Singin in the Rain

Don Lockwood and Lina Lamont (Gene Kelly and Jean Sagan) are the Hollywood power couple of their day. Audiences flock in their droves to see the latest Lockwood and Lamont pictures, back in the era of silent film making. However, with the introduction of new-fangled “Talkies” just around the corner, Lisa’s ever-growing ego and Don’s patience wearing thin, could their future be in danger of spinning off the reels?


Singin’ in the Rain will be my last solo review of 2014. At the start of the year, and up until just a few days ago, I’d regarded it as my most heinous movie blind spot (I even called it that on Bubbawheat’s FilmWhys podcast) and as such it was at the top of my Most Anticipated from the 1001 List as a film I felt I really should see, and soon. I even saved it until the end of the year to increase the anticipation to almost unbearable levels. As it stands, even with all that pressure heaped upon it, and after a viewing that, for various reasons, had to be split in two, I thoroughly enjoyed this film.

That’s not to say it’s perfect, it definitely has a few flaws, so I’ll get those out of the way first. I’ll make an effort to dance around spoilers (I’d assumed I was the last film fan to see this, but I recently discovered at least a couple more who still have it in their futures), especially seeing as I knew practically nothing about this movie going in. Avoiding spoilers may be tricky, however, as my main issue with the film was the ending. I don’t mean how it ended story-wise – that was entirely as expected, was very satisfying and enjoyable. No, I wasn’t a fan of the dreary, soppy-eyed closing number that spoiled the ending, which would have been better suited to, in my opinion, fading straight from an embrace to the billboard, skipping the song entirely.

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Seven Brides For Seven Brothers

I’m not normally a huge fan of classic musicals. I quite liked West Side Story, but couldn’t abide The Sound Of Music, so my hopes weren’ exactly high for this 1954 classic of which I knew very little, other than there were presumably at least fourteen characters. I’m relieved to tell you that not only did I not find this film terrible, I frickin’ loved it.Set in 1850’s Oregon, the film predominantly follows Adam Pontipee, the eldest of seven brothers (duh) who all live away from society in a secluded shack, as woodsmen. Whilst visiting town to trade, Adam sets out to find a wife, and somewhat surprisingly the local cook Milly agrees to take the position, and they marry as soon as she finished her chores, before heading back to his house. Once home, Milly discovers the rest of her new husband’s clan, whom he’d neglected to tell her about before, and soon finds herself playing Snow White for these seven giants, doing all the cooking and cleaning in their initially disgusting hovel. When the other boys decide they too would like a wife, Milly steps in to see if she can teach them to be gentlemen.

The plot is, frankly, ridiculous, and full of so full of sexism its funny. Adam (Howard Keel) is chauvinistic, slovenly and completely tactless (“What do I need manners for? Already got me a wife.”) and he has absolutely no qualms about essentially conning a woman into being a slave for him and his six siblings. His proposal to Milly (Jane Powell) will probably go down in history as the most romantic in cinematic history. Sidling up to Milly whilst she milks a cow he proclaims “Ain’t got a woman, how ’bout it?” Clearly, back in the 1850s romance was far from dead.

Unusually for a musical, I actually approved of the music, and even the dancing. Some of the songs weren’t terribly memorable, but others are still stuck in my head, most notably “Bless Yore Beautiful Hide” (again with the romance), “Goin’ Courtin'” and “sobbin’ Women.” The dancing too is very impressive, probably because most of the eponymous brides and brothers are professional dancers. The barn-raising sequence is great even though it’s very long, with the brothers competing for the affections of the locals girls against the men that brought them there. A prime opportunity was missed for some colour-coordinated dancing though. Some of the later axe-dancing is a little silly, but it does fit in with the overall tone of the film.

The plot is based on Stephen Vincent Benet’s short story The Sobbin’ Women, itself influenced by the Roman legend of The Rape of the Sabine Women (back then rape meant abduct, this film isn’t that dark). The script takes some interesting turns and has a great, if a little predictable, ending. The brides being just as willing to resort to fisticuffs as the men was a nice touch.

At times the film gets a bit sombre, when various groups become lovesick and lonely, but there’s always an upbeat musical number not too far away, and unlike most classic musicals, this one isn’t unbearably long. I’d quite like to see a remake, with an allstar ensemble cast in the lead fourteen roles, but I get the feeling it would be terrible.

Choose film 7/10