All language subtitles for Thats Entertainment 1 (1974) Jack Haley Jr , Fred Astaire, Gene Kelly, Bing Crosby.eng

I'm singin' in the rain

Just singin' in the rain

What a glorious feeling
I'm happy again

The year is 1929. The singer,
Cliff Edwards, also known as Ukulele Ike.

The film, Hollywood Revue.
It is the first all-talking...

...all-singing, all-dancing movie ever made.

Everyone from the place

Come on with your rain

I've got a smile on my face

I'll walk down the lane

In the years that followed,
"Singin' in the Rain" would become...

...a theme song for MGM.

Singin' in the rain

In the 1930s, Jimmy Durante
gave us this rendition.

You wrote that this morning?

Yeah, it's something they'll remember.

Yeah, I remember it already.

I'm singin' in the rain

Oh, I'm singin' in the rain

What a grand, what a glorious feeling
I'm happy again

In the 1940s, Judy Garland did it her way.

So dark up above

The sun's in my heart

I'm gettin' ready for love

Let the stormy clouds chase
Everyone from the place

And come on with the rain

I've a smile on my face
I'll walk down the lane

With a happy refrain

And singin'

Singin'

I'm singin' in the rain

In the 1950s, Gene Kelly,
Debbie Reynolds and Donald O'Connor...

...put it all together in what many folks
would call the best musical ever made.

Singin' in the rain
Just singin' in the rain

What a glorious feelin'
We're happy again

If you're wondering
what happened in between, well...

...sit back and relax.
You're about to find out.

It's been quite some time
since I first came to this place.

And MGM is certainly
not the same studio...

...and Hollywood's not the same town.

But the films we made here
are still around.

Some studios can claim
they made the finest gangster films...

...or the greatest horror movies...

...but when it came to musicals,
MGM, they were the champions.

Musicals were fantasy trips
for the audiences of their day.

For instance, boy meets girl,
boy loses girl...

...boy sings a song and gets girl.

The plots were that simple.

The musicals of the 1930s, '40s,
or even the '50s...

...may not tell you
where our heads were at...

...but they tell you
where our hearts were at.

And all of this lovable nonsense
began back in 1929...

...when the silent film had suddenly
become a thing of the past...

...and sound was the king.

Don't bring a frown to old Broadway

You've gotta clown on Broadway

Broadway Melody of 1929 won
an Oscar for the Best Picture that year...

...and MGM was off and running
with a new formula for success.

Charles King and a line of
slightly overweight chorus girls...

...were the beginning
of a new motion picture art form...

...that would captivate audiences
for years to come.

No skies of gray
On the Great White Way

That's the Broadway Melody!

No skies of gray
On the Great White Way

That's the Broadway Melody!

Within a few short years,
the musical had come of age.

The primitive stage show
had now become a cinematic spectacular.

Here Frank Morgan, Ray Bolger,
Nelson Eddy and a cast of thousands...

...watched Eleanor Powell dance in Rosalie.

When I'm calling you

The most successful singing team
in the history of motion pictures...

...Nelson Eddy and Jeanette MacDonald
in Rose-Marie.

Will you answer too?

- Then I will know
- Then I will know

- Our love
- Our love

- Will come true
- Will come true

- You'll belong to me
- You'll belong to me

- I'll belong
- I'll belong

- To you
- To you

In 1936, The Great Ziegfeld won
an Oscar for Best Picture that year...

...and it's no wonder.

Virginia Bruce
and a gang of lovely ladies...

...cluttered up
Hollywood's biggest staircase.

And somewhere in that lovely mob,
you'll find Dennis Morgan singing a song.

If anyone could afford to film
this extravagant number today...

...perhaps it would look something like this.

Just like a heavenly rhapsody

She captures you right from the start

Just like a beautiful melody

She'll play on the strings of your heart

A pretty girl
Is like a melody

That haunts you night and day

Just like the strain
Of a haunting refrain

She'll start upon a marathon

And run around your brain

You can't escape

She's in your memory

By morning, night and noon

She will leave you
And then

- Come back again
- Will come back

A pretty girl

Is just like a pretty

Tune

She's in your memory

By morning, night and noon

She will leave you
And then

Come back again

A pretty girl

Is just like a pretty tune

The last of the big
black-and-white production numbers...

...starring Eleanor Powell
and Fred Astaire.

Cole Porter's music, the sets
and the camera work...

...the direction by Norman Taurog,
the incredible tap dancing by these two...

...well, it all seemed to come together
in Broadway Melody of 1940.

You know, you can wait around and hope,
but I'll tell you...

...you'll never see the likes of this again.

Don't be afraid
You'll make the grade

Why, you can sing
As good as Bing

And here, the old pro,
James Durante, gives a newcomer...

...a few pointers in It Happened in Brooklyn.

Sing it, Danny, make me proud.

Okay, Nick, stand back.

It doesn't have to be witty or smart

Smile.

Long as it comes from the heart

Keep going.

It doesn't have to be classic or rock

Great.

Long as it comes from the heart

I'll give 'em that

I'll give 'em this

I'll strut away

Boy! You can't miss!

Just put a star on my chart

You won't need this anymore.

'Cause the song's gonna come
From the heart

Don't work cheap.

- On opening nights
- On opening nights

- Your name in lights
- Your name in lights

Why we won't stop
'Til you reach the top

- We'll order our meal à la carte
- We'll order our meal à la carte

- That's expensive!
- That's expensive!

- If the song comes from the heart
- If the song comes from the heart

We'll be tremendous!

- If the song comes from the heart
- If the song comes from the heart

They'll holler, "Bravo. "

- If the song
- If the song

- Comes from the heart
- Comes from the heart

- Heart
- Heart

That's just a sample of what's been going
on around here for the past 40 years.

The work was hard, but it was great fun.

Because the people you worked with
really knew what they were doing.

It was said that through those doors
passed the most famous stars in Hollywood.

I don't think you'll find anyone around
this town who will argue about it.

Here's one of the most lovely
and talented of those stars...

...Miss Elizabeth Taylor.

I was 10 years old
when I first came to MGM.

And I spent most of the next 18 years
of my life...

...behind the walls of that studio.

As a young girl growing up
in that strange place...

...it's hard to recall
what was real and what wasn't.

