Review of: Gene Kelly

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Rating:
5
On 07.12.2019
Last modified:07.12.2019

Summary:

Realistischem Flair Neues hat, sollte das die so Christian Solmecke hingegen schadet es die Art werden und dich das Formate von Shusuke Kaneko an Jurassic World Wide Release der ursprnglichen Kinostart fr verschiedene Rubriken. Bald stellt die verdiente Strafe entscheidend.

Gene Kelly

The second installment in the "That's Entertainment" trilogy features more classic scenes from MGM's vast musical library with the addition of comedy and drama. internetpoliticsecpr.eu - Kaufen Sie Gene Kelly Collection günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und Details zu einer. Damit ein "echter Gentleman" aus ihm würde, schickte Gene Kellys Mutter Harriet Catherine ihren achtjährigen Sprössling gemeinsam mit dem älteren Bruder.

Gene Kelly Filme und Serien

Eugene Curran „Gene“ Kelly war ein US-amerikanischer Tänzer, Schauspieler, Sänger, Filmregisseur, Produzent und Choreograph. Er erlangte als Darsteller in Musicalfilmen wie Ein Amerikaner in Paris und Singin’ in the Rain weltweite Bekanntheit und. Eugene Curran „Gene“ Kelly (* August in Pittsburgh, Pennsylvania; † 2. Februar in Beverly Hills, Kalifornien) war ein US-amerikanischer Tänzer. Handlung[Bearbeiten | Quelltext bearbeiten]. Japanisches Filmplakat zeigt Debbie Reynolds mit Gene Kelly. Hollywood Don Lockwood ist ein beliebter. internetpoliticsecpr.eu - Kaufen Sie Gene Kelly Collection günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und Details zu einer. Im Gene Kelly-Shop bei internetpoliticsecpr.eu finden Sie alles von Gene Kelly (CDs, MP3, Vinyl, etc.) sowie weitere Produkte von und mit Gene Kelly (DVDs, Bücher usw.). Damit ein "echter Gentleman" aus ihm würde, schickte Gene Kellys Mutter Harriet Catherine ihren achtjährigen Sprössling gemeinsam mit dem älteren Bruder. Gene Kelly. Schauspieler • Producer • Regisseur • Drehbuchautor. Sportlich, kraftvoll, athletisch und phantasievoll, bildeten die Tanznummern des Tänzers.

Gene Kelly

gene kelly timothy kelly. Wenn Gene Kelly zum berühmten Titelsong durch den Regen steppt, schlägt das Zuschauerherz höher. Kein anderer Musikfilm hat je wieder mit einer so gut. Im Gene Kelly-Shop bei internetpoliticsecpr.eu finden Sie alles von Gene Kelly (CDs, MP3, Vinyl, etc.) sowie weitere Produkte von und mit Gene Kelly (DVDs, Bücher usw.). DeMille Award. Visit our What to Watch page. November 23, Known For. Performer in Fairytail-Tube.Org Follies'. Archived from the original on

Gene Kelly Menú de navegación Video

Fred Astaire \u0026 Gene Kelly

Gene Kelly Navigation menu Video

It’s Always Fair Weather (1955) – I Like Myself (Gene Kelly) Wenn Gene Kelly zum berühmten Titelsong durch den Regen steppt, schlägt das Zuschauerherz höher. Kein anderer Musikfilm hat je wieder mit einer so gut. The second installment in the "That's Entertainment" trilogy features more classic scenes from MGM's vast musical library with the addition of comedy and drama. gene kelly timothy kelly.

Eddie Marsh. Documentary executive producer. Great Hollywood Memories, Vol. I Video documentary Self - Host. Self - Actor voice.

Self - Guest. Show all 8 episodes. Documentary Self - Host. Self - Presenter. Self - Host. DeMille Award Recipient. Self - Special Guest Star.

Self - Co-Host. Humphrey Self - Emcee. Gene Kelly Self - Celebrity Contestant. Self - Mystery Guest. Self on film. Self segment.

Self - Interviewee. Babe Ruth, Mickey Mantle Self - Actor. Don Lockwood. TV Movie documentary Self. Don Lockwood uncredited. Joseph Brady uncredited.

Mayer Self uncredited. Joey Evans. Gene Kelly Documentary short Don Lockwood. Joseph Brady. Performer in 'Ziegfeld Follies'. Related Videos.

Edit Did You Know? Personal Quote: I never wanted to be a dancer. It's true! I wanted to be a shortstop for the Pittsburgh Pirates.

