HOORAY FOR HOLLYWOOD: SINGIN' IN THE RAIN (1952)

Since my slavish devotion to Lina Lamont is well known to anyone who might have stumbled by here in the past, I simply had to include Singin’ in the Rain as part of the Hooray for Hollywood series.

I can’t help viewing this film as a musical counterpoint to Sunset Boulevard; sort of the positive to the negative/the sun to the shade. There are those who made the transition to sound (Don Lockwood/Garbo) and those who didn’t (poor Lina/poor Norma Desmond). Filmed 20 years after the last of the silent films hit the theaters, it is an occasionally nasty, sometimes affectionate look at that moment in time when Hollywood was turned on its ear and then turned on its own.

 

Written by Betty Comden and Adolph Green, the film is based, in part, on the memories of producer Arthur Freed and costume designer Walter Plunkett, both who lived through those traumatic changes. At the advent of sound and musicals, Freed was a lyricist, working with composer Nacio Herb Brown (their music is used throughout the film) and Walter Plunkett was wrestling with sound in such early sound musicals as Rio Rita and Dixiana. He remembered only too well how the swish of a dress or the random fingering of a string of pearls could record like a thundering herd of buffalo during those early days. Singin’ in the Rain perfectly captures the panic and the joy of the new medium. It was a topsy-turvy world where great stars (John Gilbert/Clara Bow/Lina Lamont) were toppled from their thrones and virtual unknowns were elevated to star status (Kathy Selden/Alice White/Clark Gable). Some survivors thrived (Joan Crawford, Ronald Colman) while some merely or barely survived (Gloria Swanson).

 

Beyond the sorrow of the twilight of the silents lay the joy of those goofy, innocent early musicals. The Dueling Cavalier becomes the Dancing Cavalier. And Don Lockwood can dance! Who knew? Beyond the diction lessons and the technical mishaps was a feeling of joy and creativity. In the depths of the Depression, silly, gleeful musicals lifted the spirits (even if some of those chorus girls could barely lift their thighs). High spirits abounded, at least for a while. Here's the 1929 version of that famous song (from the finale of The Hollywood Revue of 1929). See how many stars you can identify.

 

Singin’ in the Rain is a bow to the Nancy Carrolls, the Buddy Rogers, the Zelma O’Neils and the John Boles - and all those crazy kids who made us feel like singing and dancing in the rain. Zelma who? Nany who? Check out Nancy Carroll and Buddy Rogers and Zelma and Jack from 1930's Follow Thu.

 

And really, what’s not to love? Kelly’s Don Lockwood is a dancing Fairbanks – dashing, masculine and a joy to behold. It is my favorite Kelly performance (and that’s saying a lot).

 

Gene and the Louise Brooks-inspired leg of the delicious Cyd Charisse

 

The great Donald O'Connor really gets a chance to show how talented he was. His signature number of Make “em Laugh is unforgettable.

 

Debbie Reynolds was cute, but probably the most expendable cast member. She was only 19 when this was made. Her tales of Kelly as a tough task-master legendary and her gratitude to him is a testament to her professionalism.

 

And of course, there is Jean Hagen, as Lina Lamont. There are few things in this world that are perfect and her performance here is one of them. Totally, 100% perfect. As a charter member of the Lina Lamont fan club I can only hope that she went on to buy the studio.

 

A lovely look back at themselves by the insiders who were there without the venom and with out the sadness that a parade had indeed passed by, Singin’ in the Rain remains a joy to behold.

 

31 Days of Oscar Blogathon: 2 Oscar Snubs that Really Irk Me

This is my contribution to the massive 31 Days of Oscar Blogathon jointly hosted by Once Upon A Screen, Outspoken and Freckled, and Paula's Cinema Club. Check out the tributes to the big golden man in the 31 days leading up to the big event.

We Wuz Robbed!

The man who was overlooked too many times

Normally, when you are robbed of something valuable you can either call the cops or just go and grab the stolen item back for yourself. If it's a boyfriend you can bitch-slap the thief, but I digress.....

