Gene Kelly

Gene Kelly dances with Jerry of Tom and Jerry in Anchors Aweigh (1945), a performance which changed at least one critic's opinion of Kelly's skills.

Selznick sold half of Kelly's contract to Metro-Goldwyn-Mayer for his first motion picture: For Me and My Gal (1942) starring Judy Garland. Kelly said he was "appalled at the sight of myself blown up 20 times. I had an awful feeling that I was a tremendous flop." For Me and My Gal performed very well, and in the face of much internal resistance, Arthur Freed of MGM picked up the other half of Kelly's contract.[12] After appearing in a B movie drama, Pilot No. 5 (1943) and in Christmas Holiday (1944), he took the male lead in Cole Porter's Du Barry Was a Lady (1943) with Lucille Ball (in a part originally intended for Ann Sothern). His first opportunity to dance to his own choreography came in his next picture, Thousands Cheer (1943), in which he performed a mock-love dance with a mop. Unusually, in Pilot No. 5, Kelly played the antagonist.

He achieved a significant breakthrough as a dancer on film when MGM lent him to Columbia to work with Rita Hayworth in Cover Girl (1944), a film that foreshadowed the best of his future work.[21] He created a memorable routine dancing to his own reflection. 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."[22]

In Kelly's next film, Anchors Aweigh (1945), 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 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."[23] Anchors Aweigh became one of the most successful films of 1945 and Kelly was nominated for the Academy Award for Best Actor. In Ziegfeld Follies (1946)—which was produced in 1944 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.

Kelly was deferred from the draft in 1940[24] by the U.S. Selective Service System at the request of his employers, but was classified 1-A, eligible for induction, in October 1944 after an appeal to President Franklin Delano Roosevelt by the head of the Selective Service in New York City.[25] Roosevelt personally upheld the appeal.[24] He was inducted into the armed forces a month later, and at his request he was assigned to the U.S. Navy.[26][27] He served in the U.S. Naval Air Service and was commissioned as lieutenant, junior grade. He was stationed in the Photographic Section, Washington D.C., where he was involved in writing and directing a range of documentaries, and this stimulated his interest in the production side of filmmaking.[15][28] He was discharged in 1946.[29]

After Kelly returned from Naval service, MGM had nothing planned and used him in a routine, black-and-white movie: Living in a Big Way (1947). 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.N. Behrman's play, The Pirate (1948), with songs by Cole Porter, in which Kelly plays the lead opposite Garland. 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.

Leslie Caron and Kelly in the trailer for An American in Paris (1951)

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 1948)—and also appeared with Vera-Ellen in the Slaughter on Tenth Avenue ballet in Words and Music (1948 again). He was due to play the male lead opposite Garland in Easter Parade (1948), but broke his ankle playing volleyball. He withdrew from the film and persuaded Fred Astaire to come out of retirement to replace him.[30] There followed Take Me Out to the Ball Game (1949), his second film with Sinatra, where Kelly paid tribute to his Irish heritage in "The Hat My Father Wore on St. Patrick's Day" routine. This musical film persuaded Arthur Freed to have Kelly make On the Town (also 1949), 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."[12]

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 ... without such people as Stanley, Carol Haney, and Jeanne Coyne I could never have done these things. 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."[12][31] Together, they opened up the musical form, taking the film musical out of the studio and into real locations, with Donen taking responsibility for the staging and Kelly handling the choreography. 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.[15]

Kelly asked the studio for a straight acting role and he took the lead role in the early mafia melodrama Black Hand (1950). This exposé of organized crime is set in New York's "Little Italy" during the late 19th century and focuses on the Black Hand, a group that extorts money upon threat of death. In real-life incidents upon which this film is based, the Mafia, not the Black Hand, 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. There followed Summer Stock (1950)—Garland's last musical film for MGM—in which Kelly performed the "You, You Wonderful You" solo routine with a newspaper and a squeaky floorboard. 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.[12]

Singin' in the Rain trailer: Donald O'Connor, Debbie Reynolds and Kelly (1952)

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 (1951) and—probably the most admired of all film musicals—Singin' in the Rain (1952). 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.[12]

An American in Paris won six Academy Awards, including Best Picture. The film also marked the debut of 19-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 ... one of the finest ever put on the screen."[15] Also in 1951, Kelly received an honorary Academy Award for his contribution to film musicals and the art of choreography.