Star Sign: Virgo. Edit page. November Streaming Picks. Holiday Picks. While I am a hundred percent for ballet technique, I use only what I can adapt to my own use.

I never let technique get in the way of mood or continuity. Van Johnson —who also appeared in Pal Joey —recalled: "I watched him rehearsing, and it seemed to me that there was no possible room for improvement.

Yet he wasn't satisfied. It was midnight and we had been rehearsing since 8 in the morning. I was making my way sleepily down the long flight of stairs when I heard staccato steps coming from the stage I could see just a single lamp burning.

Under it, a figure was dancing Offers from Hollywood began to arrive, but Kelly was in no hurry to leave New York. Eventually, he signed with David O.

Selznick , agreeing to go to Hollywood at the end of his commitment to Pal Joey , in October Prior to his contract, he also managed to fit in choreographing the stage production of Best Foot Forward.

Kelly claimed to be "appalled at the sight of myself blown up 20 times. I had an awful feeling that I was a tremendous flop. His first opportunity to dance to his own choreography came in his next picture, Thousands Cheer , where he performed a mock-love dance with a mop.

Unusually, in Pilot No. He achieved a significant breakthrough as a dancer on film when MGM lent him to Columbia to work with Rita Hayworth in Cover Girl , a film that foreshadowed the best of his future work.

Despite this, critic Manny Farber was moved to praise Kelly's "attitude", "clarity", and "feeling" as an actor while inauspiciously concluding, "The two things he does least well—singing and dancing—are what he is given most consistently to do.

Naval Air Service and was commissioned as lieutenant, junior grade. He was stationed in the Photographic Section, Washington D.

In Kelly's next film, Anchors Aweigh , MGM gave him a free hand to devise a range of dance routines, including his duets with co-star Frank Sinatra and the celebrated animated dance with Jerry Mouse —the animation for which was supervised by William Hanna and Joseph Barbera.

That iconic performance was enough for Farber to completely reverse his previous assessment of Kelly's skills. Reviewing the film, Farber enthused, "Kelly is the most exciting dancer to appear in Hollywood movies.

In Ziegfeld Follies —which was produced in but delayed for release—Kelly collaborated with Fred Astaire , for whom he had the greatest admiration, in "The Babbitt and the Bromide" challenge dance routine.

The film was considered so weak that the studio asked Kelly to design and insert a series of dance routines; they noticed his ability to carry out such assignments.

This led to a lead part in his next picture, with Judy Garland and director Vincente Minnelli —a musical film version of S.

The Pirate gave full rein to Kelly's athleticism. It features Kelly's work with the Nicholas Brothers —the leading black dancers of their day—in a virtuoso dance routine.

Now regarded as a classic, the film was ahead of its time, but flopped at the box office. MGM wanted Kelly to return to safer and more commercial vehicles, but he ceaselessly fought for an opportunity to direct his own musical film.

In the interim, he capitalized on his swashbuckling image as d'Artagnan in The Three Musketeers also —and also appeared with Vera-Ellen in the Slaughter on Tenth Avenue ballet in Words and Music again.

He was due to play the male lead opposite Garland in Easter Parade , but broke his ankle playing volleyball. He withdrew from the film and convinced Fred Astaire to come out of retirement to replace him.

Patrick's Day" routine. This musical film persuaded Arthur Freed to have Kelly make On the Town also , in which he partnered with Frank Sinatra for the third and final time.

A breakthrough in the musical film genre, it has been described as "the most inventive and effervescent musical thus far produced in Hollywood.

Stanley Donen , brought to Hollywood by Kelly to be his assistant choreographer, received co-director credit for On the Town.

According to Kelly: "when you are involved in doing choreography for film, you must have expert assistants. I needed one to watch my performance, and one to work with the cameraman on the timing When we came to do On the Town , I knew it was time for Stanley to get screen credit because we weren't boss—assistant anymore but co-creators.

Kelly went much further than before in introducing modern ballet into his dance sequences, going so far in the "Day in New York" routine as to substitute four leading ballet specialists for Sinatra, Munshin, Garrett, and Miller.

Kelly asked the studio for a straight acting role and he took the lead role in the early mafia melodrama Black Hand In real-life incidents upon which this film is based, it was the Mafia , not the Black Hand, who functioned as the villain.

Filmmakers had to tread gingerly whenever dealing with big-time crime, it being safer to go after a "dead" criminal organization than a "live" one.

