Singin’ in the Rain is an entertaining movie that has proved over the generations that it’s really a timeless story that anyone can enjoy. This was not the first time I had seen the film and certainly will not be the last, but for some reason one musical number really stuck out to me when watching it this time around. The last big number in the film is called Broadway Melody and it ties into the storyline of the film because it is described as a “modern number” for the ending of a movie that the characters of Singin’ in the Rain are making.
This number looks like the biggest one of the film. It has multiple sets shown within it, many different dancers and costumes, and a ever-changing musical track. It starts with Gene Kelly’s character Don acting as the stereotypical small-town guy who has just arrived in the big city. He tries and succeeds at getting an agent interested in his singing and dancing. At a gig in a bar, he meets a beautiful woman who is the date of a mob boss and his two bodyguards. This scene was especially interesting because of the way they introduce the woman. At first Don is dancing and then all of a sudden you can only see her leg, then as he looks up at her the camera zooms out so you can see her face. She’s especially mysterious because she’s a woman who had not been seen in Singin’ in the Rain yet. I was kind of surprised the directors did not have Debbie Reynolds, one of the stars of the film and Don’s main love interest, play the love interest in this number as well. You see her again a little later in the number when the entire set and music changes and the pair dance, what can only be described as, basically a short ballet together. The number ends by Don’s character obviously making it on Broadway, with a big chorus number back on the set Broadway Melody began on.
Singin’ in the Rain does a great job at showing the audience the transition from silent films to talkies, but this number subtly points towards other things that changed during this time as well. Musicals were something that people had to leave and go see performed. Because they could now be shown on-screen, and shown very well judging by Singin’ in the Rain’s success, there was less of a need to go see musicals. Obviously the culture has not died because musicals can still be seen, but they are definitely not the most popular of choices as far as entertainment is concerned. It’s ironic that one of the biggest numbers is this huge nod to Broadway and musicals when in fact because Singin’ in the Rain could be done well on film, musicals started to become movies instead of just on-stage productions. Even today, more people know about influential musicals like Les Mis, Rent, and Phantom of the Opera through their cinematic productions rather than the on-stage productions. (Rent ran for nine years on Broadway before it was ever made into a movie, and my roommate just figured out that it was originally a musical because I was writing this blog post.)
I really enjoyed watching Singin’ in the Rain in class because I feel like I picked up on more of the subtle humor and irony that are written into the storyline. Broadway Melody is just one of the many scenes that featured this kind of irony and I think it’s what helps make this film such a timeless one. Viewers at any age can appreciate the obvious entertainment of music and dancing, but can also find humor in the small tricks and jokes written into the narrative.
I think this is the most interesting scene in the film because it diverts completely from the rest of the narrative presented. The rest of the musical numbers are song and dance, heavy on tap-dancing, more vaudeville show (reflecting Don’s low-class past) than Broadway production. When Don is given the chance to create a scene, he chooses to bring Broadway to the big screen. The whole scene can be read as a vignette, a story within a story about how money always wins (the mobster gets the girl). I agree that it is definitely the most extravagant number of the film, but commonly forgotten behind the more famous songs.
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