15 Facts About Singin’ in the Rain

MGM
MGM

Singin’ in the Rain isn’t just an upbeat musical from 1952. It’s also a history lesson about Hollywood in the late 1920s, when silent pictures were giving way to talkies. And, of course, it’s also a valuable tutorial on how to be an awesome dancer (i.e. be Gene Kelly and Donald O'Connor). It is many things! Here are some facts about Gene Kelly and Stanley Donen's classic musical to enhance your next viewing.

1. It wasn't adapted from a Broadway musical.

Many movie musicals of the 1930s, '40s and '50s were based on stage shows, but this wasn’t one of them. Rather, it was a new script, written just for the movie, featuring old songs written for previous movies. Some 30 years later, after the film had become a beloved classic, it was reverse-engineered into a stage musical, premiering in London’s West End in 1983 and subsequently appearing (with revisions and more songs) on Broadway

2. It was conceived by producer Arthur Freed as a means of showcasing songs he had written, but it wasn't (just) an ego trip.

Freed was a successful lyricist in the 1920s and '30s, collaborating with composer Nacio Herb Brown on dozens of songs for MGM musicals. In 1939, after essentially serving as an uncredited producer on The Wizard of Oz, Freed was given his own unit at MGM, where he oversaw the production of about 45 big-screen musicals (some originals, some Broadway adaptations) over the next 23 years, making MGM synonymous with the genre. The term “jukebox musical” didn’t exist yet, but there were a few films in that era that fit the description, using old sets of songs with nothing in common but their authors as the framework for new stories. Warner Bros.’s Yankee Doodle Dandy (1942) and MGM’s own Till the Clouds Roll By (1946) had done it with the songs of George M. Cohan and Jerome Kern, respectively.

In 1951, as Freed was shepherding the George and Ira Gershwin-based An American in Paris into existence, he thought of doing the same thing for the songs he’d written with Brown. Many of those ditties were big hits, and Freed had certainly earned the clout at MGM to advance what might have otherwise been seen as a vanity project. The studio head in the movie, R.F. Simpson, is based on him. 

3. The one "original" song written specifically for the movie is actually a rip-off.

As the film was about to commence shooting, directors Stanley Donen and Gene Kelly realized Donald O’Connor didn’t have a solo number. Nothing in the Freed/Brown collection seemed to fit, so they asked the pair to whip up something new, something along the lines of “Be a Clown,” from Cole Porter’s 1947 MGM musical The Pirate. Freed and Brown did exactly that, delivering “Make ‘em Laugh,” a song that Donen later called “100 percent plagiarism” of “Be a Clown.”

The similarities were overwhelming and undeniable. (Compare for yourself: here’s “Be a Clown”; here’s “Make ‘em Laugh.”) But Freed, you’ll recall, was the producer of Singin’ in the Rain. One doesn’t really tell one’s boss, “Uh, sir, I think you might have stolen this,” so the song stayed. The story goes that Cole Porter didn’t mind (or didn’t sue, anyway) because he was grateful to Freed for all the career support he’d given him. “Moses Supposes” was newly written for the film too, with music by Roger Edens and lyrics by the screenwriters. But it’s not a complete song, lyrically speaking, so usually isn’t counted.

4. Debbie Reynolds had no dance experience before she made the movie.

She pointed this out when she was asked to be in Singin’ in the Rain, but Kelly said he could teach her, just as he’d done with Frank Sinatra for Anchors Aweigh. Reynolds had been a gymnast, so she wasn’t completely unfamiliar with physical movement requiring grace and stamina. Ever the trouper, she buckled down and rehearsed day and night until she could share a dance floor with Kelly and O’Connor without embarrassing herself. She was quite young, too, turning 19 during the shoot. (Kelly, her love interest, was 39.) She later said, “The two hardest things I ever did in my life are childbirth and Singin’ in the Rain.” 

5. Gene Kelly and Donald O'Connor had never worked together before.

O’Connor, born into a vaudeville family in 1925, had been onstage since infancy and in movies since he was 12. He had 36 film credits, mostly musicals and Francis the Talking Mule pictures, under his belt when he got the Singin’ in the Rain gig. Kelly was 13 years older and came to Hollywood a bit later than O’Connor, yet still racked up 18 films between 1942 and 1951, when at last their paths crossed. And they almost didn’t: Freed, the producer, wanted Kelly’s An American in Paris co-star Oscar Levant for the Cosmo role, but everyone else—screenwriters Betty Comden and Adolph Green, directors Gene Kelly and Stanley Donen—wanted someone who could dance.

