Cahiers du cinéma n°14 - July/August 1952 (1952-08)Cahiers du cinéma
Gene Kelly was likely a very popular American actor among the Cahiers editors, a connection that grew stronger through his association with like-minded filmmakers. His contribution was celebrated on the cover of Cahiers du cinéma's 14th issue in 1952.
Musical comedies—a major and prolific genre during the Golden Age of Hollywood—saw the emergence of many dancing stars, in particular tap dancers.
Gene Kelly
Born of an Irish tradition fused with African influences over time, American tap suited Gene Kelly, whose parents both came from Irish immigrant families.
This emotional attachment to Ireland was always present, as seen in his performance of one of his most famous numbers, The Hat My Dear Old Father Wore from the 1949 movie Take Me Out to the Ball Game by Busby Berkeley.
It was also visible in Shirley MacLaine's tribute to him at the American Film Institute's Life Achievement Award ceremony in 1985, where the actor gathered Kelly's closest colleagues to sing a rendition of When Irish Eyes Are Smiling.
Where it all began
Starting as a dancer on Broadway in the 1930s, he was soon noticed and signed his first contract with Selznick International Pictures movie studio, followed by a signing with Metro-Goldwyn-Mayer (better known as MGM).
Judy Garland—MGM's biggest star since the success of The Wizard of Oz, directed by Victor Fleming, in 1939—insisted that he share the screen with her in Berkeley's For Me and My Gal in 1942, a kindness that Kelly would never forget.
In 1950, the actor repaid the favor by campaigning for Garland to appear in Charles Walters' Summer Stock with him when she was at a low point in her career. Due to health problems caused by the pressure placed on her by studios at the start of her career, offers from MGM were considerably rare.
Early success
In 1944, Charles Vidor's Cover Girl marked a turning point in Kelly's career.
Cover Girl (1944)Cahiers du cinéma
His talents were finally showcased in a large musical production, where his own choreography and physical performance reached their full potential.
The actor suddenly found himself shoulder to shoulder with the likes of Fred Astaire—another dancer, singer, choreographer, and actor since the 1930s—but with his own distinctive style. While Astaire was svelte, light, and airy, Kelly was acrobatic, powerful, and earthbound.
"If Fred Astaire is the Cary Grant of dance, I'm the Marlon Brando." Gene Kelly
Only two pieces of footage unite these two talents: The Babbitt and the Bromide from Ziegfield Follies, co-directed by Vincente Minnelli and others in 1946, and the much later 1974 documentary That's Entertainment! Part I, celebrating the Golden Age of Hollywood.
Anchors Aweigh (1945)Cahiers du cinéma
Gifted and groundbreaking, Kelly further exposed his talent in his next movie, George Sidney's Anchors Aweigh in 1947, which earned him an Oscar nomination for Best Actor and saw him choreograph an animated dance sequence with Jerry Mouse from Tom & Jerry.
This movie not only showcased his impeccable dance technique, but also his ability to effortlessly move between the worlds of dance and animation, something he revived in his self-directed movie Invitation to the Dance in 1956.
Recognition
In 1949, On the Town by Stanley Donen and Kelly helped solidify his status as a central figure on Hollywood's musical movie scene.
On the Town (1949)Cahiers du cinéma
It was one of the first major movies that Kelly actively helped to direct. This project also marked the start of his collaboration with Donen, which proved to be a determining factor in his career.
The movie was also a major milestone in the evolution of dance on the big screen. Kelly and Donen approached the choreography by integrating it into the natural backdrop of New York city, which differed from previous musical movies that often favored artificial studio sets.
Broadening the confines of what was possible in musical movies, On the Town enabled Kelly to further distinguish himself as a pioneering choreographer and director.
The heyday
The 1950s were, without a doubt, the height of Kelly's career. His performances in movies like An American in Paris and Singin' in the Rain made him a living legend of musical movies.
An American in Paris (1951)Cahiers du cinéma
An American in Paris, directed by Minnelli in 1951, is one of the most iconic movies of Kelly's career.
An American in Paris (1951)Cahiers du cinéma
The movie stood out for its fusion of classical dance, ballet, and music, with Kelly giving an exceptional performance—particularly in the long ballet scene at its climax.
An American in Paris (1951)Cahiers du cinéma
This masterpiece won six Oscars, including Best Picture, and Kelly was recognized for his artistic contribution.
Singin' in the Rain (1952)Cahiers du cinéma
Kelly's lasting legacy will always be Singin' in the Rain, directed by Donen and Kelly, and released in 1952. This movie is a true celebration of cinema and dance.
Singin' in the Rain (1952)Cahiers du cinéma
This movie is a true celebration of cinema and dance.
Singin' in the Rain (1952)Cahiers du cinéma
In it, Kelly played the role of Don Lockwood, a silent movie star navigating the challenges of transitioning to talking pictures.
Singin' in the Rain (1952)Cahiers du cinéma
The dance scene often cited as one of the most significant in the history of cinema is the one where Kelly dances in the rain in a performance that embodied his unique style.
The final curtain
Toward the end of the 1950s and beginning of the 1960s, interest in big musical productions waned. Even though his cinematic roles were more rare, Kelly continued to work as a dancer and choreographer for television and theater.
The Young Girls of Rochefort (1967)Cahiers du cinéma
Jacques Demy called upon him in 1967 to play the role of Andy Miller in Les Demoiselles de Rochefort (The Young Girls of Rochefort). It was a role that paid direct tribute to his career, as well as to the musical comedies of the Golden Age of Hollywood more broadly.
Hello, Dolly! (1969)Cahiers du cinéma
Hello, Dolly! with Barbra Streisand in 1969 was one of his last big hits as a director. He gradually retired from the big screen but continued to work as a teacher and producer.
It's Always Fair Weather (1955)Cahiers du cinéma
Kelly was one of the first to fuse dance with more modern, dynamic, and physical elements. His more athletic style was often characterized by leaps, pirouettes, and highly fluid movements. His work has enabled dance to become an integral part of cinematic history, and not just a fleeting moment.
Singin' in the Rain (1952)Cahiers du cinéma
With his unique charisma and exceptional talent, Kelly redefined dance on the big screen and remains an influential figure in the history of the art of dance and cinema, the seventh art.
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