at the university of hard work and pain.”12. “Singin'” went over budget by $620,000, for an ultimate cost of $2.5 million. So you’re watching Hagen dub Reynolds dubbing Hagen.19. The role of the hilariously annoying diva Lina Lamont was written with Judy Holliday in mind; she’d been a performing partner of Comden and Green’s back in New York before finding fame on Broadway and in Hollywood via “Born Yesterday.” But when that film won Holliday a Best Actress Oscar in 1951, she was suddenly too big a star for MGM to hire for the “Singin'” supporting role. Contrary to myth, the rain did not have milk in it (supposedly needed to make the raindrops show better on camera), nor was the number shot in just one take. For his part, Kelly recognized what a stern disciplinarian he’d been and praised Reynolds for coming through in the end. Rather, it took several days to film, in part because there was a water shortage at the time in Culver City. Her singing was dubbed by Betty Noyes, while her spoken dialog was actually uttered by Hagen. Years later, Reynolds would famously say that “Singin’ in the Rain” and childbirth were the hardest experiences of her life.11. Kelly, too, suffered for his art. The part went instead to her Broadway understudy, Jean Hagen.7. Kelly was convinced he could train Reynolds to do the film’s complicated dance numbers.9. Plus, the film made a star of Debbie Reynolds; when she died in December 2016, “Singin'” was still the film that featured most prominently in remembrances of her.Hard to believe, for a film that plays like the screen expression of pure joy, but “Singin'” was a miserable experience to make, nearly ruining the health of its three principal stars. “Also, she was a great copyist, and she could pick up the most complicated routine without too much difficulty… Even after it was filmed to Kelly’s satisfaction, he felt the tap sounds were insufficient, so he danced the number again in a dubbing room — both his own part and Reynolds’.13. It’s amazing that I could keep up with him and Donald O’Connor.”10. Kelly sloshed through it all, but, as with “Good Morning,” the dancing sound effects had to be punched up later.17. Most notoriously, Reynolds bloodied her feet tap dancing for 15 hours to film the “Good Morning” number and had to be carried off the set. Originally, the producers thought of Howard Keel, but Kelly got the part when it was rewritten to be an ex-vaudeville singer/dancer, instead of a cowboy actor.5. The role of Cosmo was originally meant for Oscar Levant, who had played a similar role as Kelly’s wisecracking best friend in “An American in Paris” the year before. Indeed, the movie originated as a way to exploit the back catalog of songs that Freed and partner Nacio Herb Brown had written for various MGM movies between 1929 and 1939.3. Remarkably, “Singin'” was nominated for just two Oscars — for Lennie Hayton’s instrumental score and for Hagen’s supporting performance — and lost both.23. “By the end, my feet and ankles were a mess of bruises,” he said.15. Yet that was enough to make her a star, after nearly a decade as a chorus dancer in various MGM films. Kelly proved a brutal taskmaster. Not only was he head of the “Freed Unit,” the MGM creative team behind so many of the studio’s celebrated musicals, but he also wrote most of the songs in “Singin’ in the Rain.”2. The film took a toll on O’Connor, too, particularly the “Make ‘Em Laugh” number. But when Kelly (who not only starred in “Singin'” but also choreographed it and co-directed it with Stanley Donen) started playing up the film’s dance elements, the role went instead to experienced hoofer O’Connor.6. “Every so often he would yell at me and make me cry,” Reynolds recalled. When it was finally over, the three of them (Kelly, Reynolds, and Donald O’Connor) never worked together again. When he did return, he learned that a technical glitch had ruined all the “Make ‘Em Laugh” footage, and he had to shoot the entire number again the next day. Comprised of slapstick gags O’Connor had performed during his vaudeville days, it famously climaxed with O’Connor running up a wall and doing a backflip. Yet it was Reynolds who was lip-synching. It earned $3.3 million in North America and another $2.4 million overseas, making it a sizable hit for the times.22. Cast as romantic lead Kathy Selden, Debbie Reynolds had no dance experience, though she was a skilled gymnast and had proved her singing chops in small roles in earlier MGM films.8. Screenwriters Betty Comden and Adolph Green, who came up with the idea of building a plot around Freed and Brown’s songs that addressed the tumultuous transition from silence to sound in Hollywood, also wrote the movie’s only two new tunes, “Moses Supposes” and “Make ‘Em Laugh” — though the melody for the latter sounds suspiciously like that of “Be a Clown,” a Cole Porter song from Kelly’s “The Pirate.”4. Fortunately, this idea was scrapped and replaced with the “Broadway Ballet” sequence.20.Cyd Charisse had no lines in the movie and appeared in it just for a few minutes, as the vamp in the “Broadway Ballet” sequence. Read on to learn how “Singin'” overcame its grueling production history to become one of the most beloved films of all-time.1. Initially, the movie’s climactic dance number was to be an extended Western spoof, with Kelly, Reynolds, and O’Connor as covered-wagon pioneers who save themselves from Indian would-be scalpers by charming their captors with their song-and-dance skills. Her very next movie role was the lead opposite Astaire in Comden and Green’s “The Band Wagon.”21. During the filming of the title number, in which Kelly gets famously soaked, the star was running a fever of more than 100 degrees. At the time, the movie was considered a lesser achievement to Kelly’s ambitious “An American in Paris,” which won Best Picture the year before. With Reynolds’ death, the last surviving star of the film is Rita Moreno. She was supposed to get her own musical number, either “Make Hay While the Sun Shines” or “I’ve Got a Feelin’ You’re Foolin’,” but the scene was cut from the script and just an excerpt from “Feelin'” used in the “Beautiful Girl” montage. Indeed, one day, Fred Astaire found Reynolds crying under a piano and consoled her by offering to coach her himself. Posted April 10, 2017 by Gary SusmanIt took only a casual gesture — Ryan Gosling twirling around a lamppost in 2016’s Oscar-winning musical “La La Land” — to remind moviegoers how large “Singin’ in the Rain” still looms in our collective imagination.Released 65 years ago this week, on April 11, 1952, this classic is widely considered the greatest movie musical ever made, with Gene Kelly’s downpour-drenched performance of the title tune one of the most iconic moments in movie history. Sounds of dancers splashing their feet in water-filled buckets were provided by the movie’s uncredited assistant choreographers, future musical stars Carol Haney and Gwen Verdon.18. “But it took a lot of patience for him to work with someone who had never danced before. The EGOT winner and current star of Netflix’s “One Day at a Time” was 19 when she played Lina’s friend, starlet Zelda Zanders. (Plus, the fake rain made his wool suit shrink.)16. Hagen lost the supporting actress prize to Gloria Grahame for her nine-minute performance in “The Bad and the Beautiful,” another Hollywood satire shot at the same time on a neighboring MGM soundstage.24. “Fortunately, Debbie was strong as an ox,” he said. Much of the credit for “Singin’ in the Rain” belongs to MGM producer Arthur Freed, who, like Donald O’Connor’s Cosmo Brown, rose from silent-era mood-music pianist to head of the studio’s musical department. Kelly wasn’t even the first choice to play Don Lockwood. One more dubbing-imitates-art story: The “Would You?” number is supposed to show how Lina lip-synchs while Kathy’s voice is dubbed for hers. The 19-year-old was, however, youthful enough for the part, which led Kelly to cast her instead of older, more experienced musical actresses like Judy Garland, June Allyson, or Ann Miller. He managed to film the whole number in one day, but the shoot left the four-pack-a-day smoker so out-of-breath, and the soundstage’s concrete floors left his joints in such pain, that he had to rest for three days before returning to work.14.