Gene Kelly

Eugene Curran Kelly (August 23, 1912 – February 2, 1996) was an American dancer, actor of film, stage, and television, singer, film director, producer, and choreographer. He was known for his energetic and athletic dancing style, his good looks, and the likable characters that he played on screen.

Best known today for his performances in films such as An American in Paris (1951), Anchors Aweigh (1945)— for which he was nominated for the Academy Award for Best Actor—and Singin' in the Rain (1952), he starred in musical films until they fell out of fashion in the late 1950s. He starred in, choreographed, or co-directed some of the most well-regarded musicals of the 1940s and 1950s, debuting with Judy Garland in For Me and My Gal (1942), and followed by Du Barry Was a Lady (1943), Thousands Cheer (1943), The Pirate (1948), On the Town (1949), and It's Always Fair Weather (1955), among others. Later, he starred in two films outside the musical genre: Inherit the Wind (1960) and What a Way to Go! (1964).[2] Kelly directed films without a collaborator (in some of which he starred), including Hello, Dolly! (1969),[3][4][5] which was nominated for the Academy Award for Best Picture.[6][7]

His many innovations transformed the Hollywood musical, and he is credited with almost single-handedly making the ballet form commercially acceptable to film audiences.[8]

Kelly received an Academy Honorary Award in 1952 for his career achievements, the same year An American in Paris won six Academy Awards, including Best Picture. He later received lifetime achievement awards in the Kennedy Center Honors (1982), and from the Screen Actors Guild and American Film Institute. In 1999, the American Film Institute also ranked him as the 15th greatest male screen legend of Classic Hollywood Cinema.

Gene Kelly
Gene kelly
Kelly in 1943
Born
Eugene Curran Kelly

August 23, 1912
DiedFebruary 2, 1996 (aged 83)
CitizenshipAmerican (Irish citizenship granted late in life)[1]
EducationPeabody High School
Alma materUniversity of Pittsburgh
OccupationDancer, choreographer, director, actor, singer, producer
Years active1938–1994
Known for
Political partyDemocratic
Spouse(s)
Children3

Early life

GKellyPittSeniorYB
Kelly's senior picture from the 1933 yearbook of the University of Pittsburgh

Kelly was born in the East Liberty neighborhood of Pittsburgh. He was the third son of James Patrick Joseph Kelly, a phonograph salesman, and his wife, Harriet Catherine Curran.[9] His father was born in Peterborough, Ontario, Canada, to an Irish Canadian family. His maternal grandfather was an immigrant from Derry, Ireland, and his maternal grandmother was of German ancestry.[10] When he was eight, Kelly's mother enrolled him and his brother James in dance classes. As Kelly recalled, they both rebelled: "We didn't like it much and were continually involved in fistfights with the neighborhood boys who called us sissies  ... I didn't dance again until I was 15." [11] At one time, his childhood dream was to play shortstop for the hometown Pittsburgh Pirates.[12] By the time he decided to dance, he was an accomplished sportsman and able to defend himself. He attended St. Raphael Elementary School[13] in the Morningside neighborhood of Pittsburgh and graduated from Peabody High School at age 16. He entered the Pennsylvania State College as a journalism major, but the 1929 crash forced him to work to help his family. He created dance routines with his younger brother Fred to earn prize money in local talent contests. They also performed in local nightclubs.[11]

In 1931, Kelly enrolled at the University of Pittsburgh to study economics, joining the Phi Kappa Theta fraternity.[14] He became involved in the university's Cap and Gown Club, which staged original musical productions.[15] After graduating in 1933, he continued to be active with the Cap and Gown Club, serving as the director from 1934 to 1938. Kelly was admitted to the University of Pittsburgh Law School.[16]

His family opened a dance studio in the Squirrel Hill neighborhood of Pittsburgh. In 1932, they renamed it the Gene Kelly Studio of the Dance and opened a second location in Johnstown, Pennsylvania, in 1933. Kelly served as a teacher at the studio during his undergraduate and law-student years at Pitt. In 1931, he was approached by the Beth Shalom Synagogue in Pittsburgh to teach dance, and to stage the annual Kermesse. The venture proved a success, Kelly being retained for seven years until his departure for New York.[17]

Kelly eventually decided to pursue a career as a dance teacher and full-time entertainer, so he dropped out of law school after two months. He increased his focus on performing and later claimed: "With time I became disenchanted with teaching because the ratio of girls to boys was more than ten to one, and once the girls reached 16, the dropout rate was very high."[11] In 1937, having successfully managed and developed the family's dance-school business, he finally did move to New York City in search of work as a choreographer.[11] Kelly returned to Pittsburgh, to his family home at 7514 Kensington Street, by 1940, and worked as a theatrical actor.[18]

Stage career

After a fruitless search for work in New York, Kelly returned to Pittsburgh to his first position as a choreographer with the Charles Gaynor musical revue Hold Your Hats at the Pittsburgh Playhouse in April 1938. Kelly appeared in six of the sketches, one of which, La cumparsita, became the basis of an extended Spanish number in the film Anchors Aweigh eight years later.

His first Broadway assignment, in November 1938, was as a dancer in Cole Porter's Leave It to Me!—as the American ambassador's secretary who supports Mary Martin while she sings "My Heart Belongs to Daddy". He had been hired by Robert Alton, who had staged a show at the Pittsburgh Playhouse where he was impressed by Kelly's teaching skills. When Alton moved on to choreograph the musical One for the Money, he hired Kelly to act, sing, and dance in eight routines. In 1939, he was selected for a musical revue, One for the Money, produced by the actress Katharine Cornell, who was known for finding and hiring talented young actors.

Kelly's first big breakthrough was in the Pulitzer Prize–winning The Time of Your Life, which opened on October 25, 1939—in which, for the first time on Broadway, he danced to his own choreography. In the same year, he received his first assignment as a Broadway choreographer, for Billy Rose's Diamond Horseshoe. He began dating a cast member, Betsy Blair, and they got married on October 16, 1941.

In 1940, he got the lead role in Rodgers and Hart's Pal Joey, again choreographed by Robert Alton. This role propelled him to stardom. During its run, he told reporters: "I don't believe in conformity to any school of dancing. I create what the drama and the music demand. While I am a hundred percent for ballet technique, I use only what I can adapt to my own use. I never let technique get in the way of mood or continuity."[11] His colleagues at this time noticed his great commitment to rehearsal and hard work. Van Johnson—who also appeared in Pal Joey—recalled: "I watched him rehearsing, and it seemed to me that there was no possible room for improvement. Yet he wasn't satisfied. It was midnight and we had been rehearsing since 8 in the morning. I was making my way sleepily down the long flight of stairs when I heard staccato steps coming from the stage ... I could see just a single lamp burning. Under it, a figure was dancing ... Gene."[11]

Offers from Hollywood began to arrive, but Kelly was in no hurry to leave New York. Eventually, he signed with David O. Selznick, agreeing to go to Hollywood at the end of his commitment to Pal Joey, in October 1941. Prior to his contract, he also managed to fit in choreographing the stage production of Best Foot Forward.

Film career

1941–45: Becoming established in Hollywood

Gene Kelly dancing with Jerry Mouse ("Anchors Aweigh", 1945)
Gene Kelly dances with Jerry of Tom and Jerry in Anchors Aweigh (1945), an iconic performance, which changed at least one critic's opinion of Kelly's skills.