6. Gene Kelly choreographed his dance scenes with Cyd Charisse in a way that hid the fact that she was taller than him.

Or she was when she wore heels, anyway, as she does in the film. To keep the height difference from being obvious, Kelly arranged the routine so that they were never both standing upright when they were next to each other, always bending toward (or away from) one another instead.

7. Yes, Kelly had a fever when he filmed the "Singin' in the Rain" number.

Contrary to legend, it wasn’t shot all in one take—or even all in one day. It lasted a couple of days, and on at least one of them, Kelly was sick with a fever of anywhere from 101 to 103 degrees, depending on who’s telling the story.

8. Costume designer Walter Plunkett said this was the most work he had ever done for a film—and he had worked on Gone With the Wind!

Both films were period pieces, but Singin’ in the Rain required a greater number of elaborate, ornately detailed costumes than Gone With the Wind did. They had to be more accurate, too, since 1952 audiences remembered Hollywood of the late ‘20s more clearly than 1939 audiences remembered the Civil War. All told, Plunkett designed about 500 costumes for the film.  

9. The last shot of the "Good Morning" number took 40 takes.

It’s the part where the three of them somersault over one couch and then tip another one over backwards before collapsing on it and laughing. Kelly was a demanding choreographer and director, and you’ll notice that most of the dancing in the film is presented without a lot of editing. The camera moves around, but it doesn’t cut to other angles very often, and the dancers’s bodies are usually wholly visible. So when there are, say, three dancers who are supposed to be in unison, and one part of one person’s body does the wrong thing, you’ve got to do it again. The whole shoot was difficult for that reason, and this number was particularly challenging. Reynolds said that at the end of a 14-hour day shooting the scene, her feet were bleeding.

10. The 10-minute "Broadway Melody" dance number near the end of the film was a late addition.

Freed was encouraged by how well a similar sequence in An American in Paris had turned out, so he suggested that Kelly and Donen conceive one for Singin’ in the Rain, too—after most of the rest of the film had been shot. That’s why Donald O’Connor isn’t in this part: he was under contract with Universal and had to go make another Francis the Talking Mule movie.

11. Cyd Charisse owed her role in the film to Debbie Reynolds's lack of experience.

Charisse is only onscreen for a few minutes, in the aforementioned “Broadway Melody” dream ballet sequence. The role would logically have gone to Reynolds, but she simply didn’t have the dancing chops to pull it off. Leslie Caron, who’d danced with Kelly in An American in Paris, wasn’t available. So the job went to Cyd Charisse, an acclaimed dancer whom Kelly had admired since seeing her work with Fred Astaire in Ziegfield Follies. (Charisse was actually supposed to have had Caron’s role in An American in Paris, but had to drop out when she got pregnant. She’d given birth only a few months earlier when she took the Singin’ in the Rain job.) 

12. There may have been some censorship in the ballet number.

Watch as Gene Kelly and Cyd Charisse are dancing at the 1:22:03 mark in the film, and you’ll see a jump cut. The camera doesn’t move, but something’s clearly been snipped. The unconfirmed but probably true explanation is that censors deemed a portion of the dance too suggestive. (They’d warned Kelly beforehand not to choreograph Charisse wrapping her legs around his waist, even though real ballet dancers do that all the time.) The footage was removed, and the music was re-scored to match the new cut. Whatever was taken out is presumably lost forever, as the entire Singin’ in the Rain negative was destroyed in a fire. 

13. Donald O'Connor really should have died filming "Make 'em Laugh."

Gene Kelly, Debbie Reynolds, and Donald O'Connor in Singin' in the Rain (1952)
MGM

And not just because you could legitimately break your neck doing those run-up-the-wall flips (although that, too). The physical exertion required for the scene would have been demanding for anyone ... and O’Connor, by his own admission, was smoking four packs of cigarettes a day. And after the entire sequence had been shot? He had to do it all over again, because a technical error made the footage unusable. 

14. The first time we see Cyd Charisse, she's smoking a cigarette. It's the only cigarette she ever smoked in her life.

Kelly and Donen thought the character, the seductive girlfriend of a gangster, ought to be smoking. Charisse, who had never smoked before (making her a rare bird in 1951 Hollywood), told them she didn’t know how—so they stopped shooting long enough to teach her. Evidently failing to see the pleasure in it, she never smoked again. 

