Tag Archives: gene kelly

Gene Kelly: the prettiest shortstop in baseball.

Posted on by under 4-star films, blogathon, carrie's faves, classic pairings, cmba blogathon, magnificent musicals, summer under the stars

Take Me Out to the Ball Game (1949) is one of several films to feature Gene Kelly partnered with Frank Sinatra. I am a huge fan of both performers, so I love these movies. On the Town (1949) and Anchors Aweigh (1945) are on my list of favorite Gene Kelly films, and the Gene Kelly Blogathon (hosted by the Classic Movie Blog Association) gave me an excuse (in case I needed one) to explore the third in the series. If you’re interested, there is a film collection on DVD.  What’s more, TCM’s Summer Under the Stars is honoring Gene Kelly today in recognition of his one hundredth birthday, and that just fills my heart with glee.

Take Me Out to the Ball Game portrays the adventures of Dennis Ryan (Sinatra) and Eddie O’Brien (Kelly), two baseball players doubling as a vaudeville act. They help lead the Wolves through championship years and provide musical entertainment everywhere they go. In addition to Kelly and Sinatra, this film features Esther Williams (the Million Dollar Mermaid), Betty Garrett, Edward Arnold, and Jules Munshin as the fantastic character Goldberg. Entertaining connections: Betty Garrett also plays Brunhilde Esterhazy (a cab driver who has a thing for Frank Sinatra’s character “Chip”) in On the Town, and played in Neptune’s Daughter with Esther Williams. Betty Garrett gets to spend a lot of time chasing Frank Sinatra. That’s all I’m going to say about that.

Seriously–entertainment EVERYWHERE. I really did like this number, too.

Williams plays K.C. Higgens, who has just inherited ownership of the team and knows more about baseball than they would think and has more opinions than they would like. Too bad she’s beautiful …  Yet again, we watch Gene Kelly teach Frank Sinatra about attracting the opposite sex. Naturally, Higgens and O’Brien end up falling in love and endure a complicated courtship. Ryan falls in love with her, too, but Shirley (Garrett) manages to win his affections in the end, and believe me, she earns it.

As you might expect, Ryan and O’Brien perform the famous “Take Me Out to the Ball Game” (the 1927 version, not the 1908, if you’re astute enough to know the difference. I wasn’t so knowledgeable, but I know a lot about using Google–I looked it up). My other favorite number was “O’Brien to Ryan to Goldberg,” depicting their famous double-play strategy that’s the key to their victories. The number is catchy and  entertaining, even if you are a blasphemer, like myself, who doesn’t particularly care for baseball. It’s all about the rhythm, and I tend to love Gene Kelly’s trio numbers, anyway (“Good Morning,” anyone?). They may not all be as famous as his other routines, but I enjoy them quite well.

O’Brien to Ryan to Goldberg! The triangle that trumps the diamond!

Interestingly, several songs were deleted from the film: one of Frank Sinatra crooning to Shirley (which makes me kind of sad, but it was deemed “too slow”) and “Baby Doll,” which features a bizarre dance number between Kelly and Williams that could easily have inspired the toy routine in Chitty Chitty Bang Bang (1968) and is just plain weird in this film. Removing Sinatra crooning is just wrong, but they did spare us the somewhat awkward (in the context of the film) number that did no justice to the dancing talent. For this reason, I give the editing 3.5 stars.

Despite re-running many elements amongst each other, I love the films in this series. Each one is its own delight. Overall, I have to say I prefer the sailor films to baseball, but this is one is still a lot of fun. We get the pleasure of the singing Sinatra and dancing Gene Kelly, which is what matters most. Gene Kelly performs with his usual charm and enthusiasm. He plays a character that would be obnoxious, except that he’s Gene Kelly. He often plays these characters, and I cannot help but love them. It doesn’t seem to matter if the musical numbers are excellent (think Singin’ in the Rain) or maybe longer than they needed to be (this film did have some of those, I’m sorry to say)–watching him dance makes you want to join him. If you could keep up. Which I can’t. It’s pure joy onscreen every time.

No matter what he’s doing, you just know it’s Gene Kelly. I have strolled through a room, glanced at the television, and known that it was a Gene Kelly piece–even without knowing the film. He brings all of his “Kelly-ness” to everything. You have to appreciate that sort of thing.

