Gene Kelly

For the American sportscaster, seeGene Kelly (broadcaster).For the Scottish musician, seeEugene Kelly.For other people with similar names, seeJean Kelly (disambiguation).

Gene Kelly
Kelly in 1943
Born	Eugene Curran Kelly (1912-08-23)August 23, 1912 Pittsburgh,Pennsylvania,U.S.
Died	February 2, 1996(1996-02-02)(aged 83) Beverly Hills, California,U.S.
Citizenship	American (Irish citizenship granted late in life)
Education	University of Pittsburgh
Occupations	Dancer actor singer director choreographer
Years active	1931–1994
Known for	Singin' in the Rain An American in Paris On the Town Invitation to the Dance
Political party	Democratic
Spouses	Betsy Blair ​ ​ (m.1941;div.1957)​ Jeanne Coyne ​ ​ (m.1960; died 1973)​ Patricia Ward ​ (m.1990)​
Children	3

Eugene Curran Kelly(August 23, 1912 – February 2, 1996) was an American dancer, actor, singer, director and choreographer. He was known for his energetic and athletic dancing style and sought to create a new form of American dance accessible to the general public, which he called "dance for the common man".He starred in, choreographed, and co-directed withStanley Donensome of the most well-regardedmusical filmsof the 1940s and 1950s.

Kelly is best known for his performances inAn American in Paris(1951), which won the Academy Award for Best Picture,Singin' in the Rain(1952), which he and Donen directed and choreographed, and other musical films of that era such asCover Girl(1944) andAnchors Aweigh(1945), for which he was nominated for anAcademy Award for Best Actor.On the Town(1949), which he co-directed with Donen, was his directorial debut. Later in the 1950s, as musicals waned in popularity, he starred inBrigadoon(1954) andIt's Always Fair Weather(1955), the last film he directed with Donen. His solo directorial debut wasInvitation to the Dance(1956), one of the last MGM musicals, which was a commercial failure.

Kelly made his film debut inFor Me and My Gal(1942) withJudy Garland,with whom he also appeared inThe Pirate(1948) andSummer Stock(1950). He also appeared in thedramasBlack Hand(1950) andInherit the Wind(1960),for which he received critical praise.

He continued as a director in the 1960s, with his credits includingA Guide for the Married Man(1967) andHello, Dolly!(1969),which received anOscar nomination for Best Picture.He co-hosted and appeared inZiegfeld Follies(1946),That's Entertainment!(1974),That's Entertainment, Part II(1976),That's Dancing!(1985), andThat's Entertainment, Part III(1994).

His many innovations transformed the Hollywood musical, and he is credited with almost single-handedly making the ballet form commercially acceptable to film audiences.According to dance and art historian Beth Genné, working with his co-director Donen inSingin' in the Rainand in films with directorVincent Minnelli,"Kelly... fundamentally affected the way movies are made and the way we look at them. And he did it with a dancer's eye and from a dancer's perspective."Kelly received anAcademy Honorary Awardin 1952 for his career achievements; the same year,An American in Pariswon six Academy Awards, including Best Picture. He later received lifetime achievement awards in theKennedy Center Honors(1982) and from theScreen Actors GuildandAmerican Film Institute.In 1999, the American Film Institute also ranked him as the15th greatest male screen legendofClassic Hollywood Cinema.

Early life

Kelly's senior picture from the 1933 yearbook of theUniversity of Pittsburgh

Kelly was born in theEast Libertyneighborhood ofPittsburgh.He was middle of 5 children of James Patrick Joseph Kelly, aphonographsalesman, and his wife, Harriet Catherine Curran.His father was born inPeterborough,Ontario, Canada, to an Irish Canadian family. His maternal grandfather was an immigrant fromDerry,Ireland, and his maternal grandmother was of German ancestry.When he was eight, Kelly's mother enrolled him and his brother James in dance classes, along with their sisters. As Kelly recalled, they both rebelled: "We didn't like it much and were continually involved in fistfights with the neighborhood boys who called ussissies... I didn't dance again until I was 15. "At one time, his childhood dream was to playshortstopfor the hometownPittsburgh Pirates.

