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Singing In The Rain Commercial

Singing In The Rain Commercial

Michael Barson Michael Barson is the author of more than a dozen books exploring various aspects of 20th-century American popular culture and many interviews with National Public Radio about his…

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Gene Kelly was an American dancer, actor, choreographer and director known for his style of dance combined with classical ballet technique. He also revolutionized musical cinema and did much to change the American public’s perception of dancers.

Gene Kelly was the star of Singin’ in the Rain, a film considered by many to be a Hollywood musical. One of the film’s most memorable sequences is Kelly’s rendition of the title song, as she balances on a light bulb in the rain, rejoicing in being in love with it.

Gene Kelly (born August 23, 1912 in Pittsburgh, Pennsylvania, USA – died February 2, 1996 in Beverly Hills, California) was an American dancer, actor, choreographer and film director whose dance style, Combined with classical ballet techniques, it revolutionized music. and American films and contributed greatly to changing the public’s perception of dancers.

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Kelly, one of five children of a record company sales executive and former actress, dreamed of becoming a professional athlete, but her mother focused on dancing. She studied ballet and other forms of dance. Kelly studied journalism at Pennsylvania State College (now University of Pennsylvania) and economics at the University of Pittsburgh (AB, 1933), but his passion for acting remained strong. He toured in vaudeville with his brother Fred (later a successful theater and television director) and for many years ran a successful dance school in Pittsburgh.

In 1938, he moved to New York and landed a role as a chorus member in Cole Porter.

, starring Mary Martin in the show’s number “My Heart Goes Out to Daddy.” The following year, he played the role of Harry Hoofer in William Saroyan’s Pulitzer Prize-winning film.

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, and in 1940 he achieved fame with a similar performance as the title character in Richard Rodgers and Lorenz Hart’s musical drama.

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. After seeing the play, film producer David O. Selznick offered Kelly a contract with Hollywood, which Kelly accepted because Selznick did not need her for the screen test. Before leaving New York in 1941, Kelly choreographed hit music.

(Left to right) Dean Stockwell, Frank Sinatra and Gene Kelly in Anchors Away (1945), directed by George Sidney.

(1942). It wasn’t until they credited Columbia Pictures for the costumes for Rita Hayworth’s musical.

(1944) knew how to bring his great artistic vision to the big screen. Before Kelly’s approach, musical films essentially fell into two main styles: the shaggy, personal, girl-filled spectacle of Busby Berkley and the intimate personality vehicles of Fred Astaire. Kelly bridged the gap between Berkeley’s cinematic pyrotechnics and Astaire’s straightforward theatrical approach.

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“Alter Ego” is a number in which, with the help of special effects, he does a two-man “dance” with himself. She introduced another innovation.

. Kelly also played several dramatic roles during this period, most notably as D’Artagnan.

In the City (1949), under the direction of Kelly and his longtime assistant Stanley Donen, pushed the boundaries of the Hollywood stage and filled the streets of New York with an unforgettable musical number.

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Directed by Gene Kelly and Leslie Caron in Paris (1951), directed by Vincente Minnelli.

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Gene Kelly and Syd Charice in the “Broadway Melody” dance sequence from the musical Singin’ in the Rain (1952).

(1951). The film, which culminates in a spectacular 13-minute ballet incorporating the visual motifs of French Post-Impressionism, has been hailed by critics and filmmakers as Kelley’s masterpiece. But in the mid-1970s, her reputation was eclipsed by Singin’ in the Rain (1952), a wild, upbeat piece of Hollywood during the tap revolution. With a perfectly balanced mix of singing, dancing, comedy and romance,

(1954), directed by Vincente Minnelli and based on the Broadway hit by Alan Jay Lerner and Frederick Law, was neither a commercial nor a critical success. Kelly’s decision to abandon Agnes de Mille’s stage choreography for the new production, which was developed in widescreen Cinemascope format, was particularly controversial.

, featured Kelly’s creative choreography for Cinemascope. Equally acclaimed (though a flop by audiences) was his directorial debut, a silent concert feature.

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(filmed in 1952, released in 1956). But as the 1950s progressed, the film musical genre fell victim to rising production costs and declining box office receipts. Consequently, Kelly’s film career lost most of its highlights, although he appeared in several credible performances in such films.

. Kelly also directed the comedy.

(1967), with Walter Matthau as the main character who is taught how to seduce a woman. That same year, Kelly returned to France to perform The American Pianist in homage to Jacques Demy’s Hollywood musicals.

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(1969) was Kelly’s adaptation of the Broadway hit starring Barbra Streisand, Matthew and Louis Armstrong. western comedy

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(1970) Henry Fonda and James Stewart play two cowboys who unknowingly run a prostitution ring. Kelly’s last directorial venture was with The Lender (Jack Haley, Jr.).

(1976), a collection of highlights from the original 1974 MGM musical. He once directed the film with Astaire.

(1980), a musical starring pop sensation Olivia Newton-John. His last roles before his retirement were on television

During the last three decades of his life, Kelly received dozens of awards and honors, including the Paris Opera Ballet’s “Pas de Deux” (1960) and a Lifetime Achievement Award from the French Film Institute. Tran Hung Hui, president of Asia Commercial Bank (ACB), on the rknt “Always Rmmbr Us So” and “Co Don Trn Sofa” (Alon On th Sofa).

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Tran Hung Hui on June 4, 2023 at the ACB internal meeting. Photo from Tran Hung Hui’s Facebook page

On Sunday, the bank’s 30th anniversary, in pouring rain, singing and dancing to two songs, Huy Lady Gaga’s hit “Always Rmmbr Us Way”: “You found the light that I couldn’t find.”

According to H, it’s “for its founders, the people who have always believed in me, that I don’t think I can do it.”

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Her performance did not immediately go viral on social media, and many users shared and spoke, praising how commendable it was.

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Hui, 45, is the son of Tran Mong Hung, former president and co-founder of ACB. In 2011, he became a doctoral student at Golden Gate University in the Statistics Unit and was named president of the ACB in 2012.

Tran Hung Hui sings and dances to “Rmmbr Us Like This” and “Co Don Trn Sofa” on June 4, 2023. Not really to recapture his former glory, but enough to open up the genre to a new audience and more young. But there was a time when theatrical brands lit up with the latest great musicals. As cinema moved from silent to talkies, musicals quickly found their place on the country’s big screens.

These studio contests brought with them an entirely new film philosophy, as colorful and vibrant musical settings often accompanied the dramatic narrative. While this light-hearted formula did little to suggest that it would soon be new, it did offer viewers a much-needed respite from the rigors of the real world. It was about transporting cinematographic films; contaminating them with songs and dances; providing an imaginary and sometimes illusory escape from their problems.

In 1933, Depression-era audiences escaped to the kaleidoscopic performances of film director and choreographer Busby Berkeley. Additionally, Fred Astaire and Ginger Rogers had started the famous RKO Radio Pictures.

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