However, when you are robbed of an Oscar you must smile and applaud the thief, thereby proving yet again that your acting talents are truly superior. Criminally overlooked artists include Garbo, O'Toole, Leonardo DiCaprio, Judy Garland (forget that dumb juvenile award), Alfred Hitchcock and Cary Grant (not counting the special award for the perpetually overlooked).

So, while I have a list gripes and grievances a mile long, Ill just share 2 of the snubbed ones that really, really irk me.

1952: 

Jean Hagen as Lina Lamont in Singin' in the Rain

The utterly elegant Lina and the demon microphone

Okay, I have made my ardor for Ms. Lamont abundantly clear here, but let's be honest: Jean Hagen wuz robbed! Here's the roster for the 1952 nominees for Best Supporting Actress:

Gloria Grahame - The Bad and the Beautiful

Jean Hagen - Singin' in the Rain

Colette Marchand- Moulin Rouge

Terry Moore - Come Back Little Sheba

Thelma Ritter - With a Song in My Heart

Colette who? Terry Moore - really? Yes, we love Thlema Ritter (herself among those who were always snubbed), but, gee, we loved her in so many other things. And yes, Gloria Grahame rocked, but her performance simply did not compare to Jean's.

The lovely and Oscarless Jean Hagen

For Jean Hagen, Lina Lamont was the role of a lifetime. Her filmography is short and she spent much of her career on television. This was the big one for Jean. Her Lina is bigger than life and dumber than dirt. She is a colorful soul sister to Norma Desmond (oh, another snub I weep over) and truly a shimmering glowing star.... oh, well, you know the rest. She shudda won!!!!

1982: 

Robert Preston as Toddy in Victor/Victoria

And now to one of my all-time favorite he-mans and actors: Robert Preston. From the intense other man tho the charismatic Professor Harold Hill, Preston always filled the screen 100% with his almost too much personality. From Bs to As to a great career on the stage, Preston had acting power, manly-man power and staying power. Never quite the star until The Music Man, he always delivered and was always the professional. 

Here are the 1982 contenders for Best Supporting Actor:

Lou Gossett, Jr. - An Officer and a Gentleman

Robert Preston - Victor/Victoria

James Mason - The Verdict

John Lithgow - The World According to Garp

Charles Durning - The Best Little Whorehouse in Texas

Toddy saves the day

I say NO CONTEST here. Preston's turn as the outrageously gay queen Toddy was made even more winning because of his ultra masculine aura. He was compassionate, wily and a little sad - and truly the heart of the film. His final scene in drag was absolutely fearless. Sorry other nominees, no disrespect, but I demand a recount! To this day this loss still makes me so mad!

How do you NOT honor this performance?

I am sure that Miss Hagen and Mr. Preston behaved like perfect good sports when their names were not called. What else could they do? So, it is up to us fans to cry foul, stamp our feet and tune in next year to see if the Academy agrees with our superior choices.

Happy viewing on March 2nd. Let's hope the 86th Academy Awards get it right!

Lina Lamont's Lament

Dora Bailey reporting here from Hollywood!

Imagine that you have been a loyal employee for many years. Suddenly, new technology is introduced into your workplace and your employer no longer needs nor wants you. To make matters worse, he ridicules you in front of the entire world. This, my friends, was poor Lina Lamont's fate.

It's time Lina had her say!

We decided to interview Miss Lamont at her spacious Beverly Hills home. It has been five years since Lina has appeared in a film. However, she seems to be doing well, as her home is as well-maintained and as luxurious as ever. As we motor up the sweeping driveway to her front door, we are greeted by none other than Lina, herself (draped in jade silk pajamas with a white fox trim).
DB: Lina! You never looked lovelier!
LL: Thank you, Dora. I do try my best.

Lina escorts me into her lovely sitting room. Freshly brewed iced tea with a fragrant hint of mint and finger sandwiches are awaiting us.

DB: Lina, the last time I interviewed you was at the premier of "The Royal Rascal," your next-to-last motion picture before your sudden retirement.