By the time he decided to dance, he was an accomplished sportsman and able to defend himself. He attended St. Raphael Elementary Schoolin theMorningsideneighborhood of Pittsburgh and graduated fromPeabody High Schoolat age 16. He entered thePennsylvania State Collegeas a journalism major, but after the1929 crashhe left school and found work in order to help his family financially. He created dance routines with his younger brotherFredto earn prize money in local talent contests. They also performed in local nightclubs.

In 1931, Kelly enrolled at theUniversity of Pittsburghto study economics, joining the Theta Kappa Phi fraternity (later known asPhi Kappa Thetaafter merging with Phi Kappa).He became involved in the university'sCap and Gown Club,which staged original musical productions.After graduating in 1933, he continued to be active with the Cap and Gown Club, serving as the director from 1934 to 1938. Kelly was admitted to theUniversity of Pittsburgh Law School.

His family opened a dance studio in theSquirrel Hillneighborhood of Pittsburgh. In 1932, they renamed it the Gene Kelly Studio of the Dance and opened a second location inJohnstown, Pennsylvaniain 1933. Kelly served as a teacher at the studio during his undergraduate and law-student years at Pitt. In 1931, he was approached by the Beth Shalom Synagogue in Pittsburgh to teach dance, and to stage the annualKermesse.The venture proved a success, Kelly being retained for seven years until his departure for New York.

Kelly eventually decided to pursue a career as a dance teacher and full-time entertainer, so he dropped out of law school after two months. He increased his focus on performing and later said: "With time I became disenchanted with teaching because the ratio of girls to boys was more than ten to one, and once the girls reached 16, the dropout rate was very high."In 1937, having successfully managed and developed the family's dance-school business, he moved to New York City in search of work as a choreographer.Kelly returned to Pittsburgh, to his family home at 7514 Kensington Street, in 1940, and worked as a theatrical actor.

Stage career

After a fruitless search for work in New York, Kelly returned to Pittsburgh to his first position as a choreographer with the Charles Gaynor musical revueHold Your Hatsat thePittsburgh Playhousein April 1938. Kelly appeared in six of the sketches, one of which,La cumparsita,became the basis of an extended Spanish number in the filmAnchors Aweigheight years later.

His firstBroadwayassignment, in November 1938, was as a dancer inCole Porter'sLeave It to Me!—as the American ambassador's secretary who supportsMary Martinwhile she sings "My Heart Belongs to Daddy".He had been hired byRobert Alton,who had staged a show at the Pittsburgh Playhouse where he was impressed by Kelly's teaching skills. When Alton moved on to choreograph the musicalOne for the Money,he hired Kelly to act, sing, and dance in eight routines. In 1939, he was selected for a musical revue,One for the Money,produced by the actressKatharine Cornell,who was known for finding and hiring talented young actors.

Kelly's first big breakthrough was in thePulitzer Prize–winningThe Time of Your Life,which opened on October 25, 1939—in which, for the first time on Broadway, he danced to his own choreography. In the same year, he received his first assignment as a Broadway choreographer, forBilly Rose's Diamond Horseshoe.He began dating a cast member,Betsy Blair,and they got married on October 16, 1941.

In 1940, he got the lead role inRodgers and Hart'sPal Joey,again choreographed by Robert Alton. This role propelled him to stardom. During its run, he told reporters: "I don't believe in conformity to any school of dancing. I create what the drama and the music demand. While I am a hundred percent for ballet technique, I use only what I can adapt to my own use. I never let technique get in the way of mood or continuity."His colleagues at this time noticed his great commitment to rehearsal and hard work.Van Johnson—who also appeared inPal Joey—recalled: "I watched him rehearsing, and it seemed to me that there was no possible room for improvement. Yet he wasn't satisfied. It was midnight and we had been rehearsing since 8 in the morning. I was making my way sleepily down the long flight of stairs when I heard staccato steps coming from the stage... I could see just a single lamp burning. Under it, a figure was dancing... Gene."