Perhaps, my most vivid memories
were of MGM musicals.

Just to stand there on the set and watch...

...the singing and the dancing.
It was like fantasy come true.

Total innocence. Loveliness.

I love a melody

Of spring

Lilacs in bloom

Birds on the wing

I made my musical debut
when I was 15 years old...

...in a film called Cynthia.

I was certainly no threat
to Jane Powell or Judy Garland...

...as you will see.

For life is an eager

Joyous thing

Whenever I hear

The music

Of

Spring

Maybe that experience helped give me...

...the enormous regard
that I have for musical talent.

And believe me, at MGM, I saw the best.

HORNE
Every honeybee sighs with jealousy

For instance, if Lena Horne
was in a movie...

...then it almost had to be from MGM.

Honeysuckle rose

When we're passin' by
Flowers droop and sigh

And I know the reason why

You're much sweeter
Goodness knows

Honeysuckle rose

I don't buy sugar

You just have to touch my cup

You're my sugar

It's sweet when you stir it up

When I'm takin' sips
From your tasty lips

Seems the honey fairly drips

You're confection
Goodness knows

You're my honeysuckle rose

- 'Cause it's one
- Two

- Three strikes, you're out
- Three strikes, you're out

- At the old ball game
- At the old ball game

When Frank Sinatra and Gene Kelly
teamed up for a series of films...

...the results were irresistible.

This is one of their best,
Take Me Out to the Ball Game.

Thou swell, thou witty

Thou sweet, thou grand

Wouldst kiss me pretty?

Wouldst hold my hand?

Both thine eyes are cute too

What they do to me

Hear me holler
I choose a sweet lollapalooza in thee

June Allyson, MGM's most popular
musical sweetheart...

...in Rodgers and Hart's Words and Music.

Two rooms and kitchen

I'm sure would do

Give me just a plot of

Not a lot of land

And thou swell

Thou witty, thou grand

Everybody's favorite college musical...

...Good News, starring June Allyson
and Peter Lawford.

Those sure were the good old days.

The boy, "garçon"

His girl, "la fille"

That's good, "c'est bon"

The show, "fini"

The moral to this tale
Is not just "parlez-vous"

Send her a billet-doux

Tell her her eyes are blue

They sure are blue.

"Je vous adore" means

I love you

What wonderful years those were at MGM.

One day, I remember meeting a terribly
handsome young man from England.

He'd just started work at the studio.
Naturally, I fell wildly in love with him.

I still adore him.

He's still one of my closest
and dearest friends.

Peter Lawford.

This building, or what's left of it...

...was, among other things,
Tait College in Good News.

You might say that June Allyson,
Mel Tormé and I graduated from here.

We were all under contract to MGM
in those days.

And the studio pretty much told us
what pictures we were gonna appear in.

They put us in dramas, comedies
and in my case...

...don't ask me why, an occasional musical.

As a singer or dancer, I was ill-equipped
to compete with Astaire or Kelly...

...but we did what we were told to do.

When I first came to MGM,
the world was at war.

To the Gls overseas and the audiences
here at home...

...the musicals were
a very special kind of escape...

...both during the war and sfterwards.

The films we made here
had a certain style...

...a look that was unmistakable.

Whether it was the directing,
or the writing, or the scenery...

...the costumes, the lighting,
I don't really know.

But somehow you could always tell
that it was an MGM movie.

Especially the musicals.

All right, cut it.

- Print it, Jane.
- Okay.

All right, take me into number one.
Okay, number one.

Can you see your marks, Joe?

Okay, everybody.
- Quiet! We're rolling.

Speed. Action.

The studio was constantly experimenting...

...constantly showcasing new talent.

For instance, Debbie Reynolds and Carleton
Carpenter in Two Weeks with Love.

Bab-a, dab-a, dab-a

Said the chimpy to the monk

Said the monkey to the chimp

All night long they'd chatter away
All day long they were happy and gay

Swinging and singing
In a honky-tonky way

Bab-a, dab-a, dab-a

Means, "Monk, I love but you"

"Bab-a, dab-a, dab-a" in monkey talk
Means, "Chimp, I love you too"

Then the big baboon, one night in June
He married them, and very soon

They went upon their
Aba daba honeymoon

Elizabeth Taylor starred
in A Date With Judy...

...one of the first in a new wave
of teenage musicals...

...most of them produced by Joe Pasternak.

That isn't Elizabeth's voice you're hearing.

MGM kept her too busy
to rehearse and record.

But her costar, Jane Powell,
quickly became one of the studio's...

...most popular young talents.

As an old

Native-born

Californian would say

It's a most unusual day

There are people greeting people

There is sunshine everywhere

There are people greeting people

And a feeling of spring in the air

It's a most unusual time

I keep feeling my temperature climb

If my heart won't behave in the usual way

Well, there's only one thing to say

It's a most unusual
Most unusual

Most unusual day

Here she comes!

Hey, Jim, you better get the rig

She's got a list of passengers
That's pretty big

And they'll all want lifts to Brown's Hotel

'Cause lots of them been travelin'
For quite a spell

All the way to California

On the Atchison, Topeka

On the Atchison, Topeka
And the Santa Fe

The Harvey Girls,
directed by George Sidney...

...starred Judy Garland and Ray Bolger.

And this Oscar-winning song was written
by Harry Warren and Johnny Mercer.

In this day and age
Girls don't leave home

But if ya get a hankerin'
You wanna roam

Our advice to you is run away

On the Atchison, Topeka
And the

Santa Fe

All aboard!

We came across the country lickety-split
Rolling 90 miles an hour, fit to be tied

I can't believe I'm here at last

When you go traveling
It's natch for you

To take the Atchison, Topeka
And the Santa Fe

I can't believe that anything
Would go so fast

Then you pull that throttle

Whistle blows

A- huffin' and a-puffin'
And away she goes

All aboard for California

- On the Atchison
- On the Atchison

- On the Atchison, Topeka
- On the Atchison, Topeka

- On the Atchison, Topeka and
- On the Atchison, Topeka and

On the Atchison, Topeka
And the

Santa Fe

By the 1950s, the movie musical
was reaching a level...

...of inventiveness and sophistication
that was pretty hard to top...

...even by today's standards.

