IT'S ALWAYS FAIR WEATHER
US, 1955, 101 minutes, Colour.
Gene Kelly, Dan Dailey, Michael Kidd, Dolores Gray, Cyd Charisse.
Directed by Gene Kelly and Stanley Donen.
It's Always Fair Weather was the third musical collaboration between Gene Kelly and Stanley Donen. With their production by Arthur Freed (producer of so many excellent musicals at M.G.M. in the '40s and '50s and song composer himself), Kelly and Donen made great impact with their lively musical filmed in New York, On The Town (1949). Many consider that they capped On The Town with their brilliant musical about the days of the transition from silent films to sound, Singin' in the Rain. This third production was not so successful. Filmed in Cinemascope, it had many of the credits of the previous films.
Direction was shared by Kelly and Donen, as was the choreography. They were joined by dancer-choreographer Michael Kidd. Book was by Betty Comden and Adolph Green who wrote the previous films. Music was by Andre Previn. The film was made in Cinemascope which gave lavish possibilities for the production numbers. The focus is on the three male leads - with, unfortunately, little opportunity for Cyd Charisse's dancing. There is some comedy support from Dolores Gray. An interesting, but not memorable Kelly- Donen musical.
1. The impact of this entertaining musical comedy? Comparisons with the other films of Kelly and Donen? An M.G.M. musical of the mid '50s? Impact then, now?
2. Cinemascope photography, scope for the staging of the musical numbers? The atmosphere of New York? The contribution of the musical score? The choreography? The special effects - especially for costumes, decor and the staging of the numbers?
3. The conventions of the soldiers returning home, promise to meet in ten years. their differing lives, the reunion and the discovery of how each had changed? How well used? The conventions of advertising and television and exploitation? How well combined for a musical comedy?
4. The focus on New York 1945 and the exhilaration of Ted, Doug and Angie leaving the Army? Sentimentality, the vow, the reunion in ten years time? The indication of the character of each? The transition to 1955 and the reunion? The disillusionment? Their being brought together by Jackie? Madeleine and her influence? The fights, the reconciliations - and the hopes for the next ten years?
5. The three men: Ted: the playboy and his being mixed up in fight rackets? Gene Kelly's playboy style? His being pursued by the gang of thugs, the studio, Doug and Angle defending him, the fighting together bringing the old friendship back again? The encounter with Jackie and his realising that he was selfish, needed love etc.? Gene Kelly's style in this conventional role? Doug and his work as a commercial artist, his marriage troubles, ulcers? His realisation of what had happened to him in ten years, his becoming pompous, his becoming too commercialised, separation from his wife? His determination to change? Angie and his marriage, his hamburger stand, his seeming happiness with life?
6. Jackie Leighton and her work as a television scout, her various devices to reunite the three, the human interest on the television programme? Her difficulties in getting them together? Her falling in love with Ted - in the usual crisis-filled musical comedy way?
7. Madeleine Bradville and Delores Gray and her satire, humour? The television satire - and 'human interest exhibitionism'?
8. The presentation of the musical numbers: the end of the war and the dance on the town; the collage of the years; the Danube; Cyd Charisse and the Stilman's Gym fight; Once I Had a Dream; the skates; the use of Liszt and Klenzwite; Thanks But No Thanks? Imaginative dancing, imaginative singing, imaginative satire? The contribution of Gene Kelly and Stanley Donen to the American musical?