This film is a winner when you want something light and frivolous. It’s a good choice for a Memorial Day or Fourth of July film that’s a little different, since it is baseball after all, and it does have some patriotic undertones and a patriotic number. Perhaps it’s cliche, but I think I would definitely recommend this one with a hot dog, chased by peanuts and Cracker Jacks.

 

This post has a double function: as a contribution to the Gene Kelly Centennial Blogathon hosted by the Classic Movie Blog Association, and as another entry in the 2012 TCM SUTS blogathon hosted by Sittin’ on a Backyard Fence and ScribeHard on Film. Share the Gene Kelly love with everyone you know today!

Falling in love with Gene Kelly is just so hard to do (… not).

Posted on by under blogathon, classic pairings, cmba blogathon, magnificent musicals

Joe: “We’re trying to tell a story with music, and song, and dance. Well, not just with words. For instance, if the boy tells the girl that he loves her, he just doesn’t say it, he sings it.”
Jane: “Why doesn’t he just say it?”
Joe: “Why? Oh, I don’t know, but it’s kind of nice.”

Jane Falbury (Judy Garland), part of a long and proud lineage of Falbury farmers, struggles to make ends meet: the farm is not doing as well as in years past, and her farmhands have decided to leave for better-paying jobs. One day, her aspiring actress sister, Abigail (Gloria De Haven) comes home with a full theater troupe in tow. Abigail has promised her beau, Joe Ross (Gene Kelly), the director of the group, that they could use the barn to rehearse and stage their new musical production. Despite Jane’s better judgment–and the objections of her housekeeper, Esme (Marjorie Main), her longtime fiance Orville (Eddie Bracken), and his overbearing father (Ray Collins)–she allows them to stay, provided the members of the troupe help out around the farm.

In the wake of a disastrous barn dance overrun by the theater troupe–and after Joe’s buddy, bumbling Herb Blake (Phil Silvers), inadvertently destroys Jane’s new tractor–she decides to order the group away. But Jane is touched when the actors pool their meager funds and Joe sells his station wagon to buy her a new tractor. She again agrees to let them stay, and gradually finds herself falling in love with Joe, even though he has an understanding with Abigail, and she remains reluctantly engaged to Orville. But when Abigail develops a diva-like attitude and runs off to Broadway with the musical’s star (Hans Conried), Jane is thrust into the starring role opposite Joe, and the two of them can no longer deny their feelings as the show goes on …

Summer Stock (1950) was a notoriously difficult and troubled production, but as a product of the MGM musical dream factory, naturally none of this turmoil showed onscreen. As filming commenced, Judy Garland had just left rehab (which she had entered in an effort to quell her drug addiction), and was still considered something of a risk–with good reason, as her erratic behavior and habitual lateness had previously cost her roles in films such as The Barkleys of Broadway (1949) and Annie Get Your Gun (1950). The shoot eventually ran overlong (a total of six months). The movie marked her final film for longtime home studio MGM; she was fired from Royal Wedding (1951) later that year, terminating her contract.

In completing Summer Stock, Garland was fortunate to have the support of her friends, including studio head Louis B. Mayer (who kept her in the role despite the troubles she presented) and her male lead, Gene Kelly. The film marks the third and final onscreen pairing for Garland and Kelly; the two first appeared together in Kelly’s screen debut, 1942′s For Me and My Gal, and then co-starred in The Pirate six years later. By most accounts, Garland and Kelly got on well; according to Garland biographer John Fricke, Kelly (who remained grateful for the help seasoned film actress Garland gave him on the set of Gal) agreed to do the film primarily as a favor to the actress, and in the process brought his own touch to the production. Though Nick Castle was credited as the dance director for the film, some of the best numbers from the film (notably “You, Wonderful You” and its reprises) were very obviously choreographed by Kelly.

“You, Wonderful You” is the cornerstone musical piece of the film, marking the evolution of the love story between Jane and Joe. Its initial appearance in the film occurs as Jane first begins to open up to Joe, and its staging is quite similar to “You Were Meant for Me” in Singin’ in the Rain (1952)–the two characters on an empty stage, lit by soft spotlights as the male lead sings of his love, before segueing into a delicate pas de deux. It’s lovemaking, set to music–beautiful, heartfelt, emotional–and Kelly’s relatively soft, romantic performance here is nothing short of mesmerizing (let’s face facts: the man’s a veritable dreamboat).