Donald O'Connor, Debbie Reynolds, and Gene Kelly from a lobby card for Singin' in the Rain

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.[32]

At the peak of his creative powers, Kelly made what in retrospect some see as a mistake.[15] In December 1951, he signed a contract with MGM that sent him to Europe for 19 months to use MGM funds frozen in Europe to make three pictures while personally benefiting from tax exemptions. 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 1956.

Michael Kidd, Kelly, and Dan Dailey in It's Always Fair Weather (1955), directed by Kelly and Stanley Donen, their last collaboration

When Kelly returned to Hollywood in 1953, the film musical was beginning to feel the pressures from television, and MGM cut the budget for his next picture Brigadoon (1954), with Cyd Charisse, forcing him to make the film on studio backlots instead of on location in Scotland. This year also had him appear as a guest star with his brother Fred in the "I Love to Go Swimmin' with Wimmen" routine in Deep in My Heart (1954). 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 (1955), 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. MGM had lost faith in Kelly's box-office appeal, and as a result It's Always Fair Weather premiered at 17 drive-in theatres around the Los Angeles metroplex. Next followed Kelly's last musical film for MGM, Les Girls (1957), in which he joined a trio of leading ladies, Mitzi Gaynor, Kay Kendall, and Taina Elg. The third picture he completed was a co-production between MGM and himself, a cheapie B-film, The Happy Road (1957), set in his beloved France, his first foray in a new role as producer-director-actor. After leaving MGM, Kelly returned to stage work.

In 1958, Kelly directed Rodgers and Hammerstein's musical play Flower Drum Song.[33] Early in 1960, Kelly, an ardent Francophile and fluent French speaker, was invited by A. M. Julien, the general administrator of the Paris Opéra and Opéra-Comique,[12] to select his own material and create a modern ballet for the company, the first time an American had received such an assignment. The result was Pas de Dieux, based on Greek mythology, combined with the music of George Gershwin's Concerto in F. It was a major success, and led to his being honored with the Chevalier de la Légion d'Honneur by the French Government.

Kelly as Hornbeck in Inherit the Wind (1960)

Kelly continued to make some film appearances, such as Hornbeck in the Hollywood production of Inherit the Wind (1960) and as himself in Let's Make Love (also 1960). However, most of his efforts were now concentrated on film production and directing. In Paris, he directed Jackie Gleason in Gigot (1962), but the film was drastically recut by Seven Arts Productions and flopped.[15] Another French effort, Jacques Demy's homage to the MGM musical, The Young Girls of Rochefort (Les Demoiselles de Rochefort, 1967), in which Kelly appeared, was a box-office success in France and nominated for Academy Awards for Best Music and Score of a Musical Picture (Original or Adaptation), but performed poorly elsewhere.

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, the screenwriter, out of his house, saying, "Go find someone else to direct this piece of shit."[34]

His first foray into television was a documentary for NBC's Omnibus, Dancing is a Man's Game (1958), in which 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.[15] It gained an Emmy nomination for choreography and now stands as the key document explaining Kelly's approach to modern dance.

Kelly appeared frequently on television shows during the 1960s, including Going My Way (1962–63), which was based on the 1944 film of the same name. It enjoyed great popularity in Roman Catholic countries outside the US.[15] He also appeared in three major TV specials: The Julie Andrews Show (1965), New York, New York (1966), and Jack and the Beanstalk (1967)—a show he produced and directed that again combined cartoon animation and live dance, winning him an Emmy Award for Outstanding Children's Program.

Walter Matthau with Barbra Streisand in Hello, Dolly! (1969)

In 1963, Kelly joined Universal Pictures for a two-year stint. He joined 20th Century Fox in 1965, 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 (1967), in which he directed Walter Matthau. Then, a major opportunity arose when Fox—buoyed by the returns from The Sound of Music (1965)—commissioned Kelly to direct Hello, Dolly! (1969), again directing Matthau along with Barbra Streisand. The film was nominated for seven Academy Awards, winning three.

