[SINGING]
Gotta dance
Singin' in the Rain invented the wheel.
Like, it really just kind of put a new spin
on how musicals on film were done.
SHUM: This was the one that
definitely made me feel...
that you can blend
every dance style together...
and it just influenced me
and inspired me to do things...
outside of what I was doing,
as far as hip-hop goes.
Because of Gene Kelly,
I know that every step I choreograph...
has to have a purpose.
Those dream sequences...
those ballets were, you know,
the origins of music videos.
They were fantasies.
USHER:
We, as artists in this time...
stand on the shoulders of giants
who came before us.
I think the magic
that Gene Kelly possessed...
was the ability to make something
so difficult look so effortless.
ABDUL:
Singin' in the Rain, still, to this day...
has such heavy influence
on young, budding choreographers...
established choreographers, dancers.
It's like going to school.
[SINGS]
Gotta dance
[LAUGHS]
The first time I saw Singin' in the Rain
was in my meemaw's room...
at my aunt's house. Ha-ha-ha.
My grandmother
was a huge musical fan.
[SINGING]
Feel like dancin' down the street
WOODLEE:
And I grew up dancing.
So Singin' in the Rain sort of combined,
not only a dancing element...
but sort of brought
that fantasy world...
and it was so much color.
And just the sheer energy, I think,
translates to such a young person.
[SINGING] Singin' in the rain
Just singin'...
DelLUCA:
First time I saw the film...
it's a great memory.
My parents were interested.
The neighborhood liked it. Everybody
was excited it was on television.
[SINGING]
With a happy refrain
DeLUCA:
I always knew since I was a kid...
that I loved this way of expressing
one's self through song and musicals.
I didn't much like
the traditional musical...
because I liked things
that were a little more daring than that.
Then here comes
a traditional musical...
and it felt contemporary.
And it still feels contemporary now.
They were breaking ground
without even knowing it.
First time I saw Singin' in the Rain...
it's hard to remember, I was young.
I started dancing at 2 years old.
Tap and ballet.
And at my dance studio...
we ended up doing a tap number
to Singin' in the Rain.
Of course, at the time, I didn't know
what the reference was to.
I just heard the music
and we were dancing and...
my parents,
they actually introduced me to the film...
which was my first introduction
to Gene Kelly.
I just saw dancing,
and that was all I needed to see.
ROONEY:
I was 18 in high school.
And it was like the most amazing
piece of art...
that I've ever seen.
I had just started dancing.
And it totally inspired me
to move that way, in that fashion.
I was a tap dancer.
I wanted to tap at 10 years old.
I liked Paula Abdul and
she was doing a lot of tap dancing...
in her performances.
So as soon as I got in a tap class,
my grandmother rented me the video.
I just watched it over and over and I...
You know, I didn't really grasp the film.
I was more in tune
with the dance numbers.
As a little 10-year-old kid...
all wanted to see
was the singing and the dancing.
It's a very fond memory.
It's probably
one of my first vivid memories.
I was all of 4 years old.
I remember sitting on the carpet...
and my mom and dad
said I was so fixated...
that at one point,
after I saw him dance...
I went and kissed the television set...
and I said, "That's my dad."
And my father said,
"Excuse me, Paula."
And I turned around, and he said:
"I'm your father.
That can be your TV dad.”
[SINGS]
I was starstruck
And I blame Gene Kelly...
for me falling in love with him
and the art of MGM musicals.
[SINGING]
You are
My lucky star
- Why don't you?
- What?
- Make a musical.
- A musical?
[SINGING]
Good mornin'
-Good mornin'
-We've talked the whole night through
-Good mornin'
BOTH: Good mornin' to you
ALL:
Good mornin'...
KLAPOW:
I just still study it.
When I travel, I'll be watching
"Moses Supposes" and "Good Morning."
Just to study the... Just the...
The craft of choreography
is so brilliant.
ALL [SINGING]: Might be just as zippy
If we was in Mississippi
KLAPOW: They take you on a ride.
"Good Morning" takes you on a ride.
It takes you on a journey
from room to room to room.
You don't think about it, but you feel it.
You ride with it.
[SINGING]
So say good mornin'
Good mornin'
It looks so easy, but the truth is,
we all know the only way you can do that...
is work, work, work.
These people worked.
I mean, I know Debbie Reynolds' feet
were bleeding...
by the end of "Good Morning."
I know that.
Donald O'Connor never worked so hard
to keep up with Gene Kelly.
He was really hard.
He was a very tough choreographer
in that way.
But it looks effortless...
because it's in their bones,
it's in their blood.
They're dancing, not thinking,
"what's the next step” or anything.
It's there. So now it's just about
being on the money...
and bringing life to it in the moment.
It doesn't surprise me,
the two directors...
Donen and Kelly,
were also the choreographers.
It's so intricately woven...
that there's a real
director-choreographer eye there.
Gene and Stanley Donen,
who both received credit...
met all the time and they discussed
what they were going to do.
Stanley, a lot of the time,
was behind the camera...
and would know and tell Gene...
This is before the days of Tape/Assist.
Tell Gene that it was okay.
The take was okay, rather than,
"Let's do another for protection.”
SHANKMAN: Once upon a time,
when they were making musicals...
you would have months
to rehearse the dance numbers...
And production would even stop...
for a length of time to rehearse.
And I think what's great about that process
is it's sort of a hybrid of theater and film.
And it forces everybody
to be on the same page...
because you're in the same room
working on the same movie.
You see how long the takes are
and there's something thrilling about that.
SHANKMAN:
Both Fred Astaire and Gene Kelly...
because of their talent...
and their demands of themselves,
the director wanted to show...
they were the real deal,
could dance the whole time.
There was no reason to cut.
ABDUL:
That doesn't exist today.
If you go to any music video shoot,
you never do it all the way through.
It's just exhausting.
SHANKMAN: Now I would much rather do
long takes...
but because you don't have
that length of rehearsal time...
where you get to perfect long takes
that they used to do back then...
you actually need the edit
to get out of the mistakes...
that are invariably gonna be made.
What's this wire doing here?
It's dangerous.
[SCREAMS]
Using all of these practical objects
as props...
that are just integrated
into the movie...
you don't realize this is not easy
to work with props.
Like, it's just not at all.
SHANKMAN: Both Gene Kelly and Fred Astaire
were just die-hards...
about using anything to dance with.
There was nothing that was not there
to be danced with.
And so in "Good Morning"...
of course, Gene Kelly used
everything in the house that he could...
that will inform the character
and how the character is feeling.
That's what's so important about it.
They were kids playing,
so that house became their playground.
That's not easy dancing.
That takes everything.
That takes... Even when you feel
like you've pushed it to the max...
you've pushed it way past your limit...
you have to give
a hundred and 10 percent more.
And that ending number with the white,
you know, flowy scarf...
you don't realize
that that is a nightmare to deal with.
Material that has a mind of its own...
and fans and things,
and so much can go wrong...
it's perfectly executed.
How did they do these things?
It's just what they did, you know?
And that's what their talent was.
And that was what their contribution was...
and that's why we're all, you know,
trying to chase the genius that was them.
- We made it!
- It's a miracle!
It's great, Don.
One of the great powers of the old musical,
one of the great joys...
Is that the performers
really were exposed.
That is that they had to be photographed
head to toe...
actually carrying, as an ensemble,
the weight of the story.
[SINGS] When the band began to play
The stars were shining bright
ROONEY: That was Debbie Reynolds'
first starring role in a musical.
[SINGING] So good mornin'
Good mornin'
No dancing in her background.
Just a gymnast.
Flip-flip here, flip-flip there.
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