Singin In The Rain Quiz

Respond to these rapid questions in our Singin In The Rain quiz and we will tell you which Singin In The Rain character you are. Play it now.

Few film musicals are as entertaining as “Singin’ in the Rain,” and even fewer hold up as well over time. Its originality is all the more astounding when you consider that only one of its songs was specifically written for the movie, that the producers stole sets and props from MGM’s storage vaults, and that the film was initially rated below “An American in Paris,” which earned an Oscar for best picture. Nobody who enjoys movies can afford to miss “Singin’ in the Rain,” according to the verdict of the years, which understands better than Oscar. Above all, the movie has a cheerful, lighthearted vibe. The three actors—Gene Kelly, Donald O’Connor, and 19-year-old Debbie Reynolds—must have spent countless hours practicing their dance routines, which call for frightening gymnastics, but when they perform, they beam with delight. “The single most memorable dance number on film,” according to Peter Wollen in a British Film Institute monograph, is Kelly’s drenched “Singin’ in the Rain” dance number. Donald O’Connor’s breathtaking “Make ’em Laugh” performance, in which he manhandles himself like a cartoon character, and my choice would be tied. When the movie was produced in 1952, Kelly and O’Connor were well-known actors. This was Debbie Reynolds’ big break; she had only had five smaller parts before. She has to keep up with two seasoned hoofers, and she succeeds in doing so; observe the resolve on her pert little visage as she marches forward in great strides in the “Good Morning” number.

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In a movie about creating movies, “Singin’ in the Rain” pulses with life; you can tell how much fun the creators had making it. Stanley Donen, who was only 28 at the time, and Kelly, who oversaw the routines, co-directed it. In 1998, Donen received a special Oscar and commanded attention by dancing and singing “Cheek to Cheek” throughout the performance. He began working in the film industry at the age of 17 in 1941 as Kelly’s helper, and at the age of just 25 they co-wrote “On the Town” (1949). “Funny Face” and “Seven Brides for Seven Brothers” are among his other filmography accomplishments. But you shouldn’t waste any more time and start this Singin In The Rain quiz. The fact that this movie is actually about something is one of its joys. It is obviously about romance, as are most musicals, but it is also about the film industry as it undergoes a perilous time of change. The transition from silent to talkies is clarified in the film, but it is not misrepresented. Yes, microphones were practically concealed in clear sight and cameras were housed in soundproof booths. The ads for Garbo Talks! promised that audiences would laugh when they heard the voices of some renowned stars, but John Gilbert, who played her co-star, would have been better off keeping his lips shut. The film opens and ends at sneak previews, features scenes on sound stages and in dubbing studios, and features children in the same way that studios fabricated star-star romances. The project at MGM was given to producer Arthur Freed, writers Betty Comdon and Adolph Green, and lyricist Nacio Herb Brown with the instructions to reuse a group of songs the company already possessed, the majority of which were written by Freed himself. Comdon and Green chose to create a musical about the advent of talkies after observing that the songs were from the time when silent films were giving way to sound. As a result, Jean Hagen’s character Lina Lamont (the blond bombshell with the voice like fingernails on a chalkboard) was created.

Singin In The Rain Quiz

Everyone in Hollywood was aware of Hagen’s excellent singing, which may have contributed to her receiving a nomination for best supporting actress at the Oscars. A slow start for a movie that ranked 10th on the American Film Institute’s list of 100 best movies and was selected as the fourth greatest movie of all time in the Sight & Sound poll. (“Singin’ ” was also nominated for its score, but won neither Oscar. She portrays a stereotypically stupid blond who thinks she’s in love with Don Lockwood, her leading man (Kelly), because she heard about it in a fanzine. The funniest phrases are often delivered by her (“What do they think I am? stupid or what? Why, I earn more than Calvin Coolidge and his entire cabinet combined!”). Also, you will find out which character are you in this Singin In The Rain quiz. Compared to the dancing maestro, Fred Astaire, Kelly and O’Connor were more forceful and acrobatic in their movements. One of the most amazing dance sequences ever captured on camera is O’Connor’s “Make ’em Laugh” performance, which was shot largely in extended takes. He engages in wrestling with a dummy, performs backflips while running up walls, tosses his body around like a rag doll while doing cartwheels on the ground, crashes through a backdrop, and runs into masonry walls and lumber planks. According to Wollen’s research, Kelly was the brainchild behind the “Singin’ in the Rain” number’s end version. The three stars were given it in the initial screenplay, which put it later in the movie. (who can be seen singing it together under the opening titles). Young Kathy Selden (Reynolds) and young Kelly Selden (Kelly) discover they are falling in love, and Kelly nabbed the song for a solo and moved it up to that moment. This clarifies the dance: He loves romanticism so much that he doesn’t mind getting wet. Kelly favored creating dances that evolved from the available objects and settings. He swings from a lamppost, dances with the umbrella, puts one foot in the gutter and the other on the sidewalk, and at the scene’s climax, just jumps up and down in a puddle of rain.

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Real objects are also used in other dance routines. While balancing on tables and chairs, Kelly and O’Connor perform “Moses Supposes” as part of their vocal teacher’s elocution lessons. (it was the only song written specifically for the movie). The sitting room and kitchen of Lockwood’s home are used in “Good Morning.” (ironically, a set built for a John Gilbert movie). Kelly jumps into Kathy’s convertible at the beginning of the movie while atop a trolley. Kelly missed the car on one try and landed in the street, as seen in the leap’s outtakes. Also, you must try to play this Singin In The Rain quiz. At the halfway point of the film, the plot is put on hold for the elaborate fantasy dance routine “Broadway Ballet,” which stars Kelly and Cyd Charisse. It is revealed to be a song Kelly is pitching to the studio, about a goofy child with a big dream who comes to Broadway and clashes with a gangster’s leggy girlfriend (“Gotta Dance!”). Broadway Ballet stops the headlong energy in its tracks for something more formal and considered. MGM musicals liked to halt the show for big production numbers, but it’s possible to enjoy “Broadway Ballet” and still question if it’s really necessary. The film’s already established plot devices are cleverly used in the film’s conclusion to discredit the dim Lina and honor the young Kathy. After a preview crowd applauds Lina’s new movie (Kathy provided her voice dubbing), she is forced to perform live on stage. When the studio owner and Kathy’s two friends decide to raise the curtain so that the audience can see the trick, Lina reluctantly accepts to sing into a backstage microphone while Kathy mouths the words. In one of the greatest romantic scenes in film history, Kathy runs down the aisle, but as she does so, Lockwood, who is on stage, cries out, “Ladies and gentlemen, halt that girl! That young lady speeding up the hallway! The lady whose voice you enjoyed hearing tonight is that one! Kathy Selden is the true star of the picture. Although trite, it works perfectly. The charm of “Singin’ in the Rain” endures, but the Hollywood production failed to take a lesson from it. Hollywood began recycling pre-sold Broadway successes in place of original, made-for-the-movies musicals like this one (as well as “An American in Paris” and “The Band Wagon”). Broadway was looking for an older audience, so that didn’t work. (many of its hits were showcases for ageless female legends). Many of the top contemporary musicals, including “A Hard Day’s Night,” “Saturday Night Fever,” and “Pink Floyd the Wall,” have taken inspiration straight from contemporary music. The movie “Singin’ in the Rain” is still one of the few that lives up to its hype. What a wonderful sensation, the posters exclaimed. The truth was just the truth.

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