In 1966, Kelly starred in an hour-long musical television special for CBS titled, Gene Kelly in New York, New York.[35] The special focuses on Gene Kelly in a musical tour around Manhattan, dancing along such landmarks as Rockefeller Center, the Plaza Hotel, and the Museum of Modern Art, which serve as backdrops for the show's entertaining production numbers.[36] The special was written by Woody Allen, who also stars alongside Kelly. Guest stars included choreographer Gower Champion, British musical comedy star Tommy Steele, and songstress Damita Jo DeBlanc.[37]

In 1970, he made another television special: Gene Kelly and 50 Girls, and was invited to bring the show to Las Vegas, which he did for an eight-week stint on the condition he be paid more than any artist had ever been paid there.[15] He directed veteran actors James Stewart and Henry Fonda in the comedy Western The Cheyenne Social Club (1970), which performed poorly at the box office. In 1973, he worked again with Frank Sinatra as part of Sinatra's Emmy-nominated TV special, Magnavox Presents Frank Sinatra. He appeared as one of many special narrators in the surprise hit That's Entertainment! (1974). He directed and co-starred with his friend Fred Astaire in the sequel That's Entertainment, Part II (1976). It was a measure of his powers of persuasion that he managed to coax the 77-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 was a guest on the 1975 television special starring Steve Lawrence and Eydie Gormé, "Our Love Is Here to Stay," appearing with his son, Tim, and daughter, Bridget. He starred in the poorly received action film Viva Knievel! (1977), with the then high-profile stuntman, Evel Knievel. Kelly continued to make frequent TV appearances. His final film role was in Xanadu (1980), 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.[15] In Kelly's opinion, "The concept was marvelous, but it just didn't come off."[12] In the same year, he was invited by Francis Ford Coppola to recruit a production staff for American Zoetrope's One from the Heart (1982). 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.[15] Kelly served as executive producer and co-host of That's Dancing! (1985), a celebration of the history of dance in the American musical. Kelly's final on-screen appearance was to introduce That's Entertainment! III (1994). His final film project was the animated film Cats Don't Dance, not released until 1997, for which Kelly acted as an uncredited choreographic consultant. It was dedicated to his memory. His first Royal Variety Performance was at London's Theatre Royal on 6 November 1983 before Her Majesty Queen Elizabeth II.

Kelly, photographed by Allan Warren, in 1986

Kelly married three times. His first marriage was to actress Betsy Blair in 1941. They had one child, Kerry (b. 1942), and divorced in April 1957.[45]

In 1960, Kelly married his choreographic assistant Jeanne Coyne, who had previously been married to Stanley Donen between 1948 and 1951. Kelly and Coyne had two children, Timothy (b. 1962) and Bridget (b. 1964). This marriage lasted until Coyne died in 1973.

Kelly married Patricia Ward in 1990 (when he was 77 and she was 30).[46] Their marriage lasted until his death six years later and she has not remarried.[47]

Kelly was a lifelong supporter of the Democratic Party. His period of greatest prominence coincided with the McCarthy era in the US. In 1947, 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 (1955), 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.[15][42] He used his position on the board of directors of the Writers Guild of America West on a number of occasions to mediate disputes between unions and the Hollywood studios.

He was raised as a Roman Catholic and was a member of the Good Shepherd Parish and the Catholic Motion Picture Guild in Beverly Hills, California.[48] However, after becoming disenchanted by the Roman Catholic Church's support for Francisco Franco against the Second Spanish Republic during the Spanish Civil War,[49] he officially severed his ties with the church in September 1939. 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.[49] After his departure from the Catholic Church, Kelly became an agnostic, as he had previously described himself.[50]

Kelly appeared as actor and dancer in musical films. He always choreographed his own dance routines and often the dance routines of others and used assistants. As was the practice at the time, he was rarely formally credited in the film titles.[9]

• 1999 – Anatomy of a Dancer, directed by Robert Trachtenberg, PBS, 2002
• 2013 – Gene Kelly, to Live and Dance, by Bertrand Tessier, France 5, 2017

• Wise, James. Stars in Blue: Movie Actors in America's Sea Services. Annapolis, MD: Naval Institute Press, 1997. ISBN 1557509379 OCLC 36824724