Singin’ in the Rain, Essay Example

The title alone of 1952’s Singin’ in the Rain illustrates, or reinforces, the concept behind “making lemonade out of lemons,” in that it combines a typically undesirable scenario with an expression of happiness.  Then, the thrust of the plot further and blatantly exemplifies the maxim.

The actual “lemon” is not the sudden threat of sound as destroying the motion picture industry, but the quality of star Lina Lamont’s voice; the “lemonade” is the fortunate idea of using sound dubbing to replace Lamont’s voice with that of Kathy.  From a potentially and likely disaster, then, is a film saved, as it is indicated that the careers of all concerned will also prosper.

There are other, less basic components of the movie that reflect this same, optimistic ideology.  It may be said, for example, that the character of Don Lockwood is handicapped because he cares for Kathy, and she is uninterested in movie stardom.  This is turned into a positive situation by Lockwood’s sincere and persistent pursuit of her, as well as by the revelation that Kathy herself is an entertainer.  Kathy’s own “lemon,” in the form of helping the film but getting no credit for it, is made better by the fact that the sacrifice allows her to develop her relationship with Lockwood.  Even Lockwood’s friend, Cosmo, has his opportunity to reverse a bad situation; as soon as sound is in, he perceives that his career as providing the music for silent films is over, but he immediately is promoted to being in charge of the music department.  Finally, the “lemon” of Lamont’s hold on the studio and the public is overcome by daring, in exposing to an audience Kathy singing behind her.  In each instance, a seemingly bleak scenario is turned around, and “lemonade” is the result.

An interesting element of the film is that where it was filmed is unimportant.  It is a movie about studios, so the filming largely done within studio sound stages works perfectly to augment to environment and atmosphere.  The movie is a kind of fable, both gently mocking and relying on how artificial films are; that its settings are artificial, then, supports the theme.  This is most clearly illustrated when Lockwood sings to Kathy in a sound stage, showing her how all the effects are made while simultaneously using these elements to reveal real emotion.  This same, dual strategy informs how the film is presented to the real audience.  Because it is a fable, it is not reliant on any element of reality, so the period sets and costumes need only display an idea of the era, and a glamorized one at that.  It does not need to convince, but only emphasize, and this is evident in every scene.  There is an overt and consistent wholesomeness to the entire, visual feel, from the bows on Kathy’s shoes to the outrageous, “star” outfits worn by Lamont, which reflect a contrast of vulgarity.

Ultimately, the viewer completely surrenders to the time and place simply because no real investment of belief is required.  No Hollywood could be this innocent or appealing, and Lamont’s avarice is tame and comic.  It is highly unlikely that three Hollywood people, returning from a preview in the middle of the night, would both indulge in milk and sandwiches and engage in a complex, energetic tribute to the morning.  Costume, again, reinforces that unreality, as the three principals wear conservative, highly colorful wardrobes, accentuating their all-American goodness.  Kathy’s make-up is girlish and subdued, whereas Lamont’s is excessive.  Lockwood and Cosmo wear bow ties and cardigan vests, and even ancillary actions reflect this pervasive sense of an unreal landscape.  Early in the film, Lockwood’s account to the press and public of his career, while he stands with Lamont before a premier, is a glorified lie presenting a past based on both privilege and study.  This assumes that he is catering to public tastes, when in reality fans of the time were far more interested in less wholesome lives and backgrounds to their stars.  Then, the catcalls from the audience, during the disastrous preview of the original, silent Lockwood and Lamont film, are almost politely timed and never crude.  Singin’ in the Rain never violates an authentic sense of time and place simply because it never seeks to present one at all, but only a stylized myth of a specific, American era.