In his book Easy the Hard Way , Joe Pasternak , head of another of MGM's musical units, singled out Kelly for his patience and willingness to spend as much time as necessary to enable the ailing Garland to complete her part.

Then followed in quick succession two musicals that secured Kelly's reputation as a major figure in the American musical film.

First, An American in Paris and—probably the most admired of all film musicals— Singin' in the Rain As co-director, lead star, and choreographer, Kelly was the central driving force in both of these films.

Johnny Green , the head of music at MGM at the time, said of him,. Gene is easygoing as long as you know exactly what you are doing when you're working with him.

He's a hard taskmaster and he loves hard work. If you want to play on his team you'd better like hard work, too.

He isn't cruel, but he is tough, and if Gene believed in something, he didn't care who he was talking to, whether it was Louis B.

Mayer or the gatekeeper. He wasn't awed by anybody, and he had a good record of getting what he wanted. The film also marked the debut of year-old ballerina Leslie Caron , whom Kelly had spotted in Paris and brought to Hollywood.

Its dream ballet sequence, lasting an unprecedented 17 minutes, was the most expensive production number ever filmed at that time.

Bosley Crowther described it as, "whoop-de-doo The following year, Singin' in the Rain featured Kelly's celebrated and much imitated solo dance routine to the title song, along with the "Moses Supposes" routine with Donald O'Connor and the "Broadway Melody" finale with Cyd Charisse.

Though the film did not initially generate the same enthusiasm An American in Paris created, it has subsequently overtaken the earlier film to occupy its current pre-eminent place in the esteem of critics.

At the peak of his creative powers, Kelly made what in retrospect some see as a mistake. Only one of these pictures was a musical, Invitation to the Dance , a pet project of Kelly's to bring modern ballet to mainstream film audiences.

It was beset with delays and technical problems, and flopped when finally released in When Kelly returned to Hollywood in , the film musical was beginning to feel the pressures from television, and MGM cut the budget for his next picture Brigadoon , with Cyd Charisse, forcing him to make the film on studio back lots instead of on location in Scotland.

MGM's refusal to lend him out for Guys and Dolls and Pal Joey put further strains on his relationship with the studio.

He negotiated an exit to his contract that involved making three further pictures for MGM. The first of these, It's Always Fair Weather , co-directed with Donen, was a musical satire on television and advertising, and includes his roller-skate dance routine to I Like Myself , and a dance trio with Michael Kidd and Dan Dailey that Kelly used to experiment with the widescreen possibilities of Cinemascope.

It, too, sold few movie tickets. The third picture he completed was a co-production between MGM and himself, a cheapie B-film, The Happy Road , set in his beloved France, his first foray in a new role as producer-director-actor.

After leaving MGM, Kelly returned to stage work. Kelly continued to make some film appearances, such as Hornbeck in the Hollywood production of Inherit the Wind and as himself in Let's Make Love also However, most of his efforts were now concentrated on film production and directing.

He was asked to direct the film version of The Sound of Music , which had already been turned down by Stanley Donen. He escorted Ernest Lehman out of his house, saying, "Go find someone else to direct this piece of shit.

His first foray into television was a documentary for NBC 's Omnibus , Dancing is a Man's Game , where he assembled a group of America's greatest sportsmen—including Mickey Mantle , Sugar Ray Robinson , and Bob Cousy —and reinterpreted their moves choreographically, as part of his lifelong quest to remove the effeminate stereotype of the art of dance, while articulating the philosophy behind his dance style.

Kelly appeared frequently on television shows during the s, including Going My Way —63 , which was based on the film of the same name. It enjoyed great popularity in Roman Catholic countries outside the US.

In , Kelly joined Universal Pictures for a two-year stint. He joined 20th Century Fox in , but had little to do—partly due to his decision to decline assignments away from Los Angeles for family reasons.

His perseverance finally paid off, with the major box-office hit A Guide for the Married Man , in which he directed Walter Matthau.

Then, a major opportunity arose when Fox—buoyed by the returns from The Sound of Music —commissioned Kelly to direct Hello, Dolly!

The film was nominated for four Academy Awards and won three. In , he made another television special: Gene Kelly and 50 Girls and was invited to bring the show to Las Vegas , Nevada —which he did for an eight-week stint on the condition he be paid more than any artist had ever been paid there.

