical numbers from Singin’ in the Rain remain popular today.\r\nBecause scripting and storyline are superseded in Musicals by choreography and score, the scenes approximately often sentences remembered in a Musical are particular(prenominal) numbers contained within the film.  One of my favorites from Singin’ in the Rain is Cosmo Brown’s (Donald O’Connor) work of â€Å" come across ‘em laugh.”  The song’s lyrics and the number itself give personal manner that Cosmo is Don Lockwood’s (Gene Kelly) sidekick.  It’s clear that Cosmo’s job is to keep Lockwood laughing and to prevent him from interrelate over anything bad.\r\nCosmo’s enthusiastic accomplishment in this number is easily the most comedic of the film.  Singin’ in the Rain is filled with mise-en-scènes, and Cosmo’s â€Å"Make ‘em Laugh” number uses mise-en-scène to its fullest.  Every bit of setting, including the shore and the people in this number are use by Cosmo as show instruments.\r\nGiven the movie’s title, it isn’t surprising that the most noteworthy number is Gene Kelly’s (as Don Lockwood) performance of the song â€Å"Singin’ in the Rain.”  Narrative Convention dictates that rain signify sorrow or l integrityliness more as tense music in a horror movie signifies danger; however, the gloom one might expect to infiltrate Kelly’s performance simply does not do so.  Instead, this beautifully choreographed athletic dance and song number stands as Lockwood’s proclamation that he has succeeded in his career and in his heart.  Each step Gene Kelly performs is deliberate†to each one movement designed to thrill the audience the way Kelly’s Lockwood is himself thrilled by his fantastic fortune.\r\nThe use of mise-en-scène in the number â€Å"Singin’ in the Rain” does not detract from Kelly’s performance: it augments it.  His wearying a felt hat allows his facial features to be seen without the rain’s moisture obscuring his emotions.  The umbrella he carries adds a gentleman-like quality to his movements.  The street on which he dances remains basically deserted and is perfectly illume by the well-placed snug lights.  Personally, I think it is the most enjoyable rainy scene I have ever viewed in a movie.\r\nMy only critical comments are centered on a pct of the film’s latter half during which time Lockwood, Cosmo, and R. F. Simpson (Millard Mitchell) are planning to make the musical film Dancing Cavalier.  This is followed by the surreal performance â€Å"Broadway cable” which I imbed unnecessary.  The woman in this scene seemed to have come from nowhere, did not have a cl early defined relationship with Lockwood or Kathy Selden (Debbie Reynolds), save the odd emotion that was present in the number might be representative of American ideals.\r\nSingin’ in the Rain falls within the expected boundaries of the Musical.  The completion is predictable (but not unsatisfyingly so) and relativel y little tension exists: the lovers meet serendipitously, and there is really no scourge to their relationship.\r\nSingin’ in the Rain is from the 1950’s, and because of this, some younger people might not find the movie’s content satisfying; however, anyone, regardless of age, who can appreciate the outstanding singing and dancing performances of the movie’s characters will come away from the film satisfied.  In addition, part of this film’s content reveals the early development of movies from the silent era forward, and much of this is not only interesting but humorous as well.\r\nI admit to having been initially skeptical closely enjoying this movie due to its age, but I found myself entertained throughout the entire film, and honestly, I can say that Singin’ in the Rain is the best Musical I have ever seen.\r\nReference\r\nFreed, A.  (Producer), & Donen, S. & Kelly G. (Directors).  (1952).  Singin’ in the r ain.  [Motion picture].  United States: Metro-Goldwyn-Mayer.\r\n \r\n'