15. The film was a bit of a letdown after An American in Paris.

An American in Paris—also starring Gene Kelly; also built around a particular songwriter’s work; also featuring a large-scale dream ballet sequence—was released in November of 1951. It was a hit, eventually winning six Oscars, including Best Picture. Three weeks after the Oscar ceremony, Singin’ in the Rain came out. It did well enough with audiences and critics, but it got very little awards attention, and it wasn’t perceived as being nearly as successful as its predecessor. Over time, public sentiment changed. An American in Paris is still highly regarded today, but it’s Singin’ in the Rain that shows up on the “best” and “favorite” lists.

Additional sources: Featurettes and commentary track on the 60th anniversary Blu-ray.

This article originally ran in 2015.

10 Unforgettable Facts About The Notebook On Its 15th Anniversary

Ryan Gosling and Rachel McAdams star in The Notebook (2004).
Ryan Gosling and Rachel McAdams star in The Notebook (2004).
New Line Cinema

In 1996, Nicholas Sparks published his first book, The Notebook. He would go on to write several more romance novels, many of which would be adapted into films. But 2004’s film adaption of The Notebook remains the highest-grossing Sparks adaptation, making $115 million worldwide against a $25 million budget. It was Rachel McAdams's breakout lead role (it was released just a few months after Mean Girls); it solidified Ryan Gosling as a “hey girl” heartthrob; and it swept all eight categories it was nominated for at the 2005 Teen Choice Awards, winning in categories like Choice Movie Love Scene and Choice Movie Liplock.

The book and movie follow a young couple named Noah (Gosling) and Allie (Adams) in 1940s North Carolina (the movie was filmed in South Carolina). Despite some obstacles, the couple fall in love, marry, and spend the next 60 years together. In present day, it’s revealed that Allie, now an old woman (played by Gena Rowlands), has Alzheimer’s, and her doting husband (James Garner, as an elderly Noah) helps her remember their storied past. In 2003, Sparks published a loose sequel called The Wedding, featuring the characters Allie and Noah. Here are 10 facts about the beloved romance, which arrived in theaters 15 years ago today.

1. It was based on a true story.

Nicholas Sparks’s book was based on his then-wife Cathy's grandparents, who spent more than 60 years together. Cathy was close to her grandparents, and visited them frequently. The grandparents were too ill to attend their wedding, in 1989, so the newly-married couple brought the wedding to them. They dressed up in their wedding clothes and surprised them at their house. Cathy's grandparents told the Sparks how they met and fell in love, decades ago.

“But though their story was wonderful, what I most remember from that day is the way they were treating each other,” Sparks wrote on his website. “The way his eyes shined when he looked at her, the way he held her hand, the way he got her tea and took care of her. I remember watching them together and thinking to myself that after 60 years of marriage, these two people were treating each other exactly the same as my wife and I were treating each other after 12 hours. What a wonderful gift they’d given us, I thought, to show us on our first day of marriage that true love can last forever.”

Unfortunately for Nicholas and Cathy, their love didn’t last forever—they divorced in 2015

2. Nicholas Sparks thinks the book was successful because it was relatable.


Photo by Jason Merritt/Getty Images

“It seems that nearly everyone I spoke with about the novel knew a ‘Noah and Allie’ in their own life,” Sparks wrote on his website. He also said the book was short enough (224 pages) for people to read it quickly. “I think that readers also appreciate that the novel didn’t include foul language and its love scene was tasteful and mild compared to what’s found in many other novels,” he said. “These factors made people feel comfortable about recommending it to others.”

3. The screenwriter had to work hard to make the characters seem real.

The Notebook screenwriter Jeremy Leven had the daunting task of adapting Sparks's book into a script. “The problem with the book is that it’s melodramatic and sweet, and you have to find a way to appeal to an audience that is apprehensive about yet another sweet movie,” Leven told The Harvard Crimson. “So you have to give it an edge, make it real, and make the choices the characters face real.” That “edge” probably includes the love scene in the rain.

4. Rachel McAdams and Ryan Gosling didn't get along—at first.


Melissa Moseley/New Line Cinema

Even though they played lovers in the movie and then began dating in real life, the couple clashed during production. Director Nick Cassavetes told MTV a story about an incident when Gosling and McAdams weren’t getting along on the set one day: “Ryan came to me, and there’s 150 people standing in this big scene, and he says, ‘Nick come here,’” Cassavetes shared. “And he’s doing a scene with Rachel and he says, ‘Would you take her out of here and bring in another actress to read off camera with me?’ I said, ‘What?’ We went into a room with a producer; they started screaming and yelling at each other ... The rest of the film wasn’t smooth sailing, but it was smoother sailing.”