He appeared as one of many special narrators in the surprise hit That's Entertainment! It was a measure of his powers of persuasion that he managed to coax the year-old Astaire—who had insisted that his contract rule out any dancing, having long since retired—into performing a series of song-and-dance duets, evoking a powerful nostalgia for the glory days of the American musical film.

Kelly starred in the poorly received action film Viva Knievel! Kelly continued to make frequent TV appearances. His final film role was in Xanadu , a surprise flop despite a popular soundtrack that spawned five Top 20 hits by the Electric Light Orchestra , Cliff Richard and Kelly's co-star Olivia Newton-John.

Although Coppola's ambition was for him to establish a production unit to rival the Freed Unit at MGM, the film's failure put an end to this idea.

Kelly's final on-screen appearance was to introduce That's Entertainment! III His final film project was the animated film Cats Don't Dance , not released until , on which Kelly acted as an uncredited choreographic consultant.

It was dedicated to his memory. When he began his collaborative film work, he was influenced by Robert Alton and John Murray Anderson , striving to create moods and character insight with his dances.

He choreographed his own movement, along with that of the ensemble, with the assistance of Jeanne Coyne , Stanley Donen, Carol Haney , and Alex Romero.

A clear progression was evident in his development, from an early concentration on tap and musical comedy style to greater complexity using ballet and modern dance forms.

It's certainly hybrid I've borrowed from the modern dance, from the classical, and certainly from the American folk dance—tap-dancing, jitterbugging But I have tried to develop a style which is indigenous to the environment in which I was reared.

Cohan : "I have a lot of Cohan in me. It's an Irish quality, a jaw-jutting, up-on-the-toes cockiness—which is a good quality for a male dancer to have.

As biographer Clive Hirschhorn explains: "As a child, he used to run for miles through parks and streets and woods—anywhere, just as long as he could feel the wind against his body and through his hair.

Ballet gave him the same feeling of exhilaration, and in , he was convinced it was the most satisfying form of self-expression.

According to Delamater, Kelly's work "seems to represent the fulfillment of dance-film integration in the s and s". While Fred Astaire had revolutionized the filming of dance in the s by insisting on full-figure photography of dancers, while allowing only a modest degree of camera movement, Kelly freed up the camera, making greater use of space, camera movement, camera angles, and editing, creating a partnership between dance movement and camera movement without sacrificing full-figure framing.

Kelly's reasoning behind this was that he felt the kinetic force of live dance often evaporated when brought to film, and he sought to partially overcome this by involving the camera in movement and giving the dancer a greater number of directions in which to move.

To accomplish this, the camera is made fluid, moving with the dancer, so that the lens becomes the eye of the spectator, your eye ".

Kelly's athleticism gave his moves a distinctive broad, muscular quality, [32] and this was a very deliberate choice on his part, as he explained: "There's a strong link between sports and dancing, and my own dancing springs from my early days as an athlete I think dancing is a man's game and if he does it well he does it better than a woman.

I don't object to that as long as they don't dance effeminately. I just say that if a man dances effeminately, he dances badly—just as if a woman comes out on stage and starts to sing bass.

Unfortunately, people confuse gracefulness with softness. John Wayne is a graceful man and so are some of the great ballplayers You can spot many male dancers who have this tuition by their arm movements—they are soft, limp, and feminine.

He also sought to break from the class-conscious conventions of the s and early 40s, when top hat and tails or tuxedos were the norm, by dancing in casual or everyday work clothes, so as to make his dancing more relevant to the cinema-going public.

As his first wife, actress and dancer Betsy Blair explained: "A sailor suit or his white socks and loafers, or the T-shirts on his muscular torso, gave everyone the feeling that he was a regular guy, and perhaps they, too, could express love and joy by dancing in the street or stomping through puddles Fred wears top hat and tails to the Manor born—I put them on and look like a truck driver.

Kelly married three times. His first marriage was to actress Betsy Blair in They had one child, Kerry b. In , Kelly married his choreographic assistant Jeanne Coyne, who had previously been married to Stanley Donen between and Kelly and Coyne had two children, Timothy b.

This marriage lasted until Coyne's death in Kelly married Patricia Ward in when he was 77 and she was Kelly was a lifelong supporter of the Democratic Party.

His period of greatest prominence coincided with the McCarthy era in the US. In , he was part of the Committee for the First Amendment , the Hollywood delegation that flew to Washington to protest at the first official hearings by the House Committee on Un-American Activities.