Offers from Hollywood began to arrive, but Kelly was in no hurry to leave New York. Eventually, he signed withDavid O. Selznick,agreeing to go to Hollywood at the end of his commitment toPal Joey,in October 1941. Prior to his contract, he also managed to fit in choreographing the stage production ofBest Foot Forward.

Film career

1941–1945: Becoming established in Hollywood

Gene Kelly dances withJerryofTom and JerryinAnchors Aweigh(1945), a performance which changed at least one critic's opinion of Kelly's skills.

Selznick sold half of Kelly's contract toMetro-Goldwyn-Mayerfor his first motion picture:For Me and My Gal(1942) starringJudy Garland.Kelly said he was "appalled at the sight of myself blown up 20 times. I had an awful feeling that I was a tremendous flop."For Me and My Galperformed very well, and in the face of much internal resistance,Arthur Freedof MGM picked up the other half of Kelly's contract.After appearing in aB moviedrama,Pilot No. 5(1943) and inChristmas Holiday(1944), he took the male lead in Cole Porter'sDu Barry Was a Lady(1943) withLucille Ball(in a part originally intended forAnn Sothern). His first opportunity to dance to his own choreography came in his next picture,Thousands Cheer(1943), in which he performed a mock-love dance with a mop. Unusually, inPilot No. 5,Kelly played theantagonist.

He achieved a significant breakthrough as a dancer on film when MGM lent him toColumbiato work withRita HayworthinCover Girl(1944), a film that foreshadowed the best of his future work.He created a memorable routine dancing to his own reflection. Despite this, criticManny Farberwas moved to praise Kelly's "attitude", "clarity", and "feeling" as an actor while inauspiciously concluding, "The two things he does least well—singing and dancing—are what he is given most consistently to do."

In Kelly's next film,Anchors Aweigh(1945), MGM gave him a free hand to devise a range of dance routines, including his duets with co-starFrank Sinatraand the celebrated animated dance withJerry Mouse—the animation for which was supervised byWilliam HannaandJoseph Barbera.That performance was enough for Farber to completely reverse his previous assessment of Kelly's skills. Reviewing the film, Farber enthused, "Kelly is the most exciting dancer to appear in Hollywood movies."Anchors Aweighbecame one of the most successful films of 1945 and Kelly was nominated for theAcademy Award for Best Actor.InZiegfeld Follies(1946)—which was produced in 1944 but delayed for release—Kelly collaborated withFred Astaire,for whom he had the greatest admiration, in "The Babbitt and the Bromide" challenge dance routine.

Military service

Kelly was deferred from thedraftin 1940by the U.S.Selective Service Systemat the request of his employers, but was classified 1-A, eligible for induction, in October 1944 after an appeal to PresidentFranklin Delano Rooseveltby the head of the Selective Service in New York City.Roosevelt personally upheld the appeal.He was inducted into the armed forces a month later, and at his request he was assigned to the U.S. Navy.He served in theU.S. Naval Air Serviceand was commissioned aslieutenant, junior grade.He was stationed in the Photographic Section, Washington, D.C., where he helped write and direct a range of documentaries – this stimulated his interest in the production side of filmmaking.He was discharged in 1946.

1946–1952: MGM

After Kelly returned from Naval service, MGM had nothing planned and used him in a routine black-and-white movie:Living in a Big Way(1947). The film was considered so weak that the studio asked Kelly to design and insert a series of dance routines; they noticed his ability to carry out such assignments. This led to a lead part in his next picture, with Judy Garland and directorVincente Minnelli—a musical film version ofS.N. Behrman's play,The Pirate(1948), with songs by Cole Porter.The Pirategave full rein to Kelly's athleticism. It features Kelly's work withthe Nicholas Brothers—the leading black dancers of their day—in a virtuoso dance routine. Now regarded as a classic, the film was ahead of its time, but flopped at the box office.