Selznick sold half of Kelly's contract to Metro-Goldwyn-Mayer for his first motion picture: For Me and My Gal (1942) starring box-office champion Judy Garland. Kelly claimed to be "appalled at the sight of myself blown up 20 times. I had an awful feeling that I was a tremendous flop." For Me and My Gal performed very well, and in the face of much internal resistance, Arthur Freed of MGM picked up the other half of Kelly's contract.[11] After appearing in a cheap B-movie drama, Pilot No. 5 (1943) and in Christmas Holiday (1944), he took the male lead in Cole Porter's Du Barry Was a Lady (1943) with Lucille Ball (in a part originally intended for Ann Sothern). His first opportunity to dance to his own choreography came in his next picture, Thousands Cheer (1943), where he performed a mock-love dance with a mop.

He achieved a significant breakthrough as a dancer on film when MGM lent him to Columbia to work with Rita Hayworth in Cover Girl (1944), a film that foreshadowed the best of his future work.[19] He created a memorable routine dancing to his own reflection. Despite this, critic Manny Farber was moved to praise Kelly's "attitude", "clarity", and "feeling" as an actor while inauspiciously concluding, "The two things he does least well—singing and dancing—are what he is given most consistently to do."[20] At the end of 1944, Kelly enlisted in the U.S. Naval Air Service and was commissioned as lieutenant, junior grade. He was stationed in the Photographic Section, Washington D.C., where he was involved in writing and directing a range of documentaries, and this stimulated his interest in the production side of filmmaking.[14][21]

In Kelly's next film, Anchors Aweigh (1945), MGM gave him a free hand to devise a range of dance routines, including his duets with co-star Frank Sinatra and the celebrated animated dance with Jerry Mouse—the animation for which was supervised by William Hanna and Joseph Barbera. That iconic performance was enough for Farber to completely reverse his previous assessment of Kelly's skills. Reviewing the film, Farber enthused, "Kelly is the most exciting dancer to appear in Hollywood movies."[22] Anchors Aweigh became one of the most successful films of 1945 and Kelly was nominated for the Academy Award for Best Actor. In Ziegfeld Follies (1946)—which was produced in 1944 but delayed for release—Kelly collaborated with Fred Astaire, for whom he had the greatest admiration, in the "The Babbitt and the Bromide" challenge dance routine.

1946–52: MGM

After Kelly returned to Hollywood in 1946, MGM had nothing planned and used him in a routine, black-and-white movie: Living in a Big Way (1947). The film was considered so weak that the studio asked Kelly to design and insert a series of dance routines; they noticed his ability to carry out such assignments. This led to a lead part in his next picture, with Judy Garland and director Vincente Minnelli—a musical film version of S.N. Behrman's play, The Pirate (1948), with songs by Cole Porter, in which Kelly plays the lead opposite Garland. The Pirate gave full rein to Kelly's athleticism. It features Kelly's work with the Nicholas Brothers—the leading black dancers of their day—in a virtuoso dance routine. Now regarded as a classic, the film was ahead of its time, but flopped at the box office.

An American in Paris (1951) trailer 1
Leslie Caron and Kelly in the trailer for An American in Paris (1951)

MGM wanted Kelly to return to safer and more commercial vehicles, but he ceaselessly fought for an opportunity to direct his own musical film. In the interim, he capitalized on his swashbuckling image as d'Artagnan in The Three Musketeers (also 1948)—and also appeared with Vera-Ellen in the Slaughter on Tenth Avenue ballet in Words and Music (1948 again). He was due to play the male lead opposite Garland in Easter Parade (1948), but broke his ankle playing volleyball. He withdrew from the film and convinced Fred Astaire to come out of retirement to replace him.[23] There followed Take Me Out to the Ball Game (1949), his second film with Sinatra, where Kelly paid tribute to his Irish heritage in "The Hat My Father Wore on St. Patrick's Day" routine. This musical film persuaded Arthur Freed to have Kelly make On the Town (also 1949), in which he partnered with Frank Sinatra for the third and final time. A breakthrough in the musical film genre, it has been described as "the most inventive and effervescent musical thus far produced in Hollywood."[11]

Stanley Donen, brought to Hollywood by Kelly to be his assistant choreographer, received co-director credit for On the Town. According to Kelly: "when you are involved in doing choreography for film, you must have expert assistants. I needed one to watch my performance, and one to work with the cameraman on the timing ... without such people as Stanley, Carol Haney, and Jeanne Coyne I could never have done these things. When we came to do On the Town, I knew it was time for Stanley to get screen credit because we weren't boss–assistant anymore but co-creators."[11][24] Together, they opened up the musical form, taking the film musical out of the studio and into real locations, with Donen taking responsibility for the staging and Kelly handling the choreography. Kelly went much further than before in introducing modern ballet into his dance sequences, going so far in the "Day in New York" routine as to substitute four leading ballet specialists for Sinatra, Munshin, Garrett, and Miller.[14]

Kelly asked the studio for a straight acting role and he took the lead role in the early mafia melodrama Black Hand (1950). This exposé of organized crime is set in New York's "Little Italy" during the late 19th century and focuses on the Black Hand, a group that extorts money upon threat of death. In real-life incidents upon which this film is based, it was the Mafia, not the Black Hand, who functioned as the villain. Filmmakers had to tread gingerly whenever dealing with big-time crime, it being safer to go after a "dead" criminal organization than a "live" one. There followed Summer Stock (1950)—Garland's last musical film for MGM—in which Kelly performed the "You, You Wonderful You" solo routine with a newspaper and a squeaky floorboard. In his book "Easy the Hard Way", Joe Pasternak, head of one of the other musical units within MGM, singled out Kelly for his patience and willingness to spend as much time as necessary to enable the ailing Garland to complete her part.[11]

Then followed in quick succession two musicals that secured Kelly's reputation as a major figure in the American musical film. First, An American in Paris (1951) and—probably the most admired of all film musicals—Singin' in the Rain (1952). As co-director, lead star, and choreographer, Kelly was the central driving force in both of these films. Johnny Green, the head of music at MGM at the time, said of him,

Gene is easygoing as long as you know exactly what you are doing when you're working with him. He's a hard taskmaster and he loves hard work. If you want to play on his team you'd better like hard work, too. He isn't cruel, but he is tough, and if Gene believed in something, he didn't care who he was talking to, whether it was Louis B. Mayer or the gatekeeper. He wasn't awed by anybody, and he had a good record of getting what he wanted.[11]

An American in Paris won six Academy Awards, including Best Picture. The film also marked the debut of 19-year-old ballerina Leslie Caron, whom Kelly had spotted in Paris and brought to Hollywood. Its dream ballet sequence, lasting an unprecedented 17 minutes, was the most expensive production number ever filmed at that time. Bosley Crowther described it as, "whoop-de-doo ... one of the finest ever put on the screen."[14] Also in 1951, Kelly received an honorary Academy Award for his contribution to film musicals and the art of choreography.

Singin' In The Rain Lobby Card 1 (cropped)
Donald O'Connor, Debbie Reynolds, and Gene Kelly from a lobby card for Singin' in the Rain

The following year, Singin' in the Rain featured Kelly's celebrated and much imitated solo dance routine to the title song, along with the "Moses Supposes" routine with Donald O'Connor and the "Broadway Melody" finale with Cyd Charisse. Though the film did not initially generate the same enthusiasm An American in Paris created, it has subsequently overtaken the earlier film to occupy its current pre-eminent place in the esteem of critics.[25]

1953–57: The decline of the Hollywood musical

At the peak of his creative powers, Kelly made what in retrospect some see as a mistake.[14] In December 1951, he signed a contract with MGM that sent him to Europe for 19 months to use MGM funds frozen in Europe to make three pictures while personally benefiting from tax exemptions. Only one of these pictures was a musical, Invitation to the Dance, a pet project of Kelly's to bring modern ballet to mainstream film audiences. It was beset with delays and technical problems, and flopped when finally released in 1956.

