When it rains, it pours. And the sky opened up with irony overSingin’ in the Rain.
Released on April 11, 1952, the movie musical was an instant commercial and critical hit, and would go on to be hailed as one of Hollywood’s happiest films, despite a notoriously grueling, and often miserable, production behind the scenes.
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View this post on InstagramStarring Gene Kelly, Debbie Reynolds, and Donald O’Connor, the Golden Age classic follows a 1920s silent film star (Kelly) navigating Hollywood’s chaotic transition to talkies while falling for a chorus girl (Reynolds). For 103 minutes, audiences are treated to kinetic choreography, feel-good songs, and more onscreen chemistry than Ben Franklin flying a kite in a lightning storm. But behind those pearly-white smiles was a very different story.
Kelly was reportedly battling a 103-degree fever while filming his iconic rain sequence, with his widow, Patricia Ward Kelly, later telling Radio Times that he would lie in the sun to “bake the fever out of him.” As she noted, Kelly was not only starring, but also directing and choreographing, leaving little room for rest.
Reynolds, just 19 at the time, also endured an intense shoot that pushed her to exhaustion. Her “Good Morning” number reportedly took 40 takes, leaving her physically depleted.
“Fortunately, Debbie was strong as an ox,” Kelly later said, per Turner Classic Movies, praising her ability to absorb demanding choreography despite what he called the “university of hard work and pain.”
Reynolds herself would later describe a far more painful side of filming in her 2013 memoir, Unsinkable, including her shock during an early onscreen kiss with Kelly, which she recalled as deeply unsettling and unprofessional.
Production challenges didn’t stop there. During the “Broadway Melody Ballet,” Cyd Charisse was nearly overwhelmed by powerful wind machines used to animate a flowing silk scarf attached to her costume.
Even the soundtrack had a twist: Reynolds was dubbed in parts of the film, meaning the voice audiences associate with her character isn’t always hers.
Still, the musical — written by Betty Comden and Adolph Green, with songs by Arthur Freed and Nacio Herb Brown — remains one of the BFI’s Sight and Sound Top 10 films and continues to make 'em laugh more than seven decades later.
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