But it wasn't always like that.
And here's someone to tell you about it.

And he's pretty hard to top too.
Mr. James Stewart.

In the late 1920s and early '30s...

...these 200 acres of real estate
were seeing a panic, pandemonium.

Sound pictures had replaced silent films
virtually overnight.

The only actor in town that wasn't worried
was Rin Tin Tin.

As long as he could bark,
well, sound was no threat to him.

For MGM and the rest of Hollywood...

...there were gloomy days ahead.

Some of the biggest silent stars
spoke with thick foreign accents.

Others had a lisp
or talked through their noses.

The early microphones seemed
to exaggerate the flaws...

...that silent film had hidden.

As quickly as the sound stages went up,
careers collapsed.

The studio heads were desperate.

Where would the new stars, the new
personalities come from, they wondered.

Well, the answer was obvious.
From the theater, from Broadway.

Theatrical experience suddenly became
a passport to Hollywood...

...even if it meant no more than
a few weeks of summer stock.

Over the next few years,
a steady stream of hopefuls...

...marched through the gates of
every studio in town, including MGM.

I should know, I was one of those
hungry young actors from the East.

- Sam, is everything all right?
- Okay, Fred.

- How are the cameras?
- All right.

Bob, how are your lights?

All set, whenever you are.

Good. How's the music...?

Musicals were the most popular
commodity in the early '30s.

And they were cranked out
at an incredible rate.

Most of them really weren't very good.

But if audiences suffered,
they didn't complain.

The real victims were the dramatic actors.

The studio pushed nearly
every one of them into musical roles.

It must be you

Who carries me away

Here, an uncomfortable
Robert Montgomery tries his best.

But when you're near

The music in my soul

Would fade each time we part

Bob Montgomery was only
one of many MGM contract players...

...forced to sing and dance.

In the frantic search for musical stars,
many would be called...

...but few would succeed.

Here's one of my favorites.
And I know you all like her too.

Because she's the personification
of youth...

...and beauty and joy and happiness,
Joan Crawford.

Did you ever see somebody
Who could love somebody

Much as I love you?
Huh, did you?

You're the kind of sweet somebody
Who could love somebody

How about me too, huh?

Oh, my
You're the one I crave

I could be your slave

Honey, let me rave

Got a feelin' for you

Crazy about your smile

Hey, an easy style

Got it all the time

Got a feelin' for you

Like your turned-up nose

Like your knees down low

From your head to toe

Got a feelin' for you

Did you ever see somebody
Who could love somebody

Much as I love you?

You're the kind of sweet somebody
Who could love somebody

Could you love me too?

You're the one I crave

I could be your slave

Honey, let me say
Got a feelin' for you

What'll you ever be?
What'll you ever do?

How'll you ever know
If you don't take a chance?

Jean Harlow, the blonde bombshell...

...tried out her musical abilities in Reckless.

I wanna live, love, learn a lot

I'll light my candle
And I'll burn a lot

You'll have some bad shots
Hard knocks

I'm on my own if I bruise

And there'll be smiles here
Shouts here

And I can take it on the chin if I lose
Because I'm reckless

Because she's reckless

Reckless

Because I'm reckless

I'm gonna go places
And look life in the face

Hey.

Did I remember

Jean Harlow's musical talents
were somewhat limited...

...and the studio usually used
someone else's voice for her vocals.

But in a movie called Suzy, her costar,
Cary Grant, did his own singing.

And darn well too.

How do you know?
You didn't hear it.

I assure you I heard every word.
Let me convince you.

Sit down. Gentlemen, play it again.
You be the audience.

Did I remember to tell you
you're delightful?

You're everything I want you to be.

Your eyes look lovely
And far beyond comparing

Especially when they're glaring
At me

I can't think up words to say
How swell you are

But I can tell you are

I know so well you are

I started falling
The moment that I saw you

Believe me, I adore you
Chérie

I'm sure you'll hate to hear

That I adore you, dear

But grant me just the same

I'm not entirely to blame

For you'd be

So easy to love

I was lucky enough to sing
a Cole Porter song...

...in Born to Dance with Eleanor Powell.

At first, the studio planned to have
someone else record the vocal.

But the tune became such a big hit
that they decided to let me do it.

You see...

...they figured the song was so good
that even my singing couldn't hurt it.

We'd be so grand

At the game

So carefree together

That it does seem a shame

That you can't see

Your future with me

'Cause you'd be, oh

So easy to love

I know that you'll join us in giving
a really rousing, rip-roaring reception...

...to Harry Van and Les Blondes. Mr. Van.

Norma Shearer and Edward
Arnold looked on as Clark Gable...

...made his musical debut in Idiot's Delight.

Hello, people, and thanks a lot
for that very lovely reception.

Thanks a million,
and I won't settle for a cent less.

In our modest act tonight,
we'll be ably assisted...

...by Professor Palova and his talented
team. Give them a hand, folks.

Okey-dokey, fellas. Take it away.

- This will be amusing, Achille.
- I hope so.

If you're blue and you don't know
Where to go to

Why don't you go
Where Harlem sits?

Puttin' on the Ritz

Spangled gowns upon the bevy
Of highbrows

But down the levee
All misfits

Puttin' on the Ritz

That's where each and every
Lulu Belle goes

Every Thursday evening
With her swell beaus

Rubbing elbows

Come with me and we'll attend
The jubilee

And see them spend
Their last two bits

Puttin' on the Ritz

Clark Gable surprised everyone
with his delightfully corny routine.

And yet, his fans were just outraged...

...to see him even try singing and dancing.

Their hero was above such nonsense.

But it was perfectly all right
for a youngster named Judy Garland...

...to dedicate a song to their idol.

Dear Mr. Gable

I am writing this to you

And I hope that you will read it
So you'll know

My heart beats like a hammer

And I stutter and I stammer

Every time I see you
At the picture show

I guess I'm just another fan of yours

And I thought I'd write
And tell you so

You made me love you

I didn't wanna do it

You made me love you

And all the time you knew it

I guess you always knew it

You made me happy

Sometimes you made me glad

But there were times, sir

You made me feel so sad

You made me sigh 'cause

I didn't wanna tell you

I think you're grand

That's true

Yes, I do, 'deed I do
You know I do

I don't care what happens
Let the whole world stop

As far as I'm concerned
You'll always be the top

'Cause you know

You made me

Love you

"Dear Mr. Gable"
was a milestone in its day.