Its Always Fair Weather photo
Michael Kidd, Kelly, and Dan Dailey in It's Always Fair Weather (1955), directed by Kelly and Stanley Donen, their last collaboration

When Kelly returned to Hollywood in 1953, the film musical was beginning to feel the pressures from television, and MGM cut the budget for his next picture Brigadoon (1954), with Cyd Charisse, forcing him to make the film on studio back lots instead of on location in Scotland. This year also had him appear as guest star with his brother Fred in the "I Love to Go Swimmin' with Wimmen" routine in Deep in My Heart (1954). MGM's refusal to lend him out for Guys and Dolls and Pal Joey put further strains on his relationship with the studio. He negotiated an exit to his contract that involved making three further pictures for MGM. The first of these, It's Always Fair Weather (1955), co-directed with Donen, was a musical satire on television and advertising, and includes his roller-skate dance routine to I Like Myself, and a dance trio with Michael Kidd and Dan Dailey that Kelly used to experiment with the widescreen possibilities of Cinemascope. MGM had lost faith in Kelly's box-office appeal, and as a result It's Always Fair Weather premiered at 17 drive-in theatres around the Los Angeles metroplex. Next followed Kelly's last musical film for MGM, Les Girls (1957), in which he partnered a trio of leading ladies, Mitzi Gaynor, Kay Kendall, and Taina Elg. It, too, sold few movie tickets. The third picture he completed was a co-production between MGM and himself, a cheapie B-film, The Happy Road (1957), set in his beloved France, his first foray in a new role as producer-director-actor. After leaving MGM, Kelly returned to stage work.

1958–96: After MGM

In 1958, Kelly directed Rodgers and Hammerstein's musical play Flower Drum Song.[26] Early in 1960, Kelly, an ardent Francophile and fluent French speaker, was invited by A. M. Julien, the general administrator of the Paris Opéra and Opéra-Comique,[11] to select his own material and create a modern ballet for the company, the first time an American had received such an assignment. The result was Pas de Dieux, based on Greek mythology, combined with the music of George Gershwin's Concerto in F. It was a major success, and led to his being honored with the Chevalier of the Legion d'Honneur by the French Government.

Inherit the wind trailer (5) Gene Kelly
Kelly as Hornbeck in Inherit the Wind

Kelly continued to make some film appearances, such as Hornbeck in the Hollywood production of Inherit the Wind (1960) and as himself in Let's Make Love (also 1960). However, most of his efforts were now concentrated on film production and directing. In Paris, he directed Jackie Gleason in Gigot (1962), but the film was drastically recut by Seven Arts Productions and flopped.[14] Another French effort, Jacques Demy's homage to the MGM musical, The Young Girls of Rochefort (Les Demoiselles de Rochefort, 1967), in which Kelly appeared, was a box-office success in France and nominated for Academy Awards for Best Music and Score of a Musical Picture (Original or Adaptation), but performed poorly elsewhere.

He was asked to direct the film version of The Sound of Music, which had been previously turned down by Stanley Donen. He escorted Ernest Lehman out of his house, saying, "Go find someone else to direct this piece of shit."[27]

His first foray into television was a documentary for NBC's Omnibus, Dancing is a Man's Game (1958), where he assembled a group of America's greatest sportsmen—including Mickey Mantle, Sugar Ray Robinson, and Bob Cousy—and reinterpreted their moves choreographically, as part of his lifelong quest to remove the effeminate stereotype of the art of dance, while articulating the philosophy behind his dance style.[14] It gained an Emmy nomination for choreography and now stands as the key document explaining Kelly's approach to modern dance.

Kelly appeared frequently on television shows during the 1960s, including Going My Way (1962–63), which was based on the 1944 film of the same name. It enjoyed great popularity in Roman Catholic countries outside the US.[14] He also appeared in three major TV specials: The Julie Andrews Show (1965), New York, New York (1966), and Jack and the Beanstalk (1967)—a show he produced and directed that again combined cartoon animation and live dance, winning him an Emmy Award for Outstanding Children's Program.

In 1963, Kelly joined Universal Pictures for a two-year stint. He joined 20th Century Fox in 1965, but had little to do—partly due to his decision to decline assignments away from Los Angeles for family reasons. His perseverance finally paid off, with the major box-office hit A Guide for the Married Man (1967), in which he directed Walter Matthau. Then, a major opportunity arose when Fox—buoyed by the returns from The Sound of Music (1965)—commissioned Kelly to direct Hello, Dolly! (1969), again directing Matthau along with Barbra Streisand. The film was nominated for four Academy Awards and won three.

In 1970, he made another television special: Gene Kelly and 50 Girls and was invited to bring the show to Las Vegas, Nevada—which he did for an eight-week stint on the condition he be paid more than any artist had ever been paid there.[14] He directed veteran actors James Stewart and Henry Fonda in the comedy Western The Cheyenne Social Club (1970), which performed poorly at the box office. In 1973, he worked again with Frank Sinatra as part of Sinatra's Emmy-nominated TV special, Magnavox Presents Frank Sinatra. He appeared as one of many special narrators in the surprise hit That's Entertainment! (1974). He subsequently directed and co-starred with his friend Fred Astaire in the sequel That's Entertainment, Part II (1976). It was a measure of his powers of persuasion that he managed to coax the 77-year-old Astaire—who had insisted that his contract rule out any dancing, having long since retired—into performing a series of song-and-dance duets, evoking a powerful nostalgia for the glory days of the American musical film.

Kelly starred in the poorly received action film Viva Knievel! (1977), with the then high-profile stuntman, Evel Knievel. Kelly continued to make frequent TV appearances. His final film role was in Xanadu (1980), an expensive theatrical flop.[14] In Kelly's opinion, "The concept was marvelous, but it just didn't come off."[11] In the same year, he was invited by Francis Ford Coppola to recruit a production staff for American Zoetrope's One from the Heart (1982). Although Coppola's ambition was for him to establish a production unit to rival the Freed Unit at MGM, the film's failure put an end to this idea.[14] Kelly served as executive producer and co-host of That's Dancing! (1985), a celebration of the history of dance in the American musical. Kelly's final on-screen appearance was to introduce That's Entertainment! III (1994). His final film project was the animated film Cats Don't Dance, not released until 1997, on which Kelly acted as an uncredited choreographic consultant. It was dedicated to his memory.