Kelly revisits “You, Wonderful You” (sans lyrics) in the famous “newspaper number,” a dance that demonstrates the full depths of the actor’s charm. Accompanied at first only by the squeak of a floorboard, the scratch of a newspaper on the floor, his own tapping shoes, and an intermittent whistling reprise of the tune, Kelly constructs an intricate solo ballet.

Initially, he makes his own music through the motions of his body and the instrumentation of his props, but as Kelly gives himself full over to the sheer joy of movement, the orchestra creeps in, rising into a crescendo of sound that mimics the increasingly frenetic pacing of the dance. This number perfectly captures Kelly’s innate understanding of the importance of lighting and staging in conveying the meaning of the dance to the audience; when Kelly jumps atop a stack of boxes and dances alongside his shadow cast on the nearby wall, the lovely contrast between light and dark, man and shadow, reflects Kelly’s inner turmoil over his growing feelings for Jane (in this way, it could be said that Kelly’s dance with the newspaper is at least somewhat reminiscent of his dance with his own reflection in 1944′s Cover Girl).

The other memorable number from Summer Stock (one which was not designed by either Kelly or Castle, but instead by the film’s director, Charles Walters), “Get Happy,” had been added to the film three months after shooting was completed, as a showpiece for a magically slimmed-down Garland. And yes, though it’s been harped on repeatedly over the years, one must admit that the actress’ appearance in this scene is a little jarring, considering she was noticeably heavier in her previous (and subsequent) scenes. Still, Garland’s performance in “Get Happy” has become legendary in its own right, and marks one of the best musical numbers of her career (which is saying something, considering how many iconic moments she has given us).

Admittedly, Summer Stock is largely a Judy Garland vehicle–it was designed that way, after all, as a kind of comeback after a couple of trying years for the actress. But Kelly’s contributions are equally important–if not more so–to the film’s success. Had Garland’s original intended co-star in the film, Mickey Rooney, played the part of Joe, we might not now remember this movie as one of the great classic musicals. It took the extra-special touch of Gene Kelly’s brilliant, bold choreography (not to mention his delightfully cheeky grin and … other endowments) and that sparkling chemistry with Garland to make Summer Stock the wholly entertaining film that it remains to this day.

 

This post is an entry in the Gene Kelly Centennial Blogathon, hosted by the Classic Movie Blog Association. Visit the CMBA site for a full list of participants.

Singin’ again (plus a giveaway!).

Posted on by under announcements, big-screen viewings, giveaways, magnificent musicals, tcm

 

In the wake of the glorious success of last month’s nationwide theater screenings of Singin’ in the Rain (1952), NCM Fathom, Turner Classic Movies, and Warner Bros. have teamed up once again to bring the movie back to theaters for an encore–and on the eve of star Gene Kelly’s 100th birthday, no less!

From the press release:

Back by popular demand, Singin’ in the Rain is returning to movie theaters for one final showing on August 22nd at 7:00 PM (local time)–just in time to catch this special event with the family before school is back in session!

NCM Fathom Events, Turner Classic Movies, and Warner Bros. are excited to bring the “Greatest Musical of All-Time” back to movie theaters for one final showing on August 22nd. Don’t miss your last chance to see this American classic back on the big screen!

The event begins with a Turner Classic Movies original production featuring TCM host Robert Osborne in an exclusive, specially-produced interview with star Debbie Reynolds. In this interview, audiences are taken behind the scenes of one of the greatest musicals of all time as Ms. Reynolds shares memories of working with the late great Gene Kelly and Donald O’Connor and more.

Immediately following these exclusive behind-the-scenes extras, be carried away by the songs, story, and romance of one of the greatest musicals of all time–Singin’ in the Rain–as it graces the silver screen for one night only, fully re-mastered and more beautiful than ever before! Tickets for the first event went quickly, with many sold-out theaters across the country. Tickets for the encore are on sale NOW, so get them soon before they’re gone.

True Classics’ own Sarah attended the screening in Atlanta last month, and she can tell you that it’s an experience you don’t want to miss. You can find participating theaters near you and purchase tickets at the Fathom website.

Or …

You could win a pair of tickets right now, from the gang here at True Classics, courtesy of NCM Fathom!

The rules are simple: just send us an email at trueclassicsblog (at) gmail (dot) com with the subject “I want Singin’ tickets!” and you’ll be entered into a random drawing to win a pair of tickets for the theater of your choice in your area. 

