Film Analysis Of Don Lockwoodssingin In The Rain

â€Å"If you’ve seen one, you’ve seen them all,† remarks Kathy Selden about movies after first meeting silent film star Don Lockwood in the beginning of Singin’ in the Rain (Singin’ in the Rain 17:38). While Kathy was slightly off base when saying that all movies are the same, movies belonging to the same genre often do share certain conventions which author Bernard F. Dick discusses in his book Anatomy of Film and Tim Dirks confirms in his assessment of the genre for the American Movie Classics Company. What do one of the best musicals ever made and the newest musical to receive raving reviews have in common? With 64 years separating Singin’ in the Rain (1952) and La La Land (2016), the advancements in film technology are apparent, but the†¦show more content†¦In Singin’ in the Rain, one of the best examples of the plot motivating a song or dance happens a little over halfway through the movie. Don, Kathy, and Cosmo have just returned from the test premiere of Don’s newest movie and first talkie. The audience hated the movie, and Don now feels like his career is over. While Kathy and Cosmo try to cheer him up, they come up with the idea of turning his movie into a musical. As they celebrate this new idea, they realize it is past midnight which brings about â€Å"Good Morning.† 1:01:00 This number gives the characters a physical and verbal way of showing their glee concerning the idea of turning the movie into a musical. When speaking specifically about Singin’ in the Rain, Dick says, â€Å"The other musical numbers in the film also advance the plot and are not merely occasions for an actor to break into a song or dance† (Dick 123). â€Å"Good Morning,† like the other numbers in Singin’ in the Rain, advances continues to drive the plot. Likewise, in La La Land as Dom walks Mia to find her car after they meet at a party, Dom begins singing about what a lovely nigh t it is which evolves into a full on song and dance. 33:20 The dance comes to a close as the pair comes face to face, and Mia’s cellphone ringing breaks the moment. These numbers, like other numbers in integrated musicals, can make a normal part of the plot more exciting and memorable to the audience by showing how the characters are