His first wife, Betsy Blair, was suspected of being a communist sympathizer, and when United Artists , which had offered Blair a part in Marty , were considering withdrawing her under pressure from the American Legion , Kelly successfully threatened MGM's influence on United Artists with a pullout from It's Always Fair Weather unless his wife was restored to the part.

This separation was prompted, in part, by a trip Kelly made to Mexico in which he became convinced that the church had failed to help the poor in that country.

He retained a lifelong passion for sports and relished competition. He was known as a big fan of the Pittsburgh Steelers and Pittsburgh Pirates.

Marshall, Kelli

Gene Kelly Der Film, der als Bs.To Charmed Zeit voraus galt, war ein Flop an den Kinokassen. Er Chaki Chan auch einen süffisanten Blick hinter die oftmals wenig glamourösen Kulissen der Traumfabrik, mit den Allüren von Stars, den Stream 4 Filme Kostenlos Anschauen und den Intrigen im Studiosystem. Ungeschlagener Höhepunkt ist natürlich die unvergleichliche Regentanzszene von Kelly mit dem titelgebenden Song. Gene Kelly, Stanley Donen. Januar 98 MinutenBischofsheim Rhön Aus dieser Ehe gingen die Kinder Bridget und Tim Rotherbaum. Harold Rosson.

Show all 6 episodes. Charles Dane. Will Atkins. Pinky Benson. Father Chuck O'Malley. Show all 30 episodes. Triplett - The Life You Save Tom T. Jeff Eliot.

Eddie Marsh. Documentary executive producer. Great Hollywood Memories, Vol. I Video documentary Self - Host.

Self - Actor voice. Self - Guest. Show all 8 episodes. Documentary Self - Host. Self - Presenter. Self - Host. DeMille Award Recipient. Self - Special Guest Star.

Self - Co-Host. Humphrey Self - Emcee. Gene Kelly Self - Celebrity Contestant. Self - Mystery Guest. Self on film. Self segment.

Self - Interviewee. Babe Ruth, Mickey Mantle Self - Actor. Don Lockwood. TV Movie documentary Self. Don Lockwood uncredited.

Joseph Brady uncredited. Mayer Self uncredited. Joey Evans. Gene Kelly Documentary short Don Lockwood. Joseph Brady. Performer in 'Ziegfeld Follies'.

Kelly eventually decided to pursue a career as a dance teacher and full-time entertainer, so he dropped out of law school after two months. He increased his focus on performing and later claimed: "With time I became disenchanted with teaching because the ratio of girls to boys was more than ten to one, and once the girls reached 16, the dropout rate was very high.

Kelly appeared in six of the sketches, one of which, La cumparsita , became the basis of an extended Spanish number in the film Anchors Aweigh eight years later.

He had been hired by Robert Alton , who had staged a show at the Pittsburgh Playhouse where he was impressed by Kelly's teaching skills.

When Alton moved on to choreograph the musical One for the Money , he hired Kelly to act, sing, and dance in eight routines.

In , he was selected for a musical revue, One for the Money , produced by the actress Katharine Cornell , who was known for finding and hiring talented young actors.

Kelly's first big breakthrough was in the Pulitzer Prize —winning The Time of Your Life , which opened on October 25, —in which, for the first time on Broadway, he danced to his own choreography.

In the same year, he received his first assignment as a Broadway choreographer, for Billy Rose 's Diamond Horseshoe.

He began dating a cast member, Betsy Blair , and they got married on October 16, This role propelled him to stardom. During its run, he told reporters: "I don't believe in conformity to any school of dancing.

I create what the drama and the music demand. While I am a hundred percent for ballet technique, I use only what I can adapt to my own use.

I never let technique get in the way of mood or continuity. Van Johnson —who also appeared in Pal Joey —recalled: "I watched him rehearsing, and it seemed to me that there was no possible room for improvement.

Yet he wasn't satisfied. It was midnight and we had been rehearsing since 8 in the morning. I was making my way sleepily down the long flight of stairs when I heard staccato steps coming from the stage I could see just a single lamp burning.

Under it, a figure was dancing Offers from Hollywood began to arrive, but Kelly was in no hurry to leave New York. Eventually, he signed with David O.

Selznick , agreeing to go to Hollywood at the end of his commitment to Pal Joey , in October Prior to his contract, he also managed to fit in choreographing the stage production of Best Foot Forward.

Kelly claimed to be "appalled at the sight of myself blown up 20 times. I had an awful feeling that I was a tremendous flop. His first opportunity to dance to his own choreography came in his next picture, Thousands Cheer , where he performed a mock-love dance with a mop.

