Original image
Getty Images

4 Surprising Facts About Gene Kelly

Original image
Getty Images

Eighteen years ago last week, the world lost one of Hollywood's greatest entertainers: Gene Kelly. Arguably, most of the public today knows Kelly best because of his iconic performance in Singin’ in the Rain (1952), but here are a few other facts about the legendary song-and-dance man you may not know.

1. He Perfected Cine-Dance

Gene Kelly refused to choreograph his musical numbers like his predecessor Busby Berkeley, who generally filled his films’ frames with visual spectacles and geometric patterns requiring little movement from actors. Rather, Kelly wanted to make the camera movements serve the choreography, to create something one could not on a theatrical stage.

As a result, Gene Kelly adopted the term cine-dance (cinema + dance), which he defined as “any dancing choreographed specifically and particularly to be filmed or televised.” This meant, then, that for every number involving dance, Kelly (and his assistants) had to devise not only the dance choreography, the staging of dances and the dancers’ physical movements, but also the film choreography, the coordination of camera movements in relation to the musical number.

Kelly’s cine-dance is evident in Singin’ in the Rain. For example, when Kelly’s character closes his umbrella, not caring if he gets wet, the camera closes in on him. The same thing happens when he sings, “Come on with the rain / I’ve a smile on my face.” Here, he opens his arms wide, inviting both the rain and the camera to move in toward him. But most noticeably, when the music climaxes and Kelly steps out into the street twirling with faster and wider movements, the camera also cranes wider and upward, fusing camera and dance. If this doesn’t do it for you, turn on any season of Dancing with the Stars or Strictly Come Dancing to see the influence of Kelly’s cine-dance.

2. He Tamed Technology

Gene Kelly also broke new ground with his use of special effects. For example, in Cover Girl (1944), Kelly's character picks a fight with himself after worrying that his fiancée is falling out of love with him. This internal struggle leads to a tricky solo dance called the "alter-ego number," in which two Gene Kellys simultaneously dance alongside and against each other onscreen. Created with Kelly’s co-choreographer Stanley Donen—and no CGI—the alter ego number made Kelly a star and secured him a contract at MGM.

Kelly also made cinema history when he danced alongside Jerry the Mouse in Anchors Aweigh (1945). In the film musical, Kelly’s character sits before a roomful of school children and reads them a story. But the viewer experiences the tale through a mixture of live action and animation. This memorable segment of Anchors Aweigh only lasts four minutes but took months to complete. There were 10,000 painted frames to synchronize with Kelly's movements. Kelly was filmed first, and then Jerry was animated frame by frame before the two figures were joined onscreen. The technique was repeated years later in Kelly's experimental dance film, Invitation to the Dance (1956).

Finally, Kelly invented "the Ubangi" (now called a “camera offset”), a mechanism to get low-angle shots that were virtually impossible because of the large size of Technicolor cameras. According to Kelly’s biographer, the mechanism was “a long lip that projected from the camera, heavily reinforced with iron grids underneath, and with a mirror on it, only a couple of inches off the floor, so that the camera could shoot down into the mirror which, in turn, could be adjusted to reflect the exact angle [Kelly] wanted.” Kelly invented the device for his satirical fantasy film The Pirate (1948).

Each of these technical innovations derives from Kelly's desire to do something onscreen that could not be done onstage and that had never been done before.

3. He took the Musical On Location

In keeping with Kelly’s need to advance cinema and the musical specifically, the star wanted to shoot one of his films, On the Town (1949), outside the studio—and outside Hollywood, in fact. This was generally unheard of in the 1940s, especially for a big-budget MGM musical, all of which were filmed on soundstages, backlots, or nearby. Consequently, to get his wish to travel to and shoot in Manhattan, Kelly had to put up a fight with MGM studio head Louis B. Mayer, who could not visualize the effect that Kelly (and his co-director Stanley Donen) were after. He thought the idea was indulgent and a waste of money. "Why not just do it on the backlot—like everyone else?" Mayer asked.

Ultimately, Mayer gave Kelly, Donen, and the rest of the unit five days in NYC, two of which were apparently spoiled by bad weather. The crew shot where and when they could. "We had to 'steal' and 'cheat' every shot, and somehow keep our cameras hidden from the passers-by who would only delay us further and crowd around if they knew a picture was being made," Kelly once said.

Numerous scholars and critics consider On the Town the first film musical shot on location. While this is not completely true, it is the first big-budget color musical from MGM’s Freed Unit (the production unit of which Kelly was a part) to be shot on location, and it prompted other directors to do the same. It was highly successful, earning over three times its budget on first release.

4. He's Making a Comeback Today

Even though Kelly has been dead 18 years now and his most admired films are over six decades old, his presence in the 21st century is alive and well.

In the past eight years, the deceased Hollywood song-and-dance man has made appearances in Family Guy, a Funny or Die sketch, and at least four television commercials, two for Volkswagen alone. In addition, The Simpsons, Glee, Saturday Night Live, Britain's Got Talent, Usher, Jaime Cullum, and Mint Royale have recently paid homage to Gene Kelly and Singin' in the Rain.

