1. Singing in the Rain
Year: 1952
Directors: Stanley Donen, Gene Kelly
Writers: Adolph Green (story), Betty Comden (story)
Stars: Gene Kelly, Donald O'Connor and Debbie Reynolds
Singing in the Rain is a wonderful movie about a silent film production company and cast
that have a difficult time transitioning into sound. There is a love triangle that adds a vulnerable
tension into most of its scenes. This theatrical movie transcends over decades because of its
quirky humor and relevant issues.
This movie can highly relate to the “Sound” chapter in the Film Theory text. Sound
played a crucial role in this movie. It’s fantastic because we see how much of a transition it took
to convert silent films into sound. In this decade, when we watch a movie, we don’t even
appreciate the fact that many years ago, all films were silent. In a sound film there is no need to
explain the sounds. The sounds are cohesive and we understand that by observing facial
expressions alongside with gestures, the film comes together so that there is no confusion. The
picture forms sound. Silence has an acoustic effect, but only where sounds can be heard. The
presentation of silence is one of the most dramatic effects film can make. There was a scene in
Singing in the Rain where it was suddenly quiet. Silence is heard. There is intimacy in sound.
Quiet close ups make us perceive sounds differently. An example of that can be seen when they
attached an enormous microphone into Lina Lamont’s character. A “supposed” intimate scene
with Don Lockwood’s character was ruined when sound muffled with their clothes. Sound will
either distort or complete an intimate scene.
The screen theory applies to this movie because screen theory uses picture to
psychologically affect the viewer. Screen presence is necessary and for Singing in the Rain it is
was definitely there. In the scene where Lockwood was dancing in the rain with a big smile on
his face meant a lot. It made the viewer feel joyful. Usually rain has a negative connotation
making rain seem “gloomy” and “dark” but not in Singing in the Rain.
David M. Halbfinger wrote an article for the New York Times on May 11, 1998 about the
constant rainfall in New York. There were eleven consecutive days of rain where he discussed
how concerned yet how happy some people were with the rain. What was the title of the article?

2. “No Singing in the Rain but Not Much Whining, Either.” His reference to the 1950’s film was
interesting to catch.
Having screened movies about filmmaking by European masters, the Hong Kong Film
Archive (HKFA)'s "Restored Treasures" series will present three restored Hollywood films that
focused on the world of showbiz and Singing in the Rain was one of the three. They describe it
as a “love story - between a man and a woman and between filmmakers and filmmaking.” They
praise the cheerful musical.
I personally love this film. It is one of my favorites. I love it not only for its cheerful
essence, but for the dynamics that each character presents to the viewers. Each character was
meaningful. The music and choreography was fantastic. I think it was an extraordinary film for
its time and continues to be one of the best musicals ever made.
Halbfinger, David M. “No Singing in the Rain but Not Much Whining, Either.”
May 11 1998: Online New York Times. Web. April 23, 2012.
HK film archives "restored treasures" to show three great hollywood movies on
filmmaking and showbiz. (2012, Mar 15). Hong Kong Government News, pp. n/a.
http://search.proquest.com/docview/927971681?accountid=11809
CHECKLIST FOR PLAGIARISM
1) ( x) I have not handed in this assignment for any other class.
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paper.
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5) (x ) I have cited in the bibliography only the pages I personally read.
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within the paper and in the bibliography.
7) (x ) I did not so over-use direct quotations that the paper lacks interpretation or originality.
8) ( x) I checked yes on steps 1-7 and therefore have been fully transparent about the research and ideas used in my
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Name: Natalie Gonzalez Date: 04/23/2012