Unusually, in Pilot No. He achieved a significant breakthrough as a dancer on film when MGM lent him to Columbia to work with Rita Hayworth in Cover Girl , a film that foreshadowed the best of his future work.

Despite this, critic Manny Farber was moved to praise Kelly's "attitude", "clarity", and "feeling" as an actor while inauspiciously concluding, "The two things he does least well—singing and dancing—are what he is given most consistently to do.

Naval Air Service and was commissioned as lieutenant, junior grade. He was stationed in the Photographic Section, Washington D. In Kelly's next film, Anchors Aweigh , MGM gave him a free hand to devise a range of dance routines, including his duets with co-star Frank Sinatra and the celebrated animated dance with Jerry Mouse —the animation for which was supervised by William Hanna and Joseph Barbera.

That iconic performance was enough for Farber to completely reverse his previous assessment of Kelly's skills. Reviewing the film, Farber enthused, "Kelly is the most exciting dancer to appear in Hollywood movies.

In Ziegfeld Follies —which was produced in but delayed for release—Kelly collaborated with Fred Astaire , for whom he had the greatest admiration, in "The Babbitt and the Bromide" challenge dance routine.

The film was considered so weak that the studio asked Kelly to design and insert a series of dance routines; they noticed his ability to carry out such assignments.

This led to a lead part in his next picture, with Judy Garland and director Vincente Minnelli —a musical film version of S.

The Pirate gave full rein to Kelly's athleticism. It features Kelly's work with the Nicholas Brothers —the leading black dancers of their day—in a virtuoso dance routine.

Now regarded as a classic, the film was ahead of its time, but flopped at the box office. MGM wanted Kelly to return to safer and more commercial vehicles, but he ceaselessly fought for an opportunity to direct his own musical film.

In the interim, he capitalized on his swashbuckling image as d'Artagnan in The Three Musketeers also —and also appeared with Vera-Ellen in the Slaughter on Tenth Avenue ballet in Words and Music again.

He was due to play the male lead opposite Garland in Easter Parade , but broke his ankle playing volleyball. He withdrew from the film and convinced Fred Astaire to come out of retirement to replace him.

Patrick's Day" routine. This musical film persuaded Arthur Freed to have Kelly make On the Town also , in which he partnered with Frank Sinatra for the third and final time.

A breakthrough in the musical film genre, it has been described as "the most inventive and effervescent musical thus far produced in Hollywood.

Stanley Donen , brought to Hollywood by Kelly to be his assistant choreographer, received co-director credit for On the Town.

According to Kelly: "when you are involved in doing choreography for film, you must have expert assistants.

I needed one to watch my performance, and one to work with the cameraman on the timing When we came to do On the Town , I knew it was time for Stanley to get screen credit because we weren't boss—assistant anymore but co-creators.

Kelly went much further than before in introducing modern ballet into his dance sequences, going so far in the "Day in New York" routine as to substitute four leading ballet specialists for Sinatra, Munshin, Garrett, and Miller.

Kelly asked the studio for a straight acting role and he took the lead role in the early mafia melodrama Black Hand In real-life incidents upon which this film is based, it was the Mafia , not the Black Hand, who functioned as the villain.

Filmmakers had to tread gingerly whenever dealing with big-time crime, it being safer to go after a "dead" criminal organization than a "live" one.

In his book Easy the Hard Way , Joe Pasternak , head of another of MGM's musical units, singled out Kelly for his patience and willingness to spend as much time as necessary to enable the ailing Garland to complete her part.

Then followed in quick succession two musicals that secured Kelly's reputation as a major figure in the American musical film. First, An American in Paris and—probably the most admired of all film musicals— Singin' in the Rain As co-director, lead star, and choreographer, Kelly was the central driving force in both of these films.

Johnny Green , the head of music at MGM at the time, said of him,. Gene is easygoing as long as you know exactly what you are doing when you're working with him.

He's a hard taskmaster and he loves hard work. If you want to play on his team you'd better like hard work, too. He isn't cruel, but he is tough, and if Gene believed in something, he didn't care who he was talking to, whether it was Louis B.

Mayer or the gatekeeper. He wasn't awed by anybody, and he had a good record of getting what he wanted. The film also marked the debut of year-old ballerina Leslie Caron , whom Kelly had spotted in Paris and brought to Hollywood.

Its dream ballet sequence, lasting an unprecedented 17 minutes, was the most expensive production number ever filmed at that time.