Furthermore, over the past decade, several Kelly-related fansites, tumblelogs, Twitter and Facebook accounts, video mash-ups, and message boards have appeared online, all of which continue to be extremely active. And this makes sense, considering the legacy that Kelly left behind.

Original image
iStock // Ekaterina Minaeva
Man Buys Two Metric Tons of LEGO Bricks; Sorts Them Via Machine Learning
May 21, 2017
Original image
iStock // Ekaterina Minaeva

Jacques Mattheij made a small, but awesome, mistake. He went on eBay one evening and bid on a bunch of bulk LEGO brick auctions, then went to sleep. Upon waking, he discovered that he was the high bidder on many, and was now the proud owner of two tons of LEGO bricks. (This is about 4400 pounds.) He wrote, "[L]esson 1: if you win almost all bids you are bidding too high."

Mattheij had noticed that bulk, unsorted bricks sell for something like €10/kilogram, whereas sets are roughly €40/kg and rare parts go for up to €100/kg. Much of the value of the bricks is in their sorting. If he could reduce the entropy of these bins of unsorted bricks, he could make a tidy profit. While many people do this work by hand, the problem is enormous—just the kind of challenge for a computer. Mattheij writes:

There are 38000+ shapes and there are 100+ possible shades of color (you can roughly tell how old someone is by asking them what lego colors they remember from their youth).

In the following months, Mattheij built a proof-of-concept sorting system using, of course, LEGO. He broke the problem down into a series of sub-problems (including "feeding LEGO reliably from a hopper is surprisingly hard," one of those facts of nature that will stymie even the best system design). After tinkering with the prototype at length, he expanded the system to a surprisingly complex system of conveyer belts (powered by a home treadmill), various pieces of cabinetry, and "copious quantities of crazy glue."

Here's a video showing the current system running at low speed:

The key part of the system was running the bricks past a camera paired with a computer running a neural net-based image classifier. That allows the computer (when sufficiently trained on brick images) to recognize bricks and thus categorize them by color, shape, or other parameters. Remember that as bricks pass by, they can be in any orientation, can be dirty, can even be stuck to other pieces. So having a flexible software system is key to recognizing—in a fraction of a second—what a given brick is, in order to sort it out. When a match is found, a jet of compressed air pops the piece off the conveyer belt and into a waiting bin.

After much experimentation, Mattheij rewrote the software (several times in fact) to accomplish a variety of basic tasks. At its core, the system takes images from a webcam and feeds them to a neural network to do the classification. Of course, the neural net needs to be "trained" by showing it lots of images, and telling it what those images represent. Mattheij's breakthrough was allowing the machine to effectively train itself, with guidance: Running pieces through allows the system to take its own photos, make a guess, and build on that guess. As long as Mattheij corrects the incorrect guesses, he ends up with a decent (and self-reinforcing) corpus of training data. As the machine continues running, it can rack up more training, allowing it to recognize a broad variety of pieces on the fly.

Here's another video, focusing on how the pieces move on conveyer belts (running at slow speed so puny humans can follow). You can also see the air jets in action:

In an email interview, Mattheij told Mental Floss that the system currently sorts LEGO bricks into more than 50 categories. It can also be run in a color-sorting mode to bin the parts across 12 color groups. (Thus at present you'd likely do a two-pass sort on the bricks: once for shape, then a separate pass for color.) He continues to refine the system, with a focus on making its recognition abilities faster. At some point down the line, he plans to make the software portion open source. You're on your own as far as building conveyer belts, bins, and so forth.

Check out Mattheij's writeup in two parts for more information. It starts with an overview of the story, followed up with a deep dive on the software. He's also tweeting about the project (among other things). And if you look around a bit, you'll find bulk LEGO brick auctions online—it's definitely a thing!

Original image
Nick Briggs/Comic Relief
What Happened to Jamie and Aurelia From Love Actually?
May 26, 2017
Original image
Nick Briggs/Comic Relief

Fans of the romantic-comedy Love Actually recently got a bonus reunion in the form of Red Nose Day Actually, a short charity special that gave audiences a peek at where their favorite characters ended up almost 15 years later.

One of the most improbable pairings from the original film was between Jamie (Colin Firth) and Aurelia (Lúcia Moniz), who fell in love despite almost no shared vocabulary. Jamie is English, and Aurelia is Portuguese, and they know just enough of each other’s native tongues for Jamie to propose and Aurelia to accept.

A decade and a half on, they have both improved their knowledge of each other’s languages—if not perfectly, in Jamie’s case. But apparently, their love is much stronger than his grasp on Portuguese grammar, because they’ve got three bilingual kids and another on the way. (And still enjoy having important romantic moments in the car.)

In 2015, Love Actually script editor Emma Freud revealed via Twitter what happened between Karen and Harry (Emma Thompson and Alan Rickman, who passed away last year). Most of the other couples get happy endings in the short—even if Hugh Grant's character hasn't gotten any better at dancing.

[h/t TV Guide]