Working methods and influence on filmed dance

When he began his collaborative film work, he was influenced by Robert Alton and John Murray Anderson, striving to create moods and character insight with his dances. He choreographed his own movement, along with that of the ensemble, with the assistance of Jeanne Coyne, Stanley Donen, Carol Haney, and Alex Romero.[8] He experimented with lighting, camera techniques, and special effects to achieve true integration of dance with film, and was one of the first to use split screens, double images, and live action with animation, and is credited as the person who made the ballet form commercially acceptable to film audiences.[8]

A clear progression was evident in his development, from an early concentration on tap and musical comedy style to greater complexity using ballet and modern dance forms.[28] Kelly himself refused to categorize his style: "I don't have a name for my style of dancing ... It's certainly hybrid ... I've borrowed from the modern dance, from the classical, and certainly from the American folk dance—tap-dancing, jitterbugging ... But I have tried to develop a style which is indigenous to the environment in which I was reared."[28] He especially acknowledged the influence of George M. Cohan: "I have a lot of Cohan in me. It's an Irish quality, a jaw-jutting, up-on-the-toes cockiness—which is a good quality for a male dancer to have."[11] He was also heavily influenced by an African-American dancer, Robert Dotson, whom he saw perform at Loew's Penn Theatre around 1929. He was briefly taught by Frank Harrington, an African-American tap specialist from New York.[29] However, his main interest was in ballet, which he studied under Kotchetovsky in the early 1930s. As biographer Clive Hirschhorn explains: "As a child, he used to run for miles through parks and streets and woods—anywhere, just as long as he could feel the wind against his body and through his hair. Ballet gave him the same feeling of exhilaration, and in 1933, he was convinced it was the most satisfying form of self-expression."[14] He also studied Spanish dancing under Angel Cansino, Rita Hayworth's uncle.[14] Generally speaking, he tended to use tap and other popular dance idioms to express joy and exuberance—as in the title song for Singin' in the Rain or "I Got Rhythm" in An American in Paris, whereas pensive or romantic feelings were more often expressed via ballet or modern dance, as in "Heather on the Hill" from Brigadoon or "Our Love Is Here to Stay" from An American in Paris.[28]

Kelly in rehearsal
Kelly in rehearsal with Sugar Ray Robinson and assistant Jeanne Coyne in the NBC Omnibus television special Dancing is a Man's Game (1958)

According to Delamater, Kelly's work "seems to represent the fulfillment of dance-film integration in the 1940s and 1950s". While Fred Astaire had revolutionized the filming of dance in the 1930s by insisting on full-figure photography of dancers, while allowing only a modest degree of camera movement, Kelly freed up the camera, making greater use of space, camera movement, camera angles, and editing, creating a partnership between dance movement and camera movement without sacrificing full-figure framing. Kelly's reasoning behind this was that he felt the kinetic force of live dance often evaporated when brought to film, and he sought to partially overcome this by involving the camera in movement and giving the dancer a greater number of directions in which to move. Examples of this abound in Kelly's work and are well illustrated in the "Prehistoric Man" sequence from On the Town and "The Hat My Father Wore on St. Patrick's Day" from Take Me Out to the Ball Game.[28] In 1951, he summed up his vision as: "If the camera is to make a contribution at all to dance, this must be the focal point of its contribution; the fluid background, giving each spectator an undistorted and altogether similar view of dancer and background. To accomplish this, the camera is made fluid, moving with the dancer, so that the lens becomes the eye of the spectator, your eye".[8]

Kelly's athleticism gave his moves a distinctive broad, muscular quality,[28] and this was a very deliberate choice on his part, as he explained: "There's a strong link between sports and dancing, and my own dancing springs from my early days as an athlete ... I think dancing is a man's game and if he does it well he does it better than a woman."[11] He railed against what he saw as the widespread effeminacy in male dancing, which, in his opinion, "tragically" stigmatized the genre, alienating boys from entering the field: "Dancing does attract effeminate young men. I don't object to that as long as they don't dance effeminately. I just say that if a man dances effeminately, he dances badly—just as if a woman comes out on stage and starts to sing bass. Unfortunately, people confuse gracefulness with softness. John Wayne is a graceful man and so are some of the great ballplayers ... but, of course, they don't run the risk of being called sissies."[11] In his view, "one of our problems is that so much dancing is taught by women. You can spot many male dancers who have this tuition by their arm movements—they are soft, limp, and feminine."[11] He acknowledged that in spite of his efforts—in TV programs such as Dancing: A Man's Game (1958) for example—the situation changed little over the years.[11]

He also sought to break from the class-conscious conventions of the 1930s and early 40s, when top hat and tails or tuxedos were the norm, by dancing in casual or everyday work clothes, so as to make his dancing more relevant to the cinema-going public. As his first wife, actress and dancer Betsy Blair explained: "A sailor suit or his white socks and loafers, or the T-shirts on his muscular torso, gave everyone the feeling that he was a regular guy, and perhaps they, too, could express love and joy by dancing in the street or stomping through puddles ... he democratized the dance in movies."[30] In particular, he wanted to create a completely different image from that associated with Fred Astaire, not least because he believed his physique did not suit such refined elegance: "I used to envy his cool, aristocratic style, so intimate and contained. Fred wears top hat and tails to the Manor born—I put them on and look like a truck driver."[11]

Personal life

Marriages

Gene Kelly Allan Warren
Kelly, photographed by Allan Warren, in 1986

Kelly married three times. His first marriage was to the actress Betsy Blair in 1941. They had one child, Kerry (b. 1942), and divorced in April 1957.[31]

In 1960, Kelly married his choreographic assistant Jeanne Coyne, who had previously been married to Stanley Donen between 1948 and 1951. Kelly and Coyne had two children, Timothy (b. 1962) and Bridget (b. 1964). This marriage lasted until Coyne's death in 1973.

Kelly married Patricia Ward in 1990. Their marriage lasted for six years until his death.[32]

Political and religious views

Kelly was a lifelong supporter of the Democratic Party. His period of greatest prominence coincided with the McCarthy era in the US. In 1947, he was part of the Committee for the First Amendment, the Hollywood delegation that flew to Washington to protest at the first official hearings by the House Committee on Un-American Activities. His first wife, Betsy Blair, was suspected of being a communist sympathizer, and when United Artists, which had offered Blair a part in Marty (1955), were considering withdrawing her under pressure from the American Legion, Kelly successfully threatened MGM's influence on United Artists with a pullout from It's Always Fair Weather unless his wife was restored to the part.[14][33] He used his position on the board of directors of the Writers Guild of America West on a number of occasions to mediate disputes between unions and the Hollywood studios.

He was raised as a Roman Catholic, and he was a member of the Good Shepherd Parish and the Catholic Motion Picture Guild in Beverly Hills, California.[34] However, after becoming disenchanted by the Roman Catholic Church's support for Francisco Franco against the Second Spanish Republic during the Spanish Civil War,[35] he officially severed his ties with the church in September 1939. This separation was prompted, in part, by a trip Kelly made to Mexico in which he became convinced that the church had failed to help the poor in that country.[35] After his departure from the Catholic Church, Kelly became an agnostic, as he had previously described himself.[36]

He retained a lifelong passion for sports and relished competition. He was known as a big fan of the Pittsburgh Steelers and New York Yankees. From the mid-1940s through the early 1950s, Blair and he organized weekly parties at their Beverly Hills home, and they often played an intensely competitive and physical version of charades, known as "The Game".[33]

His papers are housed at the Howard Gotlieb Archival Research Center at Boston University.