Leslie Caronand Kelly in the trailer forAn American in Paris(1951)

MGM wanted Kelly to return to safer and more commercial vehicles, but he ceaselessly fought for an opportunity to direct his own musical film. In the interim, he capitalized on his swashbuckling image asd'ArtagnaninThe Three Musketeers(also 1948)—and also appeared withVera-Ellenin theSlaughter on Tenth Avenueballet inWords and Music(1948 again). He was due to play the male lead opposite Garland inEaster Parade(1948), but broke his ankle playing volleyball. He withdrew from the film and persuadedFred Astaireto come out of retirement to replace him.There followedTake Me Out to the Ball Game(1949), his second film with Sinatra, where Kelly paid tribute to his Irish heritage in "The Hat My Father Wore on St. Patrick's Day" routine. This musical film persuaded Arthur Freed to have Kelly makeOn the Town(also 1949), in which he partnered with Frank Sinatra for the third and final time. A breakthrough in the musical film genre, it has been described as "the most inventive and effervescent musical thus far produced in Hollywood."

Stanley Donen,brought to Hollywood by Kelly to be his assistant choreographer, received co-director credit forOn the Town.According to Kelly: "when you are involved in doing choreography for film, you must have expert assistants. I needed one to watch my performance, and one to work with the cameraman on the timing... without such people as Stanley,Carol Haney,andJeanne CoyneI could never have done these things. When we came to doOn the Town,I knew it was time for Stanley to get screen credit because we weren't boss–assistant anymore but co-creators. "Together, they opened up the musical form, taking the film musical out of the studio and into real locations, with Donen taking responsibility for the staging and Kelly handling the choreography. Kelly went much further than before in introducing modern ballet into his dance sequences, going so far in the "Day in New York" routine as to substitute four leading ballet specialists for Sinatra, Munshin, Garrett, and Miller.

Kelly asked the studio for a straight acting role, and he took the lead role in the earlythe MafiamelodramaBlack Hand(1950). This exposé of organized crime is set in New York's "Little Italy"during the late 19th century and focuses on theBlack Hand,a group that extorts money upon threat of death. In the real-life incidents upon which this film is based, it was the Mafia, not the Black Hand, who functioned as the villain. Filmmakers had to tread gingerly whenever dealing with big-time crime, it being safer to go after a "dead" criminal organization than a "live" one. There followedSummer Stock(1950)—Garland's last musical film for MGM—in which Kelly performed the "You, You Wonderful You" solo routine with a newspaper and a squeaky floorboard. In his bookEasy the Hard Way,Joe Pasternak,head of another of MGM's musical units, singled out Kelly for his patience and willingness to spend as much time as necessary to enable the ailing Garland to complete her part.

Singin' in the Raintrailer:Donald O'Connor,Debbie Reynoldsand Kelly (1952)

Then followed in quick succession two musicals that secured Kelly's reputation as a major figure in the American musical film. First,An American in Paris(1951) and—probably the most admired of all film musicals—Singin' in the Rain(1952). As co-director, lead star, and choreographer, Kelly was the driving force in both of these films.Johnny Green,the head of music at MGM at the time, said of him,

Gene is easygoing as long as you know exactly what you are doing when you're working with him. He's a hard taskmaster and he loves hard work. If you want to play on his team you'd better like hard work, too. He isn't cruel, but he is tough, and if Gene believed in something, he didn't care who he was talking to, whether it wasLouis B. Mayeror the gatekeeper. He wasn't awed by anybody, and he had a good record of getting what he wanted.

An American in Pariswon six Academy Awards, includingBest Picture.The film also marked the debut of 19-year-old ballerinaLeslie Caron,whom Kelly had spotted in Paris and brought to Hollywood. Its dream ballet sequence, lasting an unprecedented 17 minutes, was the most expensive production number ever filmed at that time.Bosley Crowtherdescribed it as, "whoop-de-doo... one of the finest ever put on the screen."Also in 1951, Kelly received an honorary Academy Award for his contribution to film musicals and the art of choreography.

