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Singin' in the Rain (1952)/Good Mornin' Takes and Edits


allthumbs
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i just viewed Singin' in the Rain (1952) again and was sublimely entertained by the Good Mornin' scene. Debbie Reynolds has told stories about the numerous takes the cast had to make during filming of the movie. in particular, does anyone know anything about how this number was put together for the film? i find it hard to believe that it only took one continuous take for a finished scene to be put on the master. instead, i picture numerous takes and then numerous edits for the final seamless screen presentation.

 

but i have no clue of how it was really done. does anyone have any info about how Good Mornin' was put together?

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Yeah, and I think I've asked you before why you've felt this way about that sequence in the movie, but I don't recall what your answer was.

 

(...and I doubt the reason I'm failing to remember your answer was that it was so long and detailed that I might have lost interest in your reply!) ;)

 

LOL

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This is one of my absolute favorite films. I love the "Good Mornin" number. I also doubt that it was one continuous shot-- if it was, that is amazing. It's important and relevant to the movie as they also sing it in honor of coming up with the brilliant idea to have Kathy dub for Lina.

 

My least favorite part is the little montage they have showing the transition of silent to talkies and the new musicals that emerged after Monumental Pictures starts producing lavish movie musicals. The music and the imagery at that part is annoying. I could also do without the "Beautiful Girls" number; but then again, we need that number because that's when Don finds Kathy-- working as a chorus girl in one of the new musicals. I also understand the point of the montage and can tolerate it; but could also definitely do without it.

 

I think my favorite part is the whole dance between Cyd Charisse and Gene Kelly. I love Cyd's green dress and the music.

 

Just an all around fantastic film. Kudos to the editor too! Every number looked seamless, like it was all done in one continuous shot.

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It's not one continuous take as there are edits in the dance sequence going from wide shot to close ups.

 

The way editing worked back in the studio days is the editor cut the sequences using what either notes the director had, or the producer or often, his own judgement.

 

A musical scene like "Good Morning" would have been cut together using the best moments of different takes and utilizing the cut aways to close ups to get around jump cuts between using two different takes. (example, the wide shot to closer shot at 1:10 in this clip:

gives the editor the advantage of not only moving closer in on the singers but also moving the song along.

 

To the actors and director's credit, much of the sequence is filmed in long takes which means the actors hit their marks remarkably well while staying in character, singing, dancing and moving around the set which is no easy feat.

 

And the editor took the best of those takes, utilized the cutaways to avoid jump cuts, and edited the sequence together so that the musical number worked not only for the film but became an iconic moment in a beloved film.

 

Kudos to the actors, the director and, especially, the editor who made their work shine.

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