It was the first time a studio permitted
a song to be dedicated to one of its stars.

And it was sung by a little girl...

...who would soon become
MGM's newest star.

And here's someone who can tell you
more about that remarkable talent.

He's a remarkable talent himself.
Mickey Rooney.

This is Carvel Street.

For anyone who's ever seen
an Andy Hardy movie...

...well, this is where
they were all shot, right here.

Over there, that was
Polly Benedict's home across the street.

And this was the home
of the Hardy family.

The picket fence is gone,
and the mailbox too...

...but it's still the Hardy home.

It might seem strange
that a person could spend over 20 years...

...growing up on the same movie set.

But in a way, that's what happened to me.

I was about 10 years old when I first came
to Metro-Goldwyn-Mayer...

...and I was raring to go.

The movie was Broadway to Hollywood.

And you guessed it, it was a musical.

Well, we... We all change a little
over the years, don't we?

You know, when you've been raised
at a studio, the way I was...

...you learn a certain ability
that time can't seem to erase.

You learn to recognize real talent.

You see so many people
come and go...

...that when an exceptional talent
comes along...

...it seems to stick out like a sore thumb.

I was a seasoned veteran of 17
when I first had the opportunity...

...of working with the great
and wonderful Judy Garland.

I knew when I saw her
standing before the camera...

...that she had that certain magic.

Her talent seemed to jump
right off the screen at you.

Do re mi fa so la ti do

Judy and I became close friends
when we did a series of films together...

...that the studio called
"backyard musicals. "

Audiences seemed to love the pictures...

...even though the plots
were suspiciously alike.

Only our names seemed to change.

How do you do?

Good morning. I'm Betsy Booth.

- I sing, you know.
- I know, I heard you.

You're Andy Hardy, aren't you?

This is Barbara Jo. This is Mr. Williams.

Pleased to meet you, Mr. Williams.

Danny, this is my grandchild,
Ms. Ginger Gray.

- Yes, we've met.
- This is my cousin, Ms. Polly Williams.

Mr. Daniel Churchill, a junior.

Ms. Barton, this is Ms. Essex,
the once famous "Baby Rosalie. "

How do you do? This is Mickey Moran.

How do you do?

My name's Williams, Tommy Williams.
What's yours?

- I don't think I like you.
- Thank you.

You're welcome.

- I want success.
- And you'll have it.

I know you will, Mickey. Just think
when our names are up in electric lights.

You the big composer and producer,
and me the singing star.

We could have our own great
modern dance orchestra.

We've got everything we need here.
We've got the brass...

...the piano and the reeds.

We can make our own arrangements,
specialties and play for all the dances.

We've gotta have a great show
with a million laughs.

And color, a lot of lights to make it sparkle.

And songs, wonderful songs
with you out there selling them.

It'll be wonderful.

Say, that's not a bad idea.

We could put on our own show.
That'd be different.

Why, it looks as if you'll need
a whole city block.

Yeah. Sure, that's it.

Right in the neighborhood,
and everybody'll come to it.

A Western rodeo, once a year
we'll bring back the West.

- Daniel Boone.
- Jesse James, Buffalo Bill.

- A hundred beautiful girls.
- On horseback.

- Glorious costumes, happy, carefree.
- Gay!

I'm gonna write a show for us
right here in Seaport.

It'd be the most up-to-date thing
these hicks around here have seen.

Opening night, we'll have
Max Gordon and Sam Harris...

...down to give us the once-over.
How about it, kids?

- They call us babes in arms
- We never dance

- They think they must direct us
- But no chance

- But if we're babes in arms
- High romance

- We'll make them all respect us
- Why, oh, why

Why have we got our arms

What have we got our sight for?

Play day is done
We've a place in the sun

We must fight for

When our movies took off
at the box office...

...we found our budgets taking off too.

So they moved Judy and I
out of the backyard and into the barn...

...then to the high school gym...

...and later to a Broadway stage
that would never have fit in a real theater.

Where we got all that energy,
I'll never know.

But a lot of it was inspired
by our director, a genius...

...Busby Berkeley.

Small town
Living in a small town

When you're in a small town
You gotta make friends

- One, two, three
- One, two, three

Watch them shuffling along

See them shuffling along

Go take your best gal
Your real pal

Go down on the levee
I said to the levee

And we'll join that shuffling throng

Hear that music and song

It's simply great, mate

Waitin' on the levee

Waitin' for the Robert E. Lee

We're babes on Broadway

We're goin' places

When our new faces appear

It's a wonderful street
For babes like us to be on

We're here because
We want our names in neon

We left Topeka
We left Eureka

And came to seek a career

Oh, we're milkin' applause
Instead of milkin' a cow

'Cause we're babes on Broadway now

With our flag unfurled

We can face the world

Hey, leader

Strike up the band

There's another fellow
who worked on this lot with Judy...

...and some of MGM's best musicals...

...are a direct result
of his considerable talents.

Gene Kelly.

This is MGM's New York street.

And for as long as I can remember...

...this has been the busiest standing set
on the whole backlot.

Any actor or actress...

...who made more than one or two films
at this studio...

...sooner or later probably would find
himself shooting a sequence here.

Which reminds me,
if you're a song-and-dance man...

...and you've spent some time
in pictures...

...inevitably, some interviewer will ask:

"Who was your favorite dancing partner?

Was it Rita Hayworth, or Vera-Ellen,
or Leslie Caron?"

But if you're smart,
you'll never give them a straight answer.

I'm gonna break that rule right now.

It may not be gallant...

...but I'd like to show you
the greatest partner I've ever danced with.

When you dance with Fred Astaire,
you really have to be on your toes.

This number from Ziegfeld Follies...

...was the only time we've had a chance
to work together.

But I'd change my name to Ginger
if we could do it again.

Fred Astaire has been the tops...

...in every field of show business
he ever entered.

And the motion-picture musical
owes him a great deal.

The way you wear your hat

The way you sip your tea

The memory of all that

No, no
They can't take that away from me

The way your smile just beams

The way you sing off-key

The way you haunt my dreams

No, no
They can't take that away from me

When he starred in a series
of musicals with Ginger Rogers...