Donald O'Connor, Debbie Reynolds, and Gene Kelly from alobby cardforSingin' in the Rain

The following year,Singin' in the Rainfeatured Kelly's celebrated and much imitated solo dance routine to the title song, along with the "Moses Supposes" routine with Donald O'Connor and the "Broadway Melody" finale withCyd Charisse.Though the film did not initially generate the same enthusiasmAn American in Pariscreated, it has subsequently overtaken the earlier film to occupy its current pre-eminent place in the esteem of critics.

1953–1957: Decline of Hollywood musicals

At the peak of his creative powers, Kelly made what in retrospect some see as a career mistake.In December 1951, he signed a contract with MGM that sent him to Europe for 19 months to use MGM funds frozen in Europe to make three pictures while personally benefiting from tax exemptions.Only one of these pictures was a musical,Invitation to the Dance,a pet project of Kelly's to bring modern ballet to mainstream film audiences. It was beset with delays and technical problems, and flopped when finally released in 1956.

Michael Kidd,Kelly, andDan DaileyinIt's Always Fair Weather(1955), directed by Kelly andStanley Donen,their last collaboration

When Kelly returned to Hollywood in 1953, the film musical was beginning to feel the pressures from television, and MGM cut the budget for his next pictureBrigadoon(1954), with Cyd Charisse, forcing him to make the film on studio backlots instead of on location in Scotland. This year also had him appear as a guest star with his brother Fred in the "I Love to Go Swimmin' with Wimmen" routine inDeep in My Heart(1954). MGM's refusal to lend him out forGuys and DollsandPal Joeyput further strains on his relationship with the studio. He negotiated an exit to his contract that involved making three further pictures for MGM. The first of these,It's Always Fair Weather(1955), co-directed with Donen, was a musical satire on television and advertising, and includes his roller-skate dance routine toI Like Myself,and a dance trio withMichael KiddandDan Daileythat Kelly used to experiment with the widescreen possibilities ofCinemascope.MGM had lost faith in Kelly's box-office appeal, and as a resultIt's Always Fair Weatherpremiered at 17 drive-in theaters around the Los Angeles metroplex. Next followed Kelly's last musical film for MGM,Les Girls(1957), in which he joinedMitzi Gaynor,Kay Kendall,andTaina Elg.The third picture he completed was a co-production between MGM and himself, a B-film,The Happy Road(1957), set in his beloved France, his first foray in a new role as producer-director-actor. After leaving MGM, Kelly returned to stage work.

1958–1996: After MGM

In 1958, Kelly directedRodgers and Hammerstein's musical playFlower Drum Song.Early in 1960, Kelly, an ardent Francophile and fluent French speaker, was invited by A. M. Julien, the general administrator of theParis OpéraandOpéra-Comique,to select his own material and create a modern ballet for the company, the first time an American had received such an assignment. The result wasPas de Dieux,based onGreek mythology,combined with the music ofGeorge Gershwin'sConcerto in F.It was a major success, and it led to his being honored with theChevalierde laLégion d'Honneurby the French Government.

Kelly as Hornbeck inInherit the Wind(1960)

Kelly continued to make some film appearances, such as Hornbeck in the Hollywood production ofInherit the Wind(1960) and as himself inLet's Make Love(also 1960). However, most of his efforts were now concentrated on film production and directing. In Paris, he directedJackie GleasoninGigot(1962), but the film was drastically recut bySeven Arts Productionsand flopped.Another French effort,Jacques Demy's homage to the MGM musical,The Young Girls of Rochefort(Les Demoiselles de Rochefort,1967), in which Kelly appeared, was a box-office success in France and nominated for Academy Awards for Best Music and Score of a Musical Picture (Original or Adaptation), but performed poorly elsewhere.

He was asked to direct the film version ofThe Sound of Music,which had already been turned down by Stanley Donen. He escortedErnest Lehman,the screenwriter, out of his house, saying, "Go find someone else to direct this piece of shit."