Late in life, Kelly was awarded Irish citizenship under Ireland's Citizenship by Foreign Birth program. The application was initiated on his behalf by his wife Patricia Ward Kelly.[37]

Illness and death

Kelly's health declined steadily in the late 1980s. In July 1994, he suffered a stroke and stayed in a hospital for seven weeks. In early 1995, he had another stroke in Beverly Hills. Kelly died on February 2, 1996 at the age of 83. His body was cremated, without a funeral or memorial service.[38]

Awards and honors

GeneKellyPlaqueAtPitt crop
Plaque honoring Gene Kelly at his alma mater, the University of Pittsburgh
  • 1942 – Best Actor award from the National Board of Review for his performance in For Me and My Gal
  • 1946 – Academy Award nomination for Best Actor in Anchors Aweigh (1945)
  • 1951 – Nominated for a Golden Globe Award for Best Actor in a Motion Picture Musical or Comedy for An American in Paris
  • 1952 – Honorary Academy Award "in appreciation of his versatility as an actor, singer, director and dancer, and specifically for his brilliant achievements in the art of choreography on film." This Oscar was lost in a fire in 1983 and replaced at the 1984 Academy Awards.
  • 1953 – Nomination from the Directors Guild of America, Best Director for Singin' in the Rain, 1952 (shared with Stanley Donen).
  • 1956 – Golden Bear at the 6th Berlin International Film Festival for Invitation to the Dance.[39]
  • 1958 – Nomination for Golden Laurel Award for Best Male Musical Performance in Les Girls.
  • 1958 – Dance Magazine's annual TV Award for Dancing: A Man's Game from the Omnibus television series. It was also nominated for an Emmy for best singing.
  • 1960 – In France, Kelly was made a Chevalier of the Legion of Honor.
  • 1962 – Gene Kelly Dance Film Festival staged by the Museum of Modern Art
  • 1964 – Best Actor Award for What a Way to Go! (1964) at the Locarno International Film Festival
  • 1967 – Emmy for Outstanding Children's Program for Jack and the Beanstalk
  • 1970 – Nomination for Golden Globe, Best Director for Hello, Dolly!, 1969
  • 1970 – Nomination from the Directors Guild of America, Best Director for Hello, Dolly!, 1969
  • 1981 – Cecil B. DeMille Award at Golden Globes
  • 1981 – Kelly was the subject of a 2-week film festival in France
  • 1982 – Lifetime Achievement Award in the fifth annual Kennedy Center Honors
  • 1985 – Lifetime Achievement Award from the American Film Institute
  • 1989 – Life Achievement Award from Screen Actors Guild
  • 1991 – Pittsburgh Civic Light Opera inaugurated the Gene Kelly Awards, given annually to high-school musicals in Allegheny County, Pennsylvania.
  • 1992 – Induction into the American Theater Hall of Fame
  • 1994 – National Medal of Arts awarded by United States President Bill Clinton[40]
  • 1994 – The Three Tenors performed "Singin' in the Rain" in his presence during a concert at Dodger Stadium in Los Angeles.
  • 1996 – Honorary César Award, the César is the main national film award in France.
  • 1996 – At the Academy Awards ceremony, director Quincy Jones organized a tribute to the just-deceased Kelly, in which Savion Glover performed the dance to "Singin' in the Rain".
  • 1997 – Ranked number 26 in Empire (UK) magazine's "The Top 100 Movie Stars of All Time" list
  • 1999 – Ranked number 15 in the American Film Institute's "Greatest Male Legends" of Classic Hollywood list
  • 2013 - "Singin' in the Rain" ranked number one in "The Nation's Favorite Dance Moment".

Filmography

Musical films

Kelly appeared as actor and dancer in musical films. He always choreographed his own dance routines and often the dance routines of others and used assistants. As was the practice at the time, he was rarely formally credited in the film titles.[8]

Documentaries

  • 1999 – Anatomy of a Dancer, directed by Robert Trachtenberg, PBS, 2002
  • 2013 – Gene Kelly, to Live and Dance, by Bertrand Tessier, France 5, 2017

Stage

Date Production Role Notes
November 9, 1938 – July 15, 1939 Leave It to Me! Secretary to Mr. Goodhue Was also a chorus boy in this production, backing Mary Martin in her famous number "My Heart Belongs To Daddy"
February 4, 1939 – May 27, 1939 One for the Money various roles
October 25, 1939 – April 6, 1940 The Time of Your Life Harry
September 23, 1940 – October 19, 1940 The Time of Your Life Harry
December 25, 1940 – November 29, 1941 Pal Joey Joey Evans
October 1, 1941 – July 4, 1942 Best Foot Forward Choreography
December 1, 1958 – May 7, 1960 Flower Drum Song Director
February 22, 1979 – April 1, 1979 Coquelico Producer
July 2, 1985 – May 18, 1986 Singin' in the Rain Original film choreography
Nominated — Drama Desk Award for Outstanding Choreography

Television

Year Title Role Notes
1958 Omnibus Himself Episode: "Dancing: A Man's Game"
1962–1963 Going My Way Father Chuck O'Malley 30 episodes
1965 Gene Kelly: New York, New York Himself
1965 The Julie Andrews Show Himself
1967 Jack and the Beanstalk Jeremy Keen, Proprietor (Peddler) Emmy Award for Best Children's Program
1971 The Funny Side Himself Series host
1973 Magnavox Presents Frank Sinatra Himself
1977 Yabba Dabba Doo! The Happy World of Hanna-Barbera Himself Documentary Host
1978 Gene Kelly: An American in Pasadena Himself
1979 The Mary Tyler Moore Hour Himself Guest Star
1980 The Muppet Show Himself
1985 North and South Senator Charles Edwards Miniseries
1986 Sins Eric Hovland Miniseries
2007 Family Guy Joseph Brady (Road to Rupert) Archive footage, uncredited

Radio appearances

Year Program Episode/source
1943 Suspense Mystery Radio Play Thieves Fall Out[41]
1946 Hollywood Players The Glass Key[42]
1949 Suspense Mystery Radio Play To Find Help[43]