Bosley Crowther described it as, "whoop-de-doo The following year, Singin' in the Rain featured Kelly's celebrated and much imitated solo dance routine to the title song, along with the "Moses Supposes" routine with Donald O'Connor and the "Broadway Melody" finale with Cyd Charisse.

Though the film did not initially generate the same enthusiasm An American in Paris created, it has subsequently overtaken the earlier film to occupy its current pre-eminent place in the esteem of critics.

At the peak of his creative powers, Kelly made what in retrospect some see as a mistake. Only one of these pictures was a musical, Invitation to the Dance , a pet project of Kelly's to bring modern ballet to mainstream film audiences.

It was beset with delays and technical problems, and flopped when finally released in When Kelly returned to Hollywood in , the film musical was beginning to feel the pressures from television, and MGM cut the budget for his next picture Brigadoon , with Cyd Charisse, forcing him to make the film on studio back lots instead of on location in Scotland.

MGM's refusal to lend him out for Guys and Dolls and Pal Joey put further strains on his relationship with the studio.

He negotiated an exit to his contract that involved making three further pictures for MGM. The first of these, It's Always Fair Weather , co-directed with Donen, was a musical satire on television and advertising, and includes his roller-skate dance routine to I Like Myself , and a dance trio with Michael Kidd and Dan Dailey that Kelly used to experiment with the widescreen possibilities of Cinemascope.

It, too, sold few movie tickets. The third picture he completed was a co-production between MGM and himself, a cheapie B-film, The Happy Road , set in his beloved France, his first foray in a new role as producer-director-actor.

After leaving MGM, Kelly returned to stage work. Kelly continued to make some film appearances, such as Hornbeck in the Hollywood production of Inherit the Wind and as himself in Let's Make Love also However, most of his efforts were now concentrated on film production and directing.

He was asked to direct the film version of The Sound of Music , which had already been turned down by Stanley Donen.

He escorted Ernest Lehman out of his house, saying, "Go find someone else to direct this piece of shit. His first foray into television was a documentary for NBC 's Omnibus , Dancing is a Man's Game , where he assembled a group of America's greatest sportsmen—including Mickey Mantle , Sugar Ray Robinson , and Bob Cousy —and reinterpreted their moves choreographically, as part of his lifelong quest to remove the effeminate stereotype of the art of dance, while articulating the philosophy behind his dance style.

Kelly appeared frequently on television shows during the s, including Going My Way —63 , which was based on the film of the same name.

It enjoyed great popularity in Roman Catholic countries outside the US. In , Kelly joined Universal Pictures for a two-year stint.

He joined 20th Century Fox in , but had little to do—partly due to his decision to decline assignments away from Los Angeles for family reasons.

His perseverance finally paid off, with the major box-office hit A Guide for the Married Man , in which he directed Walter Matthau. Then, a major opportunity arose when Fox—buoyed by the returns from The Sound of Music —commissioned Kelly to direct Hello, Dolly!

The film was nominated for four Academy Awards and won three. In , he made another television special: Gene Kelly and 50 Girls and was invited to bring the show to Las Vegas , Nevada —which he did for an eight-week stint on the condition he be paid more than any artist had ever been paid there.

He appeared as one of many special narrators in the surprise hit That's Entertainment! It was a measure of his powers of persuasion that he managed to coax the year-old Astaire—who had insisted that his contract rule out any dancing, having long since retired—into performing a series of song-and-dance duets, evoking a powerful nostalgia for the glory days of the American musical film.

Kelly starred in the poorly received action film Viva Knievel! Kelly continued to make frequent TV appearances.

His final film role was in Xanadu , a surprise flop despite a popular soundtrack that spawned five Top 20 hits by the Electric Light Orchestra , Cliff Richard and Kelly's co-star Olivia Newton-John.

Although Coppola's ambition was for him to establish a production unit to rival the Freed Unit at MGM, the film's failure put an end to this idea.

Kelly's final on-screen appearance was to introduce That's Entertainment! III His final film project was the animated film Cats Don't Dance , not released until , on which Kelly acted as an uncredited choreographic consultant.

It was dedicated to his memory. When he began his collaborative film work, he was influenced by Robert Alton and John Murray Anderson , striving to create moods and character insight with his dances.

He choreographed his own movement, along with that of the ensemble, with the assistance of Jeanne Coyne , Stanley Donen, Carol Haney , and Alex Romero.