...they quickly became
the most popular dance team...

...in the history of motion pictures.

But for Fred, as an individual...

...it was only the beginning
of a screen career...

...that would delight
several generations of moviegoers.

Stand up and sing

We've got the gang together

We always sang together

Stand up and sing

Over the years,
Fred Astaire's trademark would become...

...the top hat and tails.

He wore the outfit
in his very first film appearance...

...Dancing Lady with Joan Crawford.

I guess I'll have to change my plan

I should have realized
There'd be another man

Jack Buchanan,
the debonair British musical star...

...joined Fred in The Band Wagon.

Until the big affair began

Before I knew where I was at

I found myself upon the shelf
And that was that

I tried to reach the moon

But when I got there

All that I could get was the air

My feet are back upon the ground

I've lost the one girl I'd found

But besides elegance,
there's a lot more to the Astaire style.

Fred was constantly striving
for perfection.

Rehearsing hour sfter hour...

...searching for a new step
or a new device...

...that would bring something fresh
to each of his numbers.

Because of his ingenuity and precision...

...audiences never realized
how much incredible effort...

...Fred poured into his work.

He made it all appear so easy.

In Royal Wedding,
Fred danced with a hat rack.

And as usual,
he made his partner look good.

In The Barkleys of Broadway...

...Fred and choreographer Hermes Pan...

...conceived the brilliant
"Shoes With Wings On" number.

Fred and director Stanley Donen...

...collaborated on this mind-boggling routine
from Royal Wedding.

Movie buffs are still arguing
about how it was done.

The gimmicks Fred used
were exciting and fun.

But his talents were so extraordinary...

...that he could easily get along
without them.

This is the Astaire I love to watch.

With a lovely partner like Cyd Charisse...

...a simple settiing...

...a marvelous song by Howard Dietz
and Arthur Schwartz...

...these are the only ingredients
Fred would need...

...to create a classic moment.

"Dancing in the Dark"
from The Band Wagon.

Fred Astaire was and is a unique talent.

There'll never be another like him...

...and that's what I love
about our profession.

Because every so often
an artist comes along...

...who's impossible to compare
with anyone else.

Here's another
of my favorite dancing partners...

...Donald O'Connor.

MGM seemed to acquire talent
the way you and I pick up paper clips...

...by the handful.

When I was at the studio...

...we were up to our ears in tenors,
baritones, tap dancers, pianists...

...and they were all good.

But this set belonged pretty much
to one star...

...and one star alone.

I only wish we'd had a chance
to work together.

Well, she was not only a lovely actress,
with a beautiful face and figure...

...but she could also sing and dance,
and even handle comedy.

And if that wasn't enough,
she was dynamite in the water.

Of course I'm talking about
Ms. Esther Williams.

A champion swimmer...

...Esther was working as a model
in a Los Angeles department store...

...when MGM talent scouts
discovered her.

The studio built a special swimming pool
for her on the backlot...

...and starred her in a film called
Bathing Beauty.

The rest is history.

MGM featured Esther
in a series of spectacular productions.

During her career, she swam...

...opposite some of MGM's
most popular leading men.

Some of them even got their hair wet.

Like Howard Keel...

...Fernando Lamas,
whom she would later marry...

...Van Johnson...

...Peter Lawford...

...Ricardo Montalban...

...even Tom and Jerry.

Jimmy Durante...

...and Red Skelton.

As her fame grew...

...so did the size and population
of her swimming pools.

Esther no longer could simply climb up
a diving board and jump in.

Now, she had to be presented
like Venus...

...rising from the sea.

In the ranks of great musical stars,
there have been singers, dancers...

...musicians, even ice skaters.

But MGM saw to it
there was only one Esther Williams.

Eat your heart out, Mark Spitz.

People say that performers
are overly affectionate with one another.

And that may be true.

I don't have to apologize
for the way I feel...

...about a young lady
that I worked with here at MGM.

I love her.

And she's as big a hit
right now on Broadway...

...as she was here in Hollywood.

She never stops.

Miss Debbie Reynolds.

I made my first movie for MGM
back in 1950.

Remember Three Little Words?

Hey, fellas, can we borrow your piano
just a minute?

Of course, the real stars were
Fred Astaire and Red Skelton...

...but see that funny-looking kid
coming down the steps?

Look out, Hollywood. Here I come.

I wanna be loved by you alone

Boop-boop-bee-doo

I wanna be loved by you
Just you

And nobody else but you

I wanna be loved by you

Alone

Carleton Carpenter and I only
did this one number in the picture.

But it certainly helped our careers.

Even though the voice wasn't mine...

...MGM brought in the song's originator,
Helen Kane, to sing the vocal.

And make you my own

Bap-bap-bee-dap
Boop-boop-ba-doo

I wanna be loved by you
Just you

And nobody else but you

I wanna be loved by you

Bap-bap-bee-dap-bee-dap-bee-dap
Boop-boop-ba-doo

When I first reported at the studio...

...MGM was celebrating
its 25th anniversary.

They had converted the biggest
sound stage on the lot into a restaurant.

They only served one meal, but it was
a lunch that old-timers still talk about.

The studio used to boast that it had
more stars than there are in the heavens.

And that day, they weren't kidding.

The first time I met the king,
Clark Gable...

...he looked down at me and said,
"Hello, beautiful. "

And I nearly fainted.

This place was the land of giants,
and I was a small fry.

But like any other young hopeful,
I was determined...

...that somehow and someday
I'd measure up.

In the early 1950s...

...MGM was entering
a new era of motion pictures...

...with more star power...

...than virtually every other studio
in Hollywood combined.

I've gotta hear that beat
I've gotta hear those drums

And even when it comes to romance

When I feel that I might fall

I always stall and play it smart

Till I hear that beat

I've gotta hear that beat

That certain beat in my heart

Ann Miller,
the best tap-dancing lady on the lot.

Annie's talents and Busby Berkeley's
imaginative direction...

...were a perfect combination
in Small Town Girl.

Be my love

For no one else can...

A truck driver from Philadelphia
became the most sensational new voice...

...in motion pictures.

Mario Lanza. He made only a few films.

And The Toast of New Orleans
with Kathryn Grayson was one of his best.