Easy enough, right? We have three sets of tickets to give away, and we’re accepting entries until Monday, August 13th, at 7PM CST. Winners will be notified by email Monday evening.

Are you excited for another chance to see Singin’ in all its big-screen glory?

A newbie goes singin’ in the rain.

Posted on by under best.films.ever., big-screen viewings, magnificent musicals, sarah's faves

 

Thursday night, as part of a nationwide event sponsored by TCM, NCM Fathom, and Warner Bros., I had the pleasure of seeing Singin’ in the Rain (1952) on the big screen. Although I am very familiar with one of the happiest songs ever produced, I had never before seen the musical that it inspired. As it was my first time seeing the film, it was an especially exciting event, and I was not disappointed.

The film began with an introduction by Robert Osborne; he interviewed the star of this film, Debbie Reynolds. She was just as spunky as when she was eighteen and playing the role of the feisty yet innocent Kathy Selden.  She believes she received the role on account of her innocence: “There were a lot of virgins in those days,” she explained. She explained that she didn’t know how to dance when she received the part and that she trained for months and months before filming began. Watching the film, it’s hard to imagine; her performance seems flawless.

I had no idea that this film was going to be so funny! I was smiling and laughing almost the entire movie. This was truly some of the most fun I’ve ever had at the theater. I loved the scene where Don Lockwood (Gene Kelly) and Cosmo Brown (Donald O’Connor) are at a training session with a voice coach to prepare for Don’s upcoming “talkie” film. While I’m still not quite sure why they covered the voice coach with trash and furniture, I found their rhyming song charming. In fact, the entire film seemed to spew with charm. Lina Lamont (Jean Hagen), while beautiful, had the most nauseating voice. At one point in the film, when she squealed in her nasal tone, “Do they think I’m dumb or somethin’?!” a woman in the audience yelled, “Yes!” I went in assuming that people in the audience would sing along; however, the audience was fairly quiet, aside from laughter and clapping at the close of each major dance sequence. I have to say, as someone who doesn’t generally enjoy dance (it’s the Welsh in me!), I found this thoroughly entertaining. I was so impressed with the actors’ ability to stay synchronized with each other. I can only imagine how many times they had to shoot these scenes. (Debbie Reynolds complained in her interview that her shoes would often be bloody after repeating the dance sequences so many times each day during filming.)

There wasn’t a poster at the theater for SINGIN’ IN THE RAIN, but I thought this one had a similar spirit. “Gotta dance!”

Although some of the film seemed to be “filler,” it was all superbly entertaining. The “long veil” scene within the “Broadway Melody” number (while not really necessary to the film) was breathtaking. I can’t even imagine how long it took the crew and cast to nail it. Again, it seemed flawless.

I can’t say enough good things about this film. I am so grateful for the opportunity to see Singin’ in the Rain on the big screen; it has definitely found its way among my favorite films.

[Special thanks to Mallory at Pure Brand Communications and NCM Fathom for the tickets to this event!]

What a glorious feeling!

Posted on by under announcements, big-screen viewings, magnificent musicals

As many classic movie fans are likely aware, our television Lord and Master, Turner Classic Movies (in conjunction with Fathom and Warner Bros.) is following up this past spring’s successful nationwide theater screenings of Casablanca (1942) with a one-night-only showing of the incomparable 1952 musical Singin’ in the Rain, which will be released in a special sixtieth-anniversary edition Blu-ray on July 17th.

From the press release:

NCM Fathom, Turner Classic Movies, and Warner Bros. come together again to present the 60th Anniversary Singin’ in the Rain event, which will be held on July 12th at 7:00 p.m. local time.

The event begins with a Turner Classic Movies original production featuring TCM host Robert Osborne in an exclusive, specially-produced interview with star Debbie Reynolds. In this interview, audiences are taken behind the scenes of one of the greatest musicals of all time as Ms. Reynolds shares memories of working with the late, great Gene Kelly and Donald O’Connor.

Immediately following these exclusive behind-the-scenes extras, be carried away by the songs, story, and romance of one of the greatest musicals of all time–Singin’ in the Rain–as it graces the silver screen for one night only, fully remastered and more beautiful than it has ever been before!

For more information, or to find participating theaters near you and purchase tickets, check out Fathom Events.

