History
Arthur Freed, the head of the "Freed Unit" at MGM responsible for the studio's glossy and glamorous musicals, conceived the idea of a movie based on the back catalog of songs written by himself and Nacio Herb Brown, and called in Betty Comden and Adolph Green from New York to come up with a story to tie the songs together and to write the script. Comden and Green first refused the assignment, as their agent had assured them that their new contract with MGM called for them to write the lyrics to all songs unless the score was by Irving Berlin, Cole Porter, or Rodgers and Hammerstein. After a two-week hold-out, their new agent, Irving "Swifty" Lazar, having looked over the contract, told them that the clause had been entirely an invention of their previous agent, and that there was no such language in the contract. After hearing this, Comden and Green began working on the story and script.[15]
Because many of the songs had originally been written during the time when silent films were giving way to "talkies" and musicals were popular with audiences, Comden and Green came up with the idea that the story should be set during that transitional period in Hollywood, an era they were intimately familiar with. When Howard Keel was mentioned as the possible lead, they tried to work up a story involving a star of Western films who makes a comeback as a singing cowboy, but they kept gravitating to a story about a swashbuckling romantic hero with a vaudeville background who survives the transition by falling back on his abilities as a song-and-dance man, a story which Gene Kelly was well-suited for.[16]
Kelly could not be approached at the time, as he was deeply immersed in An American in Paris (1951), which he was co-choreographing with Stanley Donen, and in which he was starring. Comden and Green continued to work on the script, and had at that time three possible openings for the film: a silent movie premiere, a magazine interview with a Hollywood star, and a star-meets-girl, star-loses-girl sequence. Unable to decide which to use or how to proceed, they had just decided to return their advance to MGM and admit defeat, when Betty Comden's husband arrived from New York and suggested that they combine all three openings into one. The script with the re-written opening was approved by Freed and by MGM's head of production Dore Schary, who had recently replaced Louis B. Mayer.[17]
By this time shooting on An American in Paris had completed, and Freed suggested that Kelly be given the script to read. Kelly and Donen responded enthusiastically, and immediately became involved in re-writes and adjustments to the script. Comden, Green, Kelly, and Donen were all old friends, and the process went smoothly. Besides the Freed-Brown songs, Comden and Green contributed the lyrics to "Moses Supposes", which was set to music by Roger Edens. Shortly before shooting began, "The Wedding of the Painted Doll", which Comden and Green had "painfully wedged into the script as a cheering-up song" was replaced with a new Freed/Brown song, "Make 'Em Laugh",[18] which bore a remarkable resemblance to Cole Porter's 1948 song "Be a Clown".[19]
After Comden and Green had returned to New York to work on other projects, they received word that a new song was needed for a love-song sequence between Kelly and Debbie Reynolds. The original had been a song-and-dance medley involving different sets in different soundstages on the studio lot, but they were asked for a romantic love song set in an empty sound stage, and it was needed immediately. Comden and Green provided such a scene for "You Were Meant for Me" and sent it off to Hollywood.[20]
Revisions from early drafts
Trailer- In an early draft of the script, the musical number "Singin' in the Rain" was to be sung by Reynolds, O'Connor, and Kelly, emerging from a restaurant after the flop preview of The Dueling Cavalier, to celebrate the idea of changing the film into a musical.[21]
- Kelly’s singing "You Were Meant For Me" to Reynolds on an empty sound stage was not included in that draft. The number was originally conceived as Kelly’s singing a medley of other songs to her as they romped around various studio back lot sets.[22]
- Rita Moreno was originally to have sung the lead in "I've Got a Feelin' You're Foolin'" with other showgirls, but this ended up as part of the "Beautiful Girl Montage" without her.[23]
Scenes filmed but cut before release
- Gene Kelly sang a reprise of "All I Do Is Dream of You" after the party at R. F. Simpson's house when Kelly chases after Reynolds. The song, ending in Kelly's bedroom, was cut from the release version after two previews, and the footage has been lost.[24]
- Reynolds's solo rendition of "You Are My Lucky Star" (to a billboard showing an image of Lockwood) was cut after previews.[24] This number has survived and is included on the original soundtrack and DVD version of the film.[25] It also was used in the retrospective film That's Entertainment III.
- In the steamy "Vamp Dance" segment of the "Broadway Melody Ballet" with Cyd Charisse and Gene Kelly, reviewers from both the Production Code and the Catholic Legion of Decency objected to a brief, suggestive pose or movement between the dancers. Although there is no precise documentation of what or where it was, close examination of footage toward the end of the dance shows an abrupt and noticeable cut to both visual and audio when Charisse is wrapped around Kelly, indicating the probable location.[26]
Other notes
Reynolds's singing in two songs was dubbed by Betty Noyes, one of them when Kathy is shown dubbing Lina Lamont, while her high notes and taps were dubbed in the entire film. The spoken dialog in the same scene was actually uttered by Hagen. Donen once explained Reynolds's "mid-western" accent was thought inferior to Hagen's natural speaking voice for this one scene.[27]
In the sequence in which Gene Kelly dances and sings the title song while spinning an umbrella, splashing through puddles and getting soaked with rain, Kelly was sick with a 103 °F (39 °C) fever.[28][29] The water used in the scene caused Kelly's wool suit to shrink during filming.[30] A common myth is that Kelly managed to perform the entire song in one take, thanks to cameras placed at predetermined locations. However, this was not the case; filming the sequence took two to three days.[31] Another myth is that the rain was mixed with milk in order for the drops to show up better on camera; but the desired visual effect was produced, albeit with difficulty, through backlighting.[32][33]
Debbie Reynolds was not a dancer when she made Singin' in the Rain; her background was as a gymnast.[25] Kelly apparently insulted her for lacking dance experience, which upset her. Later, when Fred Astaire was in the studio, he found Reynolds crying under a piano. On hearing what had happened, Astaire volunteered to help her with her dancing. Kelly later admitted that he had not been kind to Reynolds and was surprised that she was still willing to talk to him afterwards. After shooting the "Good Morning" routine, which had taken from 8:00 a.m. until 11:00 p.m. to shoot,[34] Reynolds's feet were bleeding.[25] Years later, she said "Singin' in the Rain and childbirth were the two hardest things I ever had to do in my life."[35]
Donald O'Connor, a four-pack-a-day smoker at the time, had to stay in bed in the hospital for several days after filming the "Make 'Em Laugh" sequence.[31][36]
Most of the costumes from this film were eventually acquired by Debbie Reynolds and held in her massive collection of original film costumes, sets, and props. Many of these items were sold at a 2011 auction in Hollywood. While most items were sold to private collectors, Donald O'Connor's green check "Fit As a Fiddle" suit and shoes were purchased by Costume World, Inc. They are now on permanent display at the Costume World Broadway Collection Museum in Pompano Beach, Florida.[37]