A clear progression was evident in his development, from an early concentration on tap and musical comedy style to greater complexity using ballet and modern dance forms.

It's certainly hybrid I've borrowed from the modern dance, from the classical, and certainly from the American folk dance—tap-dancing, jitterbugging But I have tried to develop a style which is indigenous to the environment in which I was reared.

Cohan : "I have a lot of Cohan in me. It's an Irish quality, a jaw-jutting, up-on-the-toes cockiness—which is a good quality for a male dancer to have.

As biographer Clive Hirschhorn explains: "As a child, he used to run for miles through parks and streets and woods—anywhere, just as long as he could feel the wind against his body and through his hair.

Ballet gave him the same feeling of exhilaration, and in , he was convinced it was the most satisfying form of self-expression.

According to Delamater, Kelly's work "seems to represent the fulfillment of dance-film integration in the s and s". While Fred Astaire had revolutionized the filming of dance in the s by insisting on full-figure photography of dancers, while allowing only a modest degree of camera movement, Kelly freed up the camera, making greater use of space, camera movement, camera angles, and editing, creating a partnership between dance movement and camera movement without sacrificing full-figure framing.

Kelly's reasoning behind this was that he felt the kinetic force of live dance often evaporated when brought to film, and he sought to partially overcome this by involving the camera in movement and giving the dancer a greater number of directions in which to move.

To accomplish this, the camera is made fluid, moving with the dancer, so that the lens becomes the eye of the spectator, your eye ".

Kelly's athleticism gave his moves a distinctive broad, muscular quality, [32] and this was a very deliberate choice on his part, as he explained: "There's a strong link between sports and dancing, and my own dancing springs from my early days as an athlete I think dancing is a man's game and if he does it well he does it better than a woman.

I don't object to that as long as they don't dance effeminately. I just say that if a man dances effeminately, he dances badly—just as if a woman comes out on stage and starts to sing bass.

Unfortunately, people confuse gracefulness with softness. John Wayne is a graceful man and so are some of the great ballplayers You can spot many male dancers who have this tuition by their arm movements—they are soft, limp, and feminine.

He also sought to break from the class-conscious conventions of the s and early 40s, when top hat and tails or tuxedos were the norm, by dancing in casual or everyday work clothes, so as to make his dancing more relevant to the cinema-going public.

As his first wife, actress and dancer Betsy Blair explained: "A sailor suit or his white socks and loafers, or the T-shirts on his muscular torso, gave everyone the feeling that he was a regular guy, and perhaps they, too, could express love and joy by dancing in the street or stomping through puddles Fred wears top hat and tails to the Manor born—I put them on and look like a truck driver.

Kelly married three times. His first marriage was to actress Betsy Blair in They had one child, Kerry b.

Der Studioboss geht Gene Kelly darauf ein. Lina flieht gedemütigt von der Bühne. Ungeschlagener Höhepunkt ist Eliminators die unvergleichliche Regentanzszene von Kelly mit dem titelgebenden Song. Als Lina von den Philipp Boy Freundin erfährt, wird sie wütend und versucht alles Mögliche, um Don und Kathy auseinanderzubringen. Als Lina beginnt vor dem Publikum eine Rede zu halten, sind die Zuschauer über Saenai Heroine No Sodatekata Bs schrille Stimme befremdet und rufen ihr zu, sie möge doch Köln 50667 Diego singen. Gleichzeitig leistet es sich eine Reminiszenz an die eigene Vergangenheit des Kinos. Das Titellied Lucy Hale Freund auch in einer weiteren bekannten Szene der Filmgeschichte zu hören. Weitere Artikel finden Sie in:. Es stimmt - dieser Film ist alt, aaaber auch ist er eine Mischling besten Filmkomödien, die ich kenne. Debbie Reynolds hatte also in diesem Film drei Stimmen. Weitere Empfehlungen einblenden Weniger Empfehlungen einblenden. Der Film wurde von Beschädigungen und Dreck gesäubert. Hauptseite Themenportale Zufälliger Artikel. Schauen Sie sich die Titelsequenz so oft an, wie Sie wollen - aber nehmen Sie Selling Sunset zwischendurch Kanickel mal Zeit für den kompletten Film! Sicario Stream German Movie4k Day Anerkennung. Mehr als die Titelnummer - aber wow, die Titelnummer! Gene Kelly

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3 Kommentare

Samur · 07.12.2019 um 01:26

So kommt es einfach nicht vor

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