This event is also perfectly timed to celebrate star Gene Kelly’s centennial next month, which falls on August 23rd. If you have the chance to go, then by all means, go! Not for nothing is Singin’ considered one of (if not THE) best musicals of all time. You’re guaranteed to have a “glorious” time.

Our own Sarah will be attending a screening in Atlanta next week, and will report back about her experience here on True Classics after the show.

Tell us: have you purchased your tickets yet?

We’re off on the road to Rhode Island.

Posted on by under animation, brandie's faves, hahas, magnificent musicals, television treats, they made movies after 1970?

Sometimes incisive, sometimes irreverent, and sometimes ridiculously stupid, Family Guy is a great source of modern social commentary. For all the flack the show receives for its reliance on cutaway gags or for being a purported knock-off of The Simpsons (which, incidentally, is one of my favorite television shows of all time), creator Seth MacFarlane’s flagship show has its moments of sheer brilliance.

For me, one of the joys of watching the show is the constant stream of film references. In any given episode, you may find yourself watching an homage (or twelve) to a wide range of movies, from Back to the Future to Indiana Jones, The Ten Commandments to Annie Hall, and everything in between. In particular, within the past couple of years the series’ recreations of the original Star Wars trilogy have shown the best of what Family Guy has to offer, combining sincere tribute and gentle (and sometimes not-so-gentle) skewering.

But I, for one, have always been impressed by Family Guy’s frequent, generally loving attention to classic cinema. It’s obvious that MacFarlane and company have a great deal of respect for the films of ye olde Hollywood. From musicals to screwball comedies, drama to silent films, practically every episode of the show contains obvious (and not-so-obvious) references to some of the best films in cinematic history.

MacFarlane has a great voice, and it sometimes seems that the writers stretch themselves to find excuses to utilize it. I’m not complaining, though–I could listen to MacFarlane sing all day. The show’s creator voices several of the main characters, including Peter, Quagmire, Brian, and Stewie, and the latter two characters especially have frequent musical moments throughout the series. Many of these moments are drawn from classic musicals:

  • “Make ‘Em Laugh” from 1952′s Singin’ in the Rain is performed in two separate episodes: once by Quagmire, who changes the lyrics to befit the momentary setting (a sex toy shop), and once by Peter, Quagmire, Stewie, and Joe (voice by Patrick Warburton), with the lyrics unchanged.
  • In the segment “Stewie B. Goode” from the straight-to-DVD release Stewie Griffin: The Untold Story, Stewie channels Maria Von Trapp (from 1965′s The Sound of Music) as he strides down the sidewalk singing “I Have Confidence.”
  • The  episode “Wasted Talent” amusingly alters the lyrics of “Pure Imagination” from 1971′s Willy Wonka and the Chocolate Factory, creating a beer-soaked tribute to “Pure Inebriation.”

Some of the most enduringly popular segments of the show are found in the “Road” episodes, which take their cue, by and large, from the series of Road to… films featuring Bob Hope and Bing Crosby. The first such episode, “Road to Rhode Island,” even features a tune that borrows heavily from the title tune of 1942′s Road to Morocco. Ultimately, it’s fitting that the show pays such frequent tribute to the “Road” films, seeing as how those movies’ self-referential Hollywood in-jokes are a precursor to the same self-parodying elements that make Family Guy a sometimes guilty pleasure.

“Road to Rupert,” the third episode of that milieu, contains my hands-down favorite moment from the entire series. As Brian and Stewie attempt to track down Stewie’s stuffed bear, Rupert, whom Brian accidentally sold in a yard sale, they find themselves in Colorado and attempt to rent a helicopter in order to cross the mountains into Aspen. The rental agreement says that they can forego a deposit in exchange for a “jaunty tune,” which leads Stewie into a dance with none other than the master himself, Gene Kelly.

Gene Kelly’s cameo comes courtesy of 1945′s Anchors Aweigh, in which Kelly originally danced with Jerry Mouse. The clip above shows both versions of the dance side-by-side. As you can see, the Family Guy crew (thankfully) maintained the spirit of the original throughout the entirety of the segment. It makes for a silly, fun moment that never fails to bring a smile to my face.

