Steve Pick: It says right there on the lobby card that this is a Technicolor Musical Treasure, and I ain’t gonna argue with that. This film has some of the most advanced shots in the avant garde world of musicals. How did Stanley Donen set up that long, wild, wondrous tracking shot that follows his co-director Gene Kelly in all his miraculous dancing invention, as he cuts not a rug, but giant puddles of water in the title sequence? How did the shooting of a film become a film on a screen, and get Donald O’Connor to dance on the walls?
The love story at the heart of the plot barely makes any sense, and the introduction of a villainous complication waits until the movie is nearly over, but who cares? Singin’ in the Rain is about movement; it’s about song; it’s about ridiculous, silly, triumphant, joyously shiny delights.
Steve, where shall we begin to talk about this one? What would be the modern equivalent of making a film about the changes in pop culture 25 years before it was released? Perhaps a hair metal band reacts to the changes produced by the sudden rise to prominence of Nirvana?