At the time, you were engaged to Don Lockwood. Your's was one of Hollywood's most popular and glamorous romances. With all of that chemistry on screen and off, everyone just assumed you'd get married. It seemed like a match made in the stars.

LL: Well, Dora, I just assumed it, too. After all, we were engaged. But then that Selden woman wormed her way into my Donny's heart.

Lina's eyes well with tiny, pearl-shaped tears, but she courageously tells her story in her charming, little-girl voice.

LL: Oh Dora, it was a terrible time for me. Here I was, the biggest star at Monumental Studios. It was me, ME, who gave Donny his start. He was just a lowly stunt man when I saw something special in him. Over time I came to love him deeply, but I found out the hard way that he was just interested in me to advance his career. Once  he thought that this Selden creature could be of more use to him, he dumped me.

DB: You were indeed Monumental Studio's biggest star!
Lina retrieves a yellowing scrap of newspaper from a Louis XIV writing desk.
LL: I was "a shimmering, glowing star in the cinema firmament." Says so, right here.
DB: Yes you were, sweetheart.  On that fateful evening of the premier of "The Dancing Cavalier," your first talking picture, Lockwood cruelly exposed that Kathy Selden had dubbed your voice. Lockwood then went on to marry her. Talk to me about that.

LL: Dora, Donny was a good man until he met that horrible Kathy Selden! He would never think of such cruelty until he took up with her. Why, did you know that she actually assaulted me at a party with a cake? A party, I might add, where she made her entrance jumping out of a cake.The woman is a menace!

DB: Oh Lina, that's terrible. Have you been following Don and Kathy's careers?

LL: I pay them no mind. I have no use for second rate talents. I only follow big stars.

DB: Speaking of big stars, do you ever see any of the old gang anymore?

LL: Not so much. I still talk to Zelda Zanders from time to time. She's doing well in talkies. I lost touch with Olga Mara and while I still see Norma Desmond being driven around town, I never speak to her any more. I hope she is doing well. I guess you could say I am no longer in the movie business.

DB: That's too bad, because "The Dancing Cavalier" was a very big hit and you were just beautiful in it.

LL: Thank you, Dora. You're very sweet to say that. But let me tell you, that wig weighed a ton! 

And I just didn't like all of the dangers that wiring for sound presented. In fact, on of the reasons I stopped working is due to an injury I suffered on the set while they were wiring me for sound. Some jerk pulled on the microphone cord they had sewn in my dress and I went you-know-what over tea kettle! Landed right on my derrière! I always suspected it was R.F. Simpson, but I could never be sure.

DB: Oh my! You really took some physical abuse! Can you tell our readers what is next for Lina Lamont?

LL: I can indeed! In fact, that's why I am allowing you to speak to me today. I have a bit of news.

DB: A scoop?

LL: Yes! I am getting married.

Lina waves her dainty hand, revealing a gorgeous diamond ring that has to be at least 20 carats

But her glow was not just from the glittering gem.

LL: Remember Cosmo Brown, the brains behind Don Lockwood? Cosmo and I never used to like each other. In fact, I thought he was a real pill. But Cosmo and I have been keeping company for some time now. Donny also turned his back on Cosmo after he married that Selden woman and they were the best of friends. Cosmo and I commiserated and gradually fell in love. 

DB: Oh you sly young lovers! You really kept that on the QT! Didn't I just read that Cosmo Brown had been fired from Monumental Studios for jumping through another wall? Apparently, he has destroyed one too many.

LL: Now, Dora, you know you can't believe everything you read! The truth is, Donny had Cosmo fired because of our relationship. Apparently, he is still jealous. Well, it's his loss. He can sit home and knit with Miss Mousy. Cosmo is leaving for Broadway to write the music for a new show and I'm gonna star in it! I'll show them I ain't just people! Goodbye, Hollywood, Hello Broadway!

We all wish Lina great success. She is a grand gal and I, for one, know she will be a big hit on Broadway. What do you have to say about that Don and Kathy?

This is Dora Bailey signing off from Hollywood!