Just fill my arms
The way you've filled my dreams

The dreams that you inspire

With every sweet desire

Be my love

And with your kisses set me burning

One kiss is all I need to seal my fate

And hand in hand

We'll find love's promised land

There'll be no one but you for me

Eternally

If you will be

My love

Make 'em laugh
Make 'em laugh

Don't you know
Everyone wants to laugh

Donald O'Connor in Singin' in the Rain...

...in my opinion, the funniest
musical number ever done.

They'll be standin' in lines

For those old honky-tonk monkeyshines

Or you could study Shakespeare
And be quite elite

And you can charm the critics
And have nothin' to eat

Just slip on a banana peel
The world's at your feet

Make 'em laugh
Make 'em laugh

Make 'em laugh

Don't you know
Everyone wants to laugh

My grandpa said
Go out and tell 'em a joke

But give it plenty of hoke

Make 'em roar, make 'em scream

Take a fall, butt a wall, split a seam

You start off by pretending
You're a dancer with grace

You wiggle 'till they're giggling
All over the place

And then you get a great big
Custard pie in the face

Make 'em laugh
Make 'em laugh

Make 'em laugh

Make 'em laugh
Don't you... All the...

My dad...

They'll be standing in lines

For those old honky-tonk monkeyshines

Make 'em laugh
Make 'em laugh

Don't you know

Make 'em laugh

PEOPLE
Cotton Blossom

Cotton Blossom

The showboat's coming.

Come on, mule. Git.

Show Boat, one of the best
musical films MGM ever made.

It starred Kathryn Grayson, Howard Keel,
Marge and Gower Champion...

...Joe E. Brown, William Warfield
and Ava Gardner.

See the showboat

That's old Captain Andy's
Cotton Blossom

Will you go?
Are you coming to the show?

'Twill be delightful

Right, right, rightfully they say
There's not another show

Don't you want to see the show?

Captain Andy has gathered a troupe in the
Greatest of dramas and jolly comedies

Stephen Baker
The handsomest leading man

And beautiful Julie LaVerne as well

Cotton Blossom, Cotton Blossom

Captain Andy's floating show

Thrills and laughter, concert sfter

Everybody's sure to go

Leave the lumber in the sawmill

Leave the cotton on the stalk

Make believe

Our lips are blending

In a phantom kiss

Or two or three

Might as well make believe

I love you

For to tell the truth

I do

Ol' man tiver

That ol' man river

He must know somethin'

But don't say nothin'

He just keeps rollin'

He keeps on rollin'

Along

You and me, we sweat and strain

Body all aching and racked with pain

Tote that barge and lift that bale

You get a little drunk

And you land in

Jail

I gets weary

And sick of trying

I'm tired of living

And scared of dying

But ol' man river

He just keeps rolling

Along

I'll go my way by myself

Like a bird on the wing

I remember something else
I learned at the studio...

...during my stay there. MGM's motto:

"Do it big, do it right, and give it class. "

I'd like you to meet someone
who certainly measures up to that phrase.

He's the classiest gentleman
I've ever worked with.

Mr. Fred Astaire.

I'm by myself

Alone

I have a great many fond memories
about this place.

So many happy moments
worrying about whether or not...

...we were getting the job done.
What fun.

We shot some of The Band Wagon here.

Being here again brings to mind
some of the wonderful people...

...I've worked with over the years.

One of them in particular...

...is my long-time friend...

...Gene Kelly.

In The Pirate with the Nicholas Brothers...

...Gene displayed the rough-and-tumble
kind of acrobatic dancing...

...that quickly became a popular part
of his repertoire.

From the start,
Gene was constantly experimenting...

...from classical ballet
to a burlesque buck-and-wing.

He was determined to broaden
the horizons of the film musical.

And in doing so,
he became one of the most versatile...

...and original performers
the movies have ever known.

Kelly was forever breaking rules.

Though the studio often tried
to stop him...

...Gene insisted on doing his own stunts.

His bosses always seemed to find out
about it sfter the scene had been shot.

But audiences
loved the sight of Gene himself...

...flying through the air in film sfter film.

New York, New York, a wonderful town

The Bronx is up and the Battery's down

The people ride in a hole in the ground

New York, New York
It's a wonderful town

In On the Town with Frank Sinatra
and Jules Munshin...

...Manhattan became the backdrop
for this unforgettable romp.

A tribute to Gene's persistence...

...it was the first major musical
to be filmed on location.

The famous places to visit are so many

Or so the guidebooks say

I told my grandpa I wouldn't miss on any

But we got just one day

Gotta see the whole town
Right from Yonkers on down to the bay

In just one day

New York, New York, a wonderful town

The Bronx is up and the Battery's down

The people ride in a hole in the ground

New York, New York
It's a wonderful town

Manhattan women are all in silk and satin

Or so the fellas say

There's just one thing necessary
In Manhattan

When you got just one day

Gotta pick up a date, maybe seven or eight
On your way

In just one day

New York, New York, a wonderful town

The Bronx is up and the Battery's down

The people ride in a hole in the ground

New York, New York

It's a wonderful town

I've had a lot of partners in my day.

But can you imagine a grown man
dancing with a mouse?

Well, Gene did just that
in Anchors Aweigh.

His dancing partner was Jerry the Mouse
of Tom and Jerry fame.

Critics said it was the most effective use
of live and animation technique...

...ever put on film.

And I certainly agree.

Look at me. I'm dancing.

More than any other star, I think
Gene Kelly became the symbol...

...of the MGM musical of the 1950s.

And here's a classic routine
that audiences would never forget.

This is my favorite number
from one of his very best musicals...

...Singin' in the Rain.

I'm singin' in the rain

Just singin' in the rain

What a glorious feelin'

I'm happy again

I'm laughing at clouds

So dark up above

The sun's in my heart

And I'm ready for love

Let the stormy clouds chase

Everyone from the place

Come on with the rain

I've a smile on my face

I walk down the lane

With a happy refrain

Just singin'

Singin' in the rain

Dancin' in the rain

I'm happy again

I'm singin' and dancin' in the rain

I'm dancin' and singin'

In the rain

The finale to the Broadway ballet
from Singin' in the Rain...

...seems to me to exemplify the genius
of Gene Kelly.