References

  1. ^ RTE Publishing. "Gene Kelly was proud of Irish roots - RTÉ Ten". web.archive.org. Archived from the original on 2014-07-29. Retrieved 2014-10-27.
  2. ^ DiLeo, John (2002). 100 Great Film Performances You Should Remember, But Probably Don't. Limelight Editions. p. 225. ISBN 978-0-87910-972-1.
  3. ^ "100 Greatest Film Musicals". Retrieved 2016-04-08.
  4. ^ "The Best Movie Musicals of All Time". Archived from the original on 2016-02-21. Retrieved 2016-04-08.
  5. ^ "The Top 100 Greatest Movie Musicals of All Time". Archived from the original on 2016-02-06. Retrieved 2016-04-08.
  6. ^ "The 42nd Academy Awards (1970) Nominees and Winners". oscars.org. Retrieved April 8, 2016.
  7. ^ "Hello, Dolly!". The New York Times. Retrieved April 8, 2016.
  8. ^ a b c d e Billman, Larry (1997). Film Choreographers and Dance Directors. North Carolina: McFarland and Company. pp. 374–376. ISBN 0-89950-868-5.
  9. ^ "Heritage Gazette Vol.12 no.1: Entertainment and Recreation (May 2007)". content.yudu.com. Retrieved 2014-10-27.
  10. ^ Hirschhorn, C. (1975). Gene Kelly: A Biography. Regnery. ISBN 9780809282609. Retrieved 2014-10-27.
  11. ^ a b c d e f g h i j k l m n o p q r s Thomas, Tony (1991). The Films of Gene Kelly – Song and Dance Man. New York, NY: Carol Publishing Group. ISBN 0-8065-0543-5.
  12. ^ "On Stage: Kate Hepburn, Richard Rauh and old Nixon". old.post-gazette.com. Retrieved 2014-10-27.
  13. ^ "St Raphael Elementary School". straphaelelementaryschool.net. Archived from the original on 2014-10-08. Retrieved 2014-10-27.
  14. ^ a b c d e f g h i j k l m n Hirschhorn, Clive (1984). Gene Kelly – a Biography. London: W.H. Allen. ISBN 0-491-03182-3.
  15. ^ The Owl. Pittsburgh, PA: University of Pittsburgh. 1933. p. 158. Archived from the original on 2012-09-22. Retrieved 2010-06-09.
  16. ^ The Owl. Pittsburgh, PA: University of Pittsburgh. 1938. p. 198. Archived from the original on 2012-09-22. Retrieved 2010-06-09.
  17. ^ cf. Hirschhorn, p. 33.
  18. ^ 1940 US Census via Ancestry.com
  19. ^ Hess, Earl J.; Dabholkar, Pratibha A. (2009). Singin' in the Rain: The Making of an American Masterpiece. Lawrence, Kansas: University Press of Kansas. p. 33. ISBN 978-0-7006-1656-5.
  20. ^ Farber, Manny, The New Republic, May 15, 1944, as reprinted in 'Farber on Film,' Library of America, 2009, p. 163
  21. ^ According to Blair, p. 111, he directed Jocelyn Brando in a semidocumentary about war-wounded veterans.
  22. ^ Farber, Manny (April 27, 1945) The New Republic, republished in Farber on Film (2009) Library of America. p. 255
  23. ^ Astaire, Fred (1959). Steps in Time. London: Heinemann. p. 291. ISBN 0-241-11749-6.
  24. ^ Blair, p. 104: "Gene was the central creative force in this initial collaboration, but he was always generous about Stanley's contribution ... Unfortunately, and mysteriously for me, Stanley, over the years, had been less than gracious about Gene."
  25. ^ In 1994, Kurt Browning, offered an ice-skating interpretation of Singin' in the Rain on his television special You Must Remember This. In 2005, Kelly's widow gave permission for Volkswagen to use his likeness to promote the Golf GTi car. The advertisement, shown only outside the US, used CGI to mix footage of Gene Kelly, from Singin' in the Rain, with footage of professional breakdancer David Elsewhere.
  26. ^ In an episode foreshadowing his later conflicts with the studio, Elia Kazan in the late 1940s offered Kelly the role of Biff in Death of a Salesman on Broadway, but MGM refused to release him. cf. Blair, p. 112
  27. ^ "Book Review: 'The Sound of Music Story' by Tom Santopietro - WSJ". wsj.com. Retrieved 2015-05-18.
  28. ^ a b c d e Delamater, Jerome (2004). "Gene Kelly". International Encyclopedia of Dance. vol. 1. Oxford: Oxford University Press. pp. 38–40.
  29. ^ cf. Hirschhorn, pp. 25, 26: "What impressed Gene was the originality of the man's [Dotson's] dancing, as it was quite unlike anything he had seen before. The tricks Dotson was doing were absolutely fresh. He went back to see that act a few times and admitted pinching several steps for his own use ... Just as he had done with Dotson, Gene made up his mind to 'steal' as much as he could from numerous touring shows ... both Fred and he were absolutely shameless when it came to pilfering, and very good at it."
  30. ^ Blair, p. 176
  31. ^ "Marriage Ends For Gene Kelly, Actress Wife". The Palm Beach Post. 1957-04-04. p. 10. Retrieved 2012-12-07.
  32. ^ Krebs, Albin (1996-02-03). "Gene Kelly, Dancer of Vigor and Grace, Dies". nytimes.com. p. 5. Retrieved 2012-12-07.
  33. ^ a b Blair, Betsy (2004). The Memory of All That. London: Elliott & Thompson. ISBN 1-904027-30-X.
  34. ^ "Our History | Church of the Good Shepherd". goodshepherdbh.org. Retrieved 2015-05-18.
  35. ^ a b "Gene Kelly: cultural icon". Catholic New Times. 2005. Archived from the original on 2012-01-19.
  36. ^ Yudkoff, Alvin Gene Kelly: A Life of Dance and Dreams, Watson-Guptill Publications: New York, NY (1999) pp. 42, 59
  37. ^ Kelly, Patricia Ward (April 21, 2013). "My Genealogy". The Irish Independent. Retrieved 2 February 2016.
  38. ^ cf. Blair, p. 8
  39. ^ "6th Berlin International Film Festival: Prize Winners". berlinale.de. Retrieved 2009-12-26.
  40. ^ "National Medal of Arts". www.nea.gov. National Endowment for the Arts. Archived from the original on 2011-07-21. Retrieved 2011-05-23. 1994-Gene Kelly – dancer, singer, actor. One website, Movie Treasures Archived 2011-07-14 at the Wayback Machine, refers to this award as the "National Medal of Freedom" causing some people to mistake the award for the entirely unrelated "Presidential Medal of Freedom." The award Gene Kelly received was the National Medal of the Arts. Kelly's name does not appear on the list of Presidential Medal of Freedom Winners.
  41. ^ Blackstone Audio "Suspense" vol. 2 issued 2015
  42. ^ "Gene Kelly Joins Hollywood Players in "Glass Key"". Harrisburg Telegraph. November 23, 1946. p. 19. Retrieved September 12, 2015 – via Newspapers.com. open access
  43. ^ "Suspense - To Find Help" Escape and Suspense. To Find Help starring Gene Kelly, Ethel Barrymore and William Conrad, aired on January 6, 1949. It was adapted from Mel Dinelli's stage play The Man and from the film Beware, My Lovely (1952) starring Ida Lupino and Robert Ryan.

Further reading

  • Wise, James. Stars in Blue: Movie Actors in America's Sea Services. Annapolis, MD: Naval Institute Press, 1997. ISBN 1557509379 OCLC 36824724

External links

6th Berlin International Film Festival

The 6th annual Berlin International Film Festival was held from 22 June to 3 July 1956. The FIAPF granted the festival the "A status" during this year, which previously only reserved for Cannes and Venice. The awards for the first time, were given by an international jury.Golden Bear was awarded to Invitation to the Dance directed by Gene Kelly. However the decision by the Marcel Carné-led jury to award the Golden Bear to Gene Kelly was widely criticized.

A Guide for the Married Man

A Guide for the Married Man is a 1967 American bedroom farce comedy film starring Walter Matthau, Robert Morse, and Inger Stevens. It was directed by Gene Kelly. It features a large number of cameos, including Lucille Ball, Jack Benny, Terry-Thomas, Jayne Mansfield, Sid Caesar, Carl Reiner, Joey Bishop, Art Carney and Wally Cox. The title song, performed by The Turtles, was composed by John Williams with lyrics by Leslie Bricusse.

An American in Paris (film)

An American in Paris is a 1951 American musical film inspired by the 1928 orchestral composition An American in Paris by George Gershwin. Starring Gene Kelly, Leslie Caron, Oscar Levant, Georges Guétary, and Nina Foch, the film is set in Paris, and was directed by Vincente Minnelli from a script by Alan Jay Lerner. The music is by George Gershwin, with lyrics by his brother Ira, with additional music by Saul Chaplin, the music director.

The story of the film is interspersed with dance numbers choreographed by Gene Kelly and set to Gershwin's music. Songs and music include "I Got Rhythm", "I'll Build A Stairway to Paradise", "'S Wonderful", and "Love Is Here to Stay". The climax of the film is "The American in Paris" ballet, a 17-minute dance featuring Kelly and Caron set to Gershwin's An American in Paris. The ballet sequence cost almost half a million dollars to shoot.

An American in Paris was an enormous success, garnering eight Academy Award nominations and winning six, as well as earning other industry honors. In 1993, it was selected for preservation by the United States Library of Congress in the National Film Registry for being "culturally, historically, or aesthetically significant". It is ranked #9 among AFI's Greatest Movie Musicals.

