Cole Porter

“Singin’ In The Rain” Ethics: The Strange Saga of “Make Em’ Laugh”

/ Jack Marshall / 16 Comments

Last month Turner Movie Classics arranged for MGM’s classic musical “Singin’ in the Rain” to be shown on big screens in selected theaters around the country.  At the theater where I saw the film again with my wife and some friends, the place was packed with a multi-generational crowd including many children seeing Gene Kelly-Donald O’Connor-Debbie Reynolds (and Jean Hagan…mustn’t leave out “Lina Lamont”!) romp for the first time. Of course, they loved it; I’m worried about anyone who can see the film and not love it.

The timing of TCM’s limited revival was felicitous in two ways. One was that  it occurred just after the death of Debbie Reynolds, and provided a lovely way to salute her memory. Another was that “La La Land” was surging in buzz and box office around the country, culminating in last week’s 14 Oscar nominations. There are several visual references to “Singin’ in the Rain” in the film; ironically, enjoying “LaLa Land” may rely on unfamiliarity with its 65-year-old predecessor, because calling what the stars in “La La Land” do “dancing” seems unduly generous compared to the performances of Gene, Donald and Debbie.

Seeing the film reminded me, however, of the strange ethics breach behind one of the movie’s most famous numbers. Donald O’Connor’s solo “Make ‘Em Laugh” is the high point of the movie for me, and I am not alone. It finished at #49 in AFI’s 100 Years…100 Songs survey of top tunes in American cinema, but that doesn’t do it justice: this is not just a great musical number, it is one of the greatest four minutes of physical comedy ever put on screen, featuring dozens of jumps, pratfalls, and as its grand finale, O’Connor running up two walls and flipping backwards to the ground. (He checked into a hospital for several days as soon as filming  the routine was over). The problem is that “Make ‘Em Laugh” was plagiarized, and everyone knew it. Continue reading →

“Finishing the Hat”: Sondheim, W.S. Gilbert, and Expert Malpractice

/ Jack Marshall / 10 Comments

Stephen Sondheim’s “Finishing the Hat” is a fascinating reflection on a remarkable career and the craft of making musicals by the greatest living master of the form. In the course of recounting his formative years, triumphs, failures, and duels with producers, authors and composers, Sondheim also critiques the lyrics of his predecessors, contemporaries and role models—as long as they are dead. In a nod to gentility or cowardice, the only living lyricist he subjects to his expert critiques is himself.

Sondheim is a tough judge, as one might expect from a composer/lyricist who meticulously measures each vowel sound and stressed syllable for maximum effect. He is also, by virtue of both his reputation and technical expertise, an influential one. The lyricists he grades highly in the book, such as Frank Loesser, Cole Porter and Dorothy Fields, are likely to have their reputations burnished by his praise, and those he slams, like Lorenz Hart and Noel Coward, will suffer by comparison. Because of this, Sondheim had an obligation, as a respected expert in his field, to make each case carefully and fairly. To his credit, Sondheim seems to recognize this, and all of his critical discussions of an individual lyricist’s style and quirks include specific examples and careful analysis. We may disagree with Sondheim as a matter of personal taste, but it is difficult to argue with his specific points, because they are backed up by examples, technical theory, and the weight of his authority.

It is therefore surprising and disappointing to see Stephen Sondheim slide into expert malpractice when he undertakes, clearly half-heartedly, a critique of the lyrics of W.S. Gilbert, of Gilbert and Sullivan fame. Continue reading →