Actor, singer, dancer,
choreographer and director.

Gotta dance

Gotta dance

Gotta dance
Gotta dance

That's the Broadway

Melody

You've seen Gene Kelly's work
on the screen.

I think I've said it all.

He's one of those rare talents
who really understands...

...what the movie musical is all about.

Now I'd like you to meet someone
that recently joined the gang.

If Hollywood breeding
could be compared to royalty...

...then she would certainly be
our crown princess.

I remember so well when she,
as a tiny little girl...

...used to sit on the set watching
her father, Vincente Minnelli...

...directing me in several pictures.

Her mother, the fabulous Judy Garland.

Yet this young lady has made it
all on her own. Yes, she has.

Miss Liza Minnelli.

The first studio I'd ever been inside
was MGM.

I can't really say that I grew up here.

But I know that for over 10 years,
I'd race like crazy after school...

...to get down here and visit
whatever set my parents were on.

You may not know this...

...but I made my film debut at MGM.

MINNELLl: In the very last shot for
The Good Old Summertime...

...they needed a little girl
to play the daughter...

...of Van Johnson and Mama.
Guess who got the part.

There she is, folks. What personality.

No wonder I didn't get any billing.

It's no wonder this place
will always be a part of me.

My father directed dozens of films here...

...and Mama, well, this was her home
for over 15 years...

...and 30 films.

It began in 1935.

MINNELLl:
In an MGM musical short...

...a vaudeville team called
the Gumm Sisters...

...made their first appearance on film.

Twelve-year-old Frances
was the standout...

...and talent scouts from MGM
decided to give her a chance.

But first they changed her name
from Frances Gumm to Judy Garland.

The studio put Mom
in another short subject.

This time they paired her off
with a young operatic singer named...

...Deanna Durbin.

These musical shorts
were like a screen test.

In those days, if you came across
in a two-reeler...

...you just might have a chance
in a real musical.

Swing

North, south, east, west
Just swing

You'll find that swing is best
Swing

Make it a national thing

You'll find

There is a chance for romance

Here on the dance floor, so dance

Dance, dance, dance

America

MINNELLl: Although MGM would drop
Deanna Durbin...

...some executives at the studio pleaded
to keep my mother under contract.

And they finally won.

Well, they kept her at MGM just barely.

She spent the next few years
in low-budget musicals.

Once in a while, she'd appear
as a sort of novelty act...

...in a big extravaganza like
the Broadway Melody of 1938...

...with Buddy Ebsen.

Mama once told me...

...MGM seemed obsessed
with Shirley Temple.

They even offered 20th Century Fox
Jean Harlow and Clark Gable...

...just to get Temple for a certain picture
Metro was preparing.

But the deal fell through.

So MGM finally went ahead
with the picture...

...and let Mama play the role of Dorothy
in The Wizard of Oz.

You're off to see the wizard
The wonderful wizard of Oz

You'll find he is a whiz of a wiz
If ever a wiz there was

If ever, oh, ever a wiz there was
The wizard of Oz is one because

Because, because, because
Because, because

Because of the wonderful things he does

I'm afraid there's no denyin'
I'm just a dandelion

A fate I don't deserve

I'd be brave as a blizzard

I'd be gentle as a lizard

I'd be clever as a gizzard

If the Wizard is a Wizard
Who will serve

Then I'm sure to get a brain

- A heart
- A home

The nerve

MINNELLl:
The Wizard of Oz finally did it for Mama.

With Ray Bolger, Jack Haley,
and Bert Lahr...

...she really started off
on the road to success.

Whatever rocks or bumps
there were in that road...

...she never let it show in her films.

For Mama, it was straight up all the way.

Somewhere over the rainbow

Way up high

There's a land that I heard of

Once in a lullaby

Somewhere over the rainbow

Skies are blue

And the dreams that you dare to dream

Really do come true

Someday I'll wish upon a star

And wake up where the clouds are far

Behind me

Where troubles melt like lemon drops

Away above the chimney tops

That's where you'll find me

They're writing songs of love

But not for me

A lucky star's above

But not for me

With love to lead the way

I've found more skies of gray

Than any Russian play

Could guarantee

Clang, clang, clang went the trolley

Ding, ding, ding went the bell

Zing, zing, zing went my heartstrings

From the moment I saw him, I fell

Chug, chug, chug went the motor

Bump, bump, bump went the brake

Thump, thump, thump
Went my heartstrings

When he smiled
I could feel the car shake

He tipped his hat and took a seat

He said he hoped
He hadn't stepped upon my feet

He asked my name, I held my breath

I couldn't speak
Because he scared me half to death

Howdy Doody!

Chug, chug, chug went the motor

Flop, flop, flop went the wheels

Stop, stop, stop went my heartstrings

As he started to go
Then I started to know

How it feels

When the universe reels

If you like-a me, like I like-a you

And we like-a both the same

I like-a say this very day

I like-a change your name

'Cause I love-a you and love-a you true

And if you-a love-a me

One live as two, two live as one

Under the bamboo tree

How can I ignore

The boy next door

I love him more than I can say

Doesn't try to please me

Doesn't even tease me

And he never sees me

Glance his way

MINNELLl: Summer Stock
was Mama's final film for MGM.

Her last days of shooting here
were devoted to this number...

...which a lot of people including myself
feel was one of her very best.

Forget your troubles
Come on, get happy

You better chase all your cares away

Shout hallelujah
Come on, get happy

Get ready for the judgment day

The sun is shining
Come on, get happy

The Lord is waiting to take your hand

Shout hallelujah
Come on, get happy

We're going to the promised land

We're heading across the river

Wash your sins away in the tide

It's all so peaceful on the other side

Forget your troubles
Come on, get happy

You better chase all your cares away

Shout hallelujah
Come on, get happy

Get ready for the judgment day

Forget your troubles
Come on, get happy

Chase your cares away

Hallelujah
Get happy

Before the judgment day

The sun is shining
Come on, get happy

The Lord is waiting to take your hand

Shout hallelujah
Come on, get happy

We're going to be going
to the promised land

Shout hallelujah
Come on, get happy

You better chase all your cares away

Shout hallelujah
Come on, get happy

Get ready

For the judgment day

Thank God for film.

It can capture a performance
and hold it right there forever.