Another inspired moment, in the controversial episode “Extra-Large Medium” (which drew ire from political pundit Sarah Palin for its depiction of a girl with Down Syndrome), is a brief recreation of the classic Abbott and Costello routine “Who’s on First.” Peter channels Lou Costello as he tries to “psychically” locate a man who has been buried with a bomb strapped to his chest:

Peter: All right, what’s the name of the guy we’re looking for?
Joe: Well, he’s an Asian fella–Melvin Hu.
Peter: That’s what I want to find out.
Joe: What?
Peter: The name of the guy.
Joe: Melvin Hu.
Peter: Are you a cop?
Joe: Yeah.
Peter: You handling this case?
Joe: Yeah.
Peter: Then what’s the name of the guy?
Joe: Hu.
Peter: The guy we’re looking for.
Joe: Hu.
Peter: The guy who’s buried.
Joe: Hu.
Peter: The guy with the bomb.
Joe: Hu.
Peter: What street does he live on?
Joe: First.
[The bomb explodes in the distance.]

Some of the more satirical bon mots are saved for the Disney canon. From Peter’s brief turn as Mary Poppins (in which he lands on–and subsequently crushes–his charges) to Peter’s fervent wish upon a star for a Jewish accountant to help with his taxes (“I Need a Jew“), Disney films–and Walt Disney himself–are skewered sometimes mercilessly.

And yet another “Road” episode, “Road to the Multiverse,” features an insanely funny parody of the Disney song canon. In the episode, Brian and Stewie travel through a series of increasingly absurd universes, one of which is designed with the traditional hand-drawn animated look of classic Disney films.

The Family Guy characters are depicted as popular Disney characters ranging from Ursula in The Little Mermaid (poor Meg) to Flower the Skunk from Bambi (Cleveland). As they all sing a song, waxing rhapsodic about the joys of pie, it seems idyllic to Brian and Stewie … at least until the other characters attack their Jewish neighbor, Mort (a reference to Walt’s supposed antisemitism). Innocence dissolving into shocking chaos–the hallmark of the Family Guy sensibility, if there is one.

If you’ve never seen the show, it’s worth a look. After all, what other modern shows can you think of that routinely make references to classic film figures like Fatty Arbuckle, Gregory Peck, Robert Mitchum, Karl Malden, Mickey Rooney, Lucille Ball … I could easily keep going here …?

At the very least, picking out the pop culture references sprinkled throughout each episode is a fun game within itself. I’m sure there’s some kind of drinking game associated with the show in that respect, although you should expect to get drunk off your ass should you participate. You may be offended at times, or disgusted at times (seriously, there’s a big reliance on vomit humor in a couple of episodes that I could do without), or shocked at times, but if you’re a classic film fan, you’ll also be delighted when you recognize even the most obscure movie references.

So kudos to Seth MacFarlane, from one classic film fan to another. The Simpsons may have done it first, but these days, Family Guy is arguably doing it better.

For shame!

Posted on by under magnificent musicals

One of my guilty-pleasure shows is Glee. It’s not the best show on television (not by a long shot), but it’s an enjoyable distraction nonetheless. I like the musical numbers and the interaction between the too-adorable-for-reality cast members, particularly Chris Colfer’s deliciously snarky Kurt Hummel.

But after watching last night’s episode, I’m a little ashamed of Kurt, sad to say.

In an exchange with new Glee Club member Sam (Chord Overstreet), Kurt tries to convince a hesitant Sam to partner with him for the glee club’s upcoming duet contest, the prize for which is a dinner for two at the club’s favorite restaurant:

Kurt: Team up with me for the duet competition. Listen, unless you team up with Rachel, I am your best bet at winning.
Sam: Aren’t duets supposed to be between, like, a girl and a guy?
Kurt: Well, Gene Kelly and Donald O’Connor would protest.
[Confused look from Sam]
Kurt: “Make ‘Em Laugh?”
Sam: Sorry.
Kurt: Singin’ in the Rain. 1952. [pause] Nothing. Okay, maybe you are straight.
Sam: What?
Kurt: Nothing. Listen, rent it, and then look up the menu for Breadstix online, and call me, because we are gonna win this.

Now, as delighted as I am to see Singin’ in the Rain mentioned in a show that appeals to a younger audience (all of whom should take Kurt’s advice and rent it!), any Rain fan worth his salt knows that “Make ‘Em Laugh” was not a duet between the two stars–that song was all Donald O’Connor, all the time!

And if you don’t believe me, just see for yourself.

Shame, Glee. Y’all should know better!

(Other than that, good episode, though!)