Anchors Aweigh (film)

Anchors Aweigh is a 1945 American Technicolor musical comedy film directed by George Sidney and starring Frank Sinatra, Kathryn Grayson, and Gene Kelly, with songs by Jule Styne and Sammy Cahn. In the film, two sailors go on a four-day shore leave in Hollywood, meet a young boy and his aunt, an aspiring young singer, and the sailors try to help her get an audition at Metro-Goldwyn-Mayer. In addition to a live-action Kelly dancing with Jerry Mouse the cartoon mouse, the film also features José Iturbi, Pamela Britton, Dean Stockwell, and Sharon McManus.

Brigadoon (film)

Brigadoon is a 1954 American Metro-Goldwyn-Mayer musical film made in CinemaScope and Anscocolor based on the Broadway musical of the same name by Alan Jay Lerner and Frederick Loewe. The film was directed by Vincente Minnelli and stars Gene Kelly, Van Johnson, and Cyd Charisse. Brigadoon has been broadcast on American television and is available in VHS and DVD formats.

The 1954 film is not to be confused with the 1966 television film version, directed by Fielder Cook and starring Robert Goulet, Peter Falk, and Sally Ann Howes. It won five Primetime Emmy Awards.

Cyd Charisse

Tula Ellice Charisse (née Finklea; March 8, 1922 – June 17, 2008), known professionally as Cyd Charisse, was an American dancer and actress.

After recovering from polio as a child and studying ballet, Charisse entered films in the 1940s. Her roles usually featured her abilities as a dancer, and she was paired with Fred Astaire and Gene Kelly; her films include Singin' in the Rain (1952), The Band Wagon (1953), Brigadoon with Gene Kelly and Van Johnson (1954) and Silk Stockings (1957). She stopped dancing in films in the late 1950s, but continued acting in film and television, and in 1992 made her Broadway debut. In her later years, she discussed the history of the Hollywood musical in documentaries, and was featured in That's Entertainment! III in 1994. She was awarded the National Medal of the Arts and Humanities in 2006.

Du Barry Was a Lady (film)

Du Barry Was a Lady is a 1943 American musical comedy film, starring Red Skelton, Lucille Ball, Gene Kelly and Tommy Dorsey and his Orchestra. It is based on the 1939 stage musical of the same name. Shot in Technicolor, the film was directed by Roy Del Ruth and produced and distributed by Metro-Goldwyn-Mayer.

For Me and My Gal (film)

For Me and My Gal is a 1942 American musical film directed by Busby Berkeley and starring Judy Garland, Gene Kelly – in his film debut – and George Murphy, and featuring Martha Eggerth and Ben Blue. The film was written by Richard Sherman, Fred F. Finklehoffe and Sid Silvers, based on a story by Howard Emmett Rogers inspired by a true story about vaudeville actors Harry Palmer and Jo Hayden, when Palmer was drafted into World War I. The film was a production of the Arthur Freed unit at MGM.

Gene Kelly filmography

Gene Kelly (1912–1996) was an American dancer, actor, singer, director, producer and choreographer whose work in motion pictures spans from 1942 to 1996. He is probably best known today for his performances in musicals, notably An American in Paris (1951) and Singin' in the Rain (1952).

Kelly made his Hollywood film debut in For Me and My Gal (1942), co-starring with Judy Garland. Afterward, he went on to work as an actor, dancer and subsequently, choreographer, in a series of musical films. In these films, his choreography included experiments with a combination of dance and animation (Anchors Aweigh and Invitation to the Dance) and dance scenes involving special effects (including the "Alter Ego" number from Cover Girl and the split-screen dance number from It's Always Fair Weather). In addition to his work as an actor and choreographer, Kelly directed or co-directed several films, some of which did not feature him in an acting role. Kelly appeared in several non-musical dramatic and comedy films as well.

Kelly received an Academy Award nomination for Best Actor for his performance in Anchors Aweigh (1945) and won an Honorary Academy Award for his work in An American in Paris (1951). He was voted the 15th most popular film actor on the American Film Institute’s millennium list, while his Singin' in the Rain was voted the most popular movie musical of all time.

This filmography below contains a chronological listing of Gene Kelly's feature films. His musicals are indicated with a beamed eighth note symbol (♫).

Hello, Dolly! (film)

Hello, Dolly! is a 1969 American romantic comedy musical film based on the Broadway production of the same name. Directed by Gene Kelly and adapted and produced by Ernest Lehman, the cast includes Barbra Streisand, Walter Matthau, Michael Crawford, Danny Lockin, Tommy Tune, Fritz Feld, Marianne McAndrew, E. J. Peaker and Louis Armstrong (whose recording of the title tune had become a number-one single in May 1964). The film follows the story of Dolly Levi (a strong-willed matchmaker), as she travels to Yonkers, New York, to find a match for the miserly "well-known unmarried half-a-millionaire" Horace Vandergelder. In doing so she convinces his niece, his niece's intended, and Horace's two clerks to travel to New York City.

The film won three Oscars for Best Art Direction, Best Score of a Musical Picture, and Best Sound and was nominated for a further four Academy Awards, including Best Picture. Although the film eventually broke even, it was not a commercial success.

Invitation to the Dance (film)

Invitation to the Dance is a 1956 anthology film consisting of three distinct stories, all starring and directed by Gene Kelly.

The film is unusual in that it has no spoken dialogue, with the characters performing their roles entirely through dance and mime. Kelly appears in all three stories, which feature leading dancers of the era including Tommy Rall, Igor Youskevitch, Tamara Toumanova and Carol Haney.

The movie began filming on August 19, 1952, but was not completed until 1954 becoming one of MGM's longest shoots. Its release was delayed until 1956 because of doubts at Metro-Goldwyn-Mayer about its commercial viability. The movie was a failure at the box office, but is regarded today as a landmark all-dance film.

It's Always Fair Weather

It's Always Fair Weather is a 1955 MGM musical satire scripted by Betty Comden and Adolph Green, who also wrote the show's lyrics, with music by André Previn and starring Gene Kelly, Dan Dailey, Cyd Charisse, Dolores Gray, and dancer/choreographer Michael Kidd in his first film acting role.

The film, co-directed by Kelly and Stanley Donen, was made in CinemaScope and Eastmancolor. Although well received critically at the time, it was not a commercial success, and is widely regarded as the last of the major MGM dance oriented musicals. In recent years it has been recognized as a seminal film because of the inventiveness of its dance routines.

It's Always Fair Weather is noted for its downbeat theme, which may have hurt it at the box office, and has been called a rare "cynical musical".

Les Girls

Les Girls, also known as Cole Porter's Les Girls, is a 1957 musical comedy film made by Metro-Goldwyn-Mayer. It was directed by George Cukor and produced by Sol C. Siegel, with Saul Chaplin as associate producer. The screenplay was by John Patrick, based on a story by Vera Caspary. The music and lyrics were by Cole Porter.

It stars Gene Kelly, Kay Kendall, Mitzi Gaynor and Taina Elg, and the cast also includes Jacques Bergerac, Leslie Phillips, Henry Daniell and Patrick Macnee.

On the Town (film)

On the Town is a 1949 Technicolor musical film with music by Leonard Bernstein and Roger Edens and book and lyrics by Betty Comden and Adolph Green. It is an adaptation of the Broadway stage musical of the same name produced in 1944 (which itself is an adaptation of the Jerome Robbins ballet entitled Fancy Free which was also produced in 1944), although many changes in script and score were made from the original stage version; for instance, most of Bernstein's music was dropped in favor of new songs by Edens, who disliked the majority of the Bernstein score for being too complex and too operatic. This caused Bernstein to boycott the film.