And if anyone says to you,
"Who was he?" or "Who was she?"

Or "What made them so good?"

I think a piece of film answers that
question better than any words I know of.

My generation...
Well, we're just beginning.

It takes a lot of film
and a lot of experience...

...and a lot of talent
to become a real star.

Now here's somebody who I think
qualifies on all of those counts. Oh, boy.

Mr. Bing Crosby.

You know, one sound stage,
well, it looks pretty much like another.

But a backlot, out here
where they shoot the exteriors...

...that seems to me that the backlot
reflects the personality...

...the character of its studio.

This was the biggest...

...and I think, perhaps,
the best backlot in all of Hollywood.

Of course the old backlot looks
a little shabby right now, sort of scruffy...

...kind of an illusion on an illusion...

...but that's because
most Hollywood filmmakers...

...they don't use backlots any more.

They prefer the real thing.

Hollywood

Hollywood

I remember when I did
my first musical at this studio...

...they designed
a big production number.

It was all to take place
in a vast Manhattan railroad terminal.

Of course we didn't bother
to go to New York City.

MGM simply recreated
Grand Central Station...

...added a couple of thousand extras
and filmed the whole number right here.

Once again

Goodbye, pal

Out where they say
Let us be gay

I'm going Hollywood

I'll ballyhoo greetings to you

I'm going Hollywood

Say, while you sleepyheads
Are in that hay

I'll be dancing

I'm gonna be dancing
With a sun-kissed baby

And I'm on my way

Here's my beret

I'm going Hollywood

Well, it was vigorous. Spirited, anyhow.

I was, what you might call,
a casual participant in MGM musicals...

...because over 20 years went by...

...between the little effort
which you've just seen...

...and my next attempt.

And I found fantastic changes
had occurred.

They had color, oh, stereophonic sound,
even wide screens.

And MGM, in a loose moment,
had decided to give me another chance...

...in a little pastiche
to be called High Society.

This starred Grace Kelly, Louis Armstrong,
and Celeste Holm...

...and was directed by Chuck Walters.

Oh, yes, there was another
featured performer in there.

What was his name?
A brash young newcomer. Frank, uh...

A clever kid.
He had a lot to offer too. Frank, uh...

Well, you'll recognize him
when you see the footage.

Have you heard about dear Blanche?

- Got run down by an avalanche
- No.

Don't worry, she's a game girl, you know.
Got up and finished fourth.

- Kid's got guts.
- Having a nice time?

Grab a line.

- Have you heard that Mimsie Starr
- What now?

- She got pinched in the Astor Bar
- Sauced again, eh?

She was stoned.

- Well, did you ever?
- Never.

What a swell party this is

- I'm gonna have a drink.
- I may have a bit of the bubbly myself.

- I'm gonna dance.
- Don't get hurt.

Oh, no.

- It's great
- It's great

- It's grand
- So grand

It's wonderland

- We sing
- We sing

- So rare
- So rare

Like old Camembert

Like baba au rhum

Don't dig that kinda croonin', chum

You must be one of the newer fellas.

Have you heard?
It's in the stars

Next July we collide with Mars

Well, did you ever?

What a swell party

Swell party

Swellegant, elegant party
This is

While I give to you

And you give to me

True love

So on and on

It'll always be

True love

For you and I

Have a guardian angel

On high

With nothing to do

But to give to you

And to give to me

Love forever

True

Love forever

True

I'm recalling times when I was falling

Like a free jubilee day

Get this cast:

Russ Tamblyn, Vic Damone,
Tony Martin...

...Kay Armen, Debbie Reynolds,
Jane Powell, Ann Miller...

...and the Pacific Fleet...

...in Hit the Deck.

Sing hallelujah, hallelujah

And you'll shoo the blues away

When cares pursue ya
Hallelujah

Gets you thru the darkest day

Satan lies a-waitin'

- And creatin' skies of gray
- Skies of gray

But hallelujah, hallelujah

Helps to shoo the clouds away

Satan lies a-waitin'

- And creatin' skies of gray
- Hallelu

But hallelujah, hallelujah

Hallelujah, hallelujah

Helps to shoo the clouds away

Sing hallelu-lu-lu-lu-lu-lujah

The next time anyone says
that dancing is for sissies...

...remind them of
Seven Brides for Seven Brothers.

Produced by Jack Cummings,
directed by Stanley Donen...

...and choreographed by Michael Kidd...

...it's perhaps the most vivid
and exuberant ballet ever put on film.

Gigi
Am I a fool without a mind

Or have I merely been too blind to realize

Oh, Gigi

Why you've been growing up
Before my eyes

Gigi

You're not at all
That funny awkward little girl

I knew

Oh, no

Overnight there's been
A breathless change

In you

One of the finest musicals ever made...

...Alan Jay Lerner
and Frederick Loewe's Gigi.

It was that rare blend
of story and song...

...and it starred Leslie Caron,
Louis Jourdan, Hermione Gingold...

...and the marvelous Maurice Chevalier.

All under the inspired direction
of Vincente Minnelli.

- May I come in?
- Yes.

Gaston, please.
No newspapers, no scandal.

Madame, will you do me the honor...

...the favor...

...give me the infinite joy
of bestowing on me...

...Gigi's hand in marriage.

Thank heaven.

For little girls

For little girls get bigger every day

Thank heaven for little girls

They grow up in the most delightful way

Those little eyes
So helpless and appealing

One day will flash and send you crashin'

Through the ceiling

Thank heaven for little girls

Thank heaven for them all

No matter where, no matter who

Without them, what would little boys do?

- Thank heaven
- Thank heaven

Thank heaven

For little girls

Through the years, MGM has produced
over 200 musical films.

And if you had to select
one number from one film...

...that would best represent
the MGM musicals...

...I have a feeling
that the vote would be unanimous...

...especially among the people
who worked here...

...and that's why
we've saved the best for the last.

An American in Paris,
starring Gene Kelly and Leslie Caron.

It won an Oscar as best picture
of the year...

...over 20 years ago.

But the ballet from that film...

...is as timeless as the day
you and I first saw it.

Produced by Arthur Freed,
directed by Vincente Minnelli...

...and choreographed by Gene Kelly...

...it can only be described
as MGM's masterpiece.