5. McAdams and Gosling's on-screen chemistry probably wasn't real.

“[Our later relationship] certainly wasn’t something that either of us had expected would come out of that filmmaking experience,” McAdams said, “which goes to show you that you can engineer chemistry on-screen just by telling the audience that these two people love each other.” She said it was attributed to the acting. “As an actor you don’t have to feel it. You don’t have to feel anything. Just imagine it.”

6. Jessica Biel was bummed she didn't get to play Allie.


Photo by Theo Wargo/Getty Images for NBC

Unlike Gosling, McAdams had to audition for the role of Allie, and so did Jessica Biel. “I was in the middle of shooting Texas Chainsaw Massacre, and I auditioned with Ryan Gosling in my trailer—covered in blood,” Biel told Elle. “That’s one that I wanted so badly. But there’s a million that get away. We’re gluttons for punishment. It’s just rejection.”

7. McAdams felt a lot of pressure to deliver a great performance.

The actress told Film Monthly she knew she had to be good in the movie, because she had to carry it. “At first I put way too much pressure on myself and realized that it wasn’t getting me anywhere,” she said. “I was just a ball of stress, and eventually the character kicked in where she’s sort of free-spirited, doesn’t care what people think, and chases down those things she wants.” She eventually found the right balance.

8. James Marsden thought the movie was going to be "schmaltzy."


Melissa Moseley/New Line Cinema

James Marsden played Allie’s fiancé—and Noah’s rival—Lon Hammond Jr. The actor told Out Magazine how he tries not to make a bad movie, but they sometimes turn out that way. “Then there are some movies that I’ve been in that I was sure people would laugh at, that have become huge,” he said. “I thought The Notebook was going to be a schmaltzy Movie of the Week–type thing, and here we are!”

9. Nick Cassavetes was the fourth choice to direct the movie.

New Line Cinema acquired the rights to Sparks's novel in 1995, before the book was even published. In 1998, Variety reported that Steven Spielberg wanted to direct the film. Jim Sheridan was also interested, but he decided to direct In America instead. In 2001, The Mask of Zorro and GoldenEye director Martin Campbel almost signed on, but in 2002 New Line brought Cassavetes aboard.

10. James Garner ruined his first take shooting with Gena Rowlands.


Melissa Moseley/New Line Cinema

Nick Cassavetes—son of legendary director John Cassavetes—cast his mother, the great Gena Rowlands, as the elderly Allie. Garner recalled the first day he and Gena filmed together. “She's going to come out and I’m sitting on the porch in a chair or something. And I hear Nick say, ‘Okay, mom. Action.’ Well, I ruined that take because I just broke up. That was so funny. That tickled me to death. But he showed his mother great respect. He was gentle with her and worked with her. What I loved about it is that she listened to him. Here’s a professional actress who’s one of the best ever, and she’s listening to her son tell her about things. I really admired that in both of them.”

This story has been updated for 2019.

Alexander Skarsgård Could Have Played Thor in the Marvel Cinematic Universe

Larry Busacca, Getty Images
Larry Busacca, Getty Images

Marvel fans may have trouble imagining Thor played by anyone other than Chris Hemsworth, but apparently, Alexander Skarsgård was pretty darn close to getting the role. How close, you ask? He tried on the costume, held the hammer, and even filmed an audition in the garb.

In 2009—just a year after True Blood premiered—the actor told MTV that he met with Marvel Studios president Kevin Feige and Thor director Kenneth Branagh about the part. “Yeah, I met with Kevin [Feige] a few times and the director,” he said. “There was definitely some truth in that, yeah.”

When the MTV interviewer said he thought the actor had the perfect look to bring Thor to life, Skarsgård simply replied, “So did I.”

But before you start to feel too sorry for Skarsgård, let's not forget the number of impressive roles the True Blood alum has landed. At the moment, he’s playing Perry Wright in HBO’s Big Little Lies, for which he won both an Emmy and a Golden Globe.

As for the Thor role, Hemsworth went on to play the God of Thunder in multiple films, and although his future in the MCU is not certain after Avengers: Endgame, the Australian actor confirmed he’d love to keep playing the character.

SECTIONS

arrow
LIVE SMARTER