The film was directed by Gene Kelly, who also choreographed, and Stanley Donen, and stars Kelly, Frank Sinatra, Betty Garrett, and Ann Miller, and features Jules Munshin and Vera-Ellen. It was a product of the Arthur Freed unit at MGM, and is notable for its combination of studio and location filming, as a result of Gene Kelly's insistence that some scenes be shot in New York City, including at the American Museum of Natural History, the Brooklyn Bridge, and Rockefeller Center.

The film was an immediate success and won the Oscar for Best Music—Scoring of a Musical Picture, and was nominated for a Golden Globe Award for Best Cinematography (Color). Screenwriters Comden and Green won the Writers Guild of America Award for Best Written American Musical.

In 2006, the film ranked No. 19 on the American Film Institute's list of Best Musicals. In 2018, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant."

Singin' in the Rain

Singin' in the Rain is a 1952 American musical-romantic comedy film directed and choreographed by Gene Kelly and Stanley Donen, starring Kelly, Donald O'Connor, and Debbie Reynolds. It offers a lighthearted depiction of Hollywood in the late 1920s, with the three stars portraying performers caught up in the transition from silent films to "talkies".

The film was only a modest hit when first released. O'Connor won the Golden Globe Award for Best Actor – Motion Picture Musical or Comedy, and Betty Comden and Adolph Green won the Writers Guild of America Award for their screenplay, while Jean Hagen was nominated for the Academy Award for Best Supporting Actress. However, it has since been accorded legendary status by contemporary critics, and is frequently regarded as the best film musical ever made, and the best film ever made in the "Freed Unit" at Metro-Goldwyn-Mayer. It topped the AFI's Greatest Movie Musicals list and is ranked as the fifth-greatest American motion picture of all time in its updated list of the greatest American films in 2007. In 1989, the United States Library of Congress selected the film for preservation in the National Film Registry. In 2005 the British Film Institute included it in its list of the 50 films to be seen by the age of 14. In Sight & Sound magazine's 2017 list of the 50 greatest films of all time, Singin' in the Rain placed 20th.

Stanley Donen

Stanley Donen ( DON-ən; April 13, 1924 – February 21, 2019) was an American film director and choreographer whose most celebrated works are On the Town (1949) and Singin' in the Rain (1952), both of which starred Gene Kelly who co-directed. His other films include Royal Wedding (1951), Seven Brides for Seven Brothers (1954), Funny Face (1957), Indiscreet (1958), and Charade (1963). He began his career in the chorus line on Broadway for director George Abbott, where he befriended Kelly. From 1943, he was in Hollywood and worked as a choreographer before beginning to collaborate with Kelly. After On the Town, Donen worked as a contract director for MGM under producer Arthur Freed producing critically well-received box-office hits. Donen and Kelly co-directed the musical Singin' in the Rain, released in April 1952, which has appeared on lists of the best films ever made. Donen's relationship with Kelly deteriorated during their final collaboration, It's Always Fair Weather (1955). He then broke his contract with MGM to become an independent producer in 1957. He continued making films throughout the 1950s, 1960s and 1970s, often financial successes that gained positive attention. His film output became less frequent in the early 1980s and he briefly returned to the stage as a director in the 1990s and again in 2002.

Donen is credited with having transitioned Hollywood musical films from realistic backstage dramas to a more integrated art form in which the songs were a natural continuation of the story. Before Donen and Kelly made their films, musicals – such as the extravagant and stylized work of Busby Berkeley – were often set in a Broadway stage environment where the musical numbers were part of a stage show. Donen and Kelly's films created a more cinematic form and included dances that could only be achieved in the film medium. Donen stated that what he was doing was a "direct continuation from the Astaire – Rogers musicals ... which in turn came from René Clair and from Lubitsch ... What we did was not geared towards realism but towards the unreal."

Donen is highly respected by film historians; however his career is often compared to Kelly's, and there is debate over who deserves more credit for their collaborations. Donen and Kelly's relationship was complicated, both professionally and personally, but Donen's films as a solo director are generally better regarded by critics than Kelly's. French film critic Jean-Pierre Coursodon has said that Donen's contribution to the evolution of the Hollywood musical "outshines anybody else's, including Vincente Minnelli's". David Quinlan called him "the King of the Hollywood musicals". Among his awards are an Honorary Academy Award in 1998 and a Career Golden Lion from the Venice Film Festival in 2004. Donen married five times and had three children. Film director and comedian Elaine May was his partner from 1999 until his death in 2019. He was the last surviving notable director of Hollywood's Golden Age.

Take Me Out to the Ball Game (film)

Take Me Out to the Ball Game is a 1949 Technicolor musical film produced in the Arthur Freed unit of MGM. It stars Frank Sinatra, Esther Williams, and Gene Kelly, features Betty Garrett, Edward Arnold and Jules Munshin, and was directed by Busby Berkeley. The title and nominal theme is taken from the unofficial anthem of American baseball, "Take Me Out to the Ball Game". The film was released in the United Kingdom as Everybody's Cheering.

That's Entertainment!

That's Entertainment! is a 1974 American documentary film released by Metro-Goldwyn-Mayer to celebrate the studio's 50th anniversary. It was followed by two sequels and a related film called That's Dancing!.

The film, compiled by its writer-producer-director, Jack Haley Jr., under the supervision of executive producer Daniel Melnick, turned the spotlight on MGM's legacy of musical film from the 1920s through the 1950s, featuring performances culled from dozens of the studio's famous films. Archive footage of Judy Garland, Eleanor Powell, Lena Horne, Esther Williams, Ann Miller, Kathryn Grayson, Howard Keel, Jeanette MacDonald, Cyd Charisse, June Allyson, Clark Gable, Mario Lanza, William Warfield, and many others was featured.

The various segments were hosted by a succession of the studio's legendary stars: Frank Sinatra, Gene Kelly, Fred Astaire, Peter Lawford, Debbie Reynolds, Bing Crosby, James Stewart, Elizabeth Taylor, Mickey Rooney, Donald O'Connor and Liza Minnelli (representing her mother, Judy Garland).

Most of the hosts were filmed on MGM's famous backlot, which appears ramshackle and rundown in this film, because MGM had sold the property to developers and the sets were about to be demolished (several of the stars, including Bing Crosby, remark on this during their segments). The most notable degradation can be seen when Fred Astaire revisits the ruins of a train station set that had been used in the opening of The Band Wagon two decades earlier, and when Peter Lawford revisits exteriors used in his 1947 musical Good News. That's Entertainment! was the last major project to be filmed on the backlot.

The title of the film derives from the anthemic song "That's Entertainment!", by Arthur Schwartz and Howard Dietz, which was introduced in the 1953 MGM musical, The Band Wagon. The title is usually expressed with an exclamation mark, but it is also correct to refer to it without (see the movie poster).

The Cheyenne Social Club

The Cheyenne Social Club is a 1970 American western comedy film written by James Lee Barrett, directed and produced by Gene Kelly, and starring James Stewart, Henry Fonda and Shirley Jones. The film is about an aging cowboy who inherits a brothel and decides to turn it into a respectable boarding house, against the wishes of both the townspeople and the ladies working there.

Films directed by Gene Kelly
Awards for Gene Kelly
Presidents of the César Awards ceremonies

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