Movie Musicals: The Greatest form of Escapism

When I was a kid, I remember the first time I saw Singin’ in the Rain. And by seen, I mean catching a glimpse of the final scene. You know, where Cathy (Debbie Reynolds) is exposed as the voice behind Lena (Jean Hagen’s) talent, and she rushes out of the theater, only to be stopped by crowds and Don (Gene Kelly) singing to her "You are my Lucky Star". No, this particular song isn’t a showstopper, but I remember watching this final scene and realizing how badly I wanted to see the rest of the film, what brought those characters to that part. This big reveal caught my attention, along with the costumes and the set and the commotion on screen.

That, as well as many other enchanting scenes of movie musicals, has made me fall in love songs that stay with me even to today. The classic music of George Gershwin and Cole Porter (and many, many more) are captivating from the very first notes of each song.

If watching Gene Kelly sing and dance in the rain to the titular song of Singin’ In The Rain, (with a 101 degree fever, no less) I don’t think anything will. Such is the axiom of a movie musical, which is arguably the best form of cinematic escapism. It uplifts viewers through song, dance, and spectacle, and can make them forget all about their troubles, if only temporarily.

As a previous theater kid, a native New Yorker that has Broadway at their fingertips, and someone who grew up with a heavy media diet of film, I can speak very highly regarding the profound impact of the movie musical genre. There’s something magical about them, as they really have this incredible power to draw people in, and make is smile and sing along.

They don’t make them like they used to, and this is in part good, and in part bad. For example, Guys and Dolls, which was meant to take place on the streets of Manhattan. However, the sound stages with the caricatures of skyscrapers and the lights of Broadway could never do Times Square justice. But, perhaps, this kind of backdrop best suited Marlon Brando’s underwhelming rendition of “Luck Be a Lady” (which went on to be a routine part of Sinatra’s concert sets).

Their anatomy is such a distinct feature.

The anatomy of a movie musical (or simply a musical, for that matter), never ceases to

amaze me. There’s this whole setup with lovers (Nathan and Adelaide in Guys and Dolls, or Tracey and Link in Hairspray, Tony and Maria in West Side Story). And then there’s the opposing force that tries to keep them apart, whether it is

Then things take a turn for the unironically unexpected, and then “jail” scene where a major character must redeem their soul. Plus, lots of drive-by numbers and meticulously choreographed dancing. And beautiful sets, even if they are at times tacky.

They have all different shapes and sizes to them, and newer movie musicals take on different forms than older ones. Different aspects can make a movie musical what it is, along with other nuances that some people may not find as fitting.

Needless to say, tonight I spent a good chunk of my evening giving Guys And Dolls a rewatch. And once I get a dreary day, it will be time for Singin’ In The Rain. There’s something very enchanting about these movie musicals. With Hollywood’s big budgets and constant need to enhance the escapism experience, there is much to benefit from watching them.

But why are they the most powerful form of escapism?

However, the live productions of Grease and The Sound of Music will never be as good as the original films. Yes, it’s exciting to see a live Broadway (better than Broadway, in some ways) quality shows from the comfort of your own living room. However, it doesn’t have the same feel that the magic of Hollywood used to have. With older technology and special effects and sound stages that had to support rainstorms (Singin’ in the Rain) and large scale dance numbers, such as "Before the Parade Passes By" in Hello, Dolly! along with the final ballet scene in An American in Paris.

How many times have people broken out in song and dance right before your eyes? Unless it was a flash mob, I’m guessing your answer is never. Of many film plots and genres (from the realistic quirky indie rom-coms to the post apocalyptic alien invasion films), there are so many powerful ways film can draw us in. However, there is nothing more spontaneous than the breakout of characters into song and dance. They can sing about anything, and everyone around somehow knows exactly what is being sung, and catches on faster than ever onto the perfectly timed choreography.

I mean, how many people actually go around today in tap shoes and a few time steps rolled up their sleeves, ready to sing and dance at a moment's notice? How does everyone else know the exact words to the song that has exploded throughout the space?

All joking aside, this positive spontaneity and surprise for audiences is much more delightful than the darker and more violent content that is on screen today.

In movie musicals, we also experience a jovial, light, and fun sort of dialogue that is rarer in today's cinema than we think. The words and lyrics are joyous with a touch of sympathy. All is fun and games, for the most part (a major exception being West Side Story). Meta-theatrical is also given a new meaning in Singin' in the Rain, which, in my opinion, is probably the quintessential movie musical. It's a movie musical about movies and musicals, and made Gene Kelly the Renaissance man of movie musicals instantly.

He went on to work more in movie musicals, and eventually directed Hello Dolly! which was complete with large-scale musical numbers and carefully choreographed dancing.

This, in my opinion, is the strangest form of fiction we can encounter, along with the most significant way viewers can escape. There is something about the spectacle aspect of movie musicals that can take audiences to places they have never been before. The bright and colorful sets of Wizard of Oz speak for themselves.

The evolution of silent to talkie films (standard as of 1927 and on) has been significant for movie musicals. Without this change, they could not have existed at all. They made stage stars, who were classically trained to act and sing and dance in front of a live audience, into movie stars. Many dancers benefited from this, as more were needed for large-scale musical numbers onscreen.

Gene Kelly himself says “Don't wear a frown to old Broadway” in the opening lines of Singin’ in the Rain’s “Broadway Melody” number. He's got a point. This genre should not be overlooked.