His first foray into television was a documentary forNBC'sOmnibus,Dancing is a Man's Game(1958), in which he assembled a group of America's greatest sportsmen—includingMickey Mantle,Sugar Ray Robinson,andBob Cousy—and reinterpreted their moves choreographically, as part of his lifelong quest to remove the effeminate stereotype of the art of dance, while articulating the philosophy behind his dance style.It gained anEmmynomination for choreography and now stands as the key document explaining Kelly's approach to modern dance.

Kelly appeared frequently on television shows during the 1960s, includingGoing My Way(1962–63), which was based on the1944 film of the same name.It enjoyed great popularity in Roman Catholic countries outside the US.He also appeared in three major TV specials:The Julie Andrews Show(1965),New York, New York(1966), andJack and the Beanstalk(1967)—a show he produced and directed that again combined cartoon animation and live dance, winning him anEmmy Awardfor Outstanding Children's Program.

Walter MatthauwithBarbra StreisandinHello, Dolly!(1969)

In 1963, Kelly joinedUniversal Picturesfor a two-year stint. He joined20th Century Foxin 1965, but had little to do—partly due to his decision to decline assignments away from Los Angeles for family reasons. His perseverance finally paid off, with the major box-office hitA Guide for the Married Man(1967), in which he directedWalter Matthau.Then, a major opportunity arose when Fox—buoyed by the returns fromThe Sound of Music(1965)—commissioned Kelly to directHello, Dolly!(1969), again directing Matthau along withBarbra Streisand.The film was nominated forseven Academy Awards, winning three.

In 1966, Kelly starred in a musical television special forCBStitledGene Kelly in New York, New York.The special focuses on Gene Kelly in a musical tour aroundManhattan,dancing along such landmarks asRockefeller Center,the Plaza Hotel,andthe Museum of Modern Art,which serve as backdrops for the show's entertaining production numbers.The special was written byWoody Allen,who also stars alongside Kelly. Guest stars included choreographerGower Champion,British musical comedy starTommy Steele,and singerDamita Jo DeBlanc.

In 1970, he made another television special:Gene Kelly and 50 Girls,and was invited to bring the show toLas Vegas,which he did for an eight-week stint on the condition he be paid more than any artist had ever been paid there.He directed veteran actorsJames StewartandHenry Fondain the comedy WesternThe Cheyenne Social Club(1970), which performed poorly at the box office. In 1973, he worked again with Frank Sinatra as part of Sinatra'sEmmy-nominated TV special,Magnavox Presents Frank Sinatra.He appeared as one of many special narrators in the surprise hitThat's Entertainment!(1974). He directed and co-starred with his friend Fred Astaire in the sequelThat's Entertainment, Part II(1976). It was a measure of his powers of persuasion that he managed to coax the 77-year-old Astaire—who had insisted that his contract rule out any dancing, having long since retired—into performing a series of song-and-dance duets, evoking a powerful nostalgia for the glory days of the American musical film.

Kelly was a guest on the 1975 television special starring Steve Lawrence and Eydie Gormé, "Our Love Is Here to Stay," appearing with his son, Tim, and daughter, Bridget. He starred in the poorly received action filmViva Knievel!(1977), with the then high-profile stuntman,Evel Knievel.Kelly continued to make frequent TV appearances. His final film role was inXanadu(1980), a surprise flop despite a popularsoundtrackthat spawned five Top 20 hits by theElectric Light Orchestra,Cliff Richard,and Kelly's co-starOlivia Newton-John.In Kelly's opinion, "The concept was marvelous, but it just didn't come off."In the same year, he was invited byFrancis Ford Coppolato recruit a production staff for American Zoetrope'sOne from the Heart(1982). Although Coppola's ambition was for him to establish a production unit to rival theFreed Unitat MGM, the film's failure put an end to this idea.In November 1983 he made his first Royal Variety Performance before Her Majesty Queen Elizabeth II, at London's Theatre Royal. Kelly served as executive producer and co-host ofThat's Dancing!(1985), a celebration of the history of dance in the American musical. Kelly's final on-screen appearance was to introduceThat's Entertainment! III(1994). His final film project was the animated filmCats Don't Dance,not released until 1997, for which Kelly acted as an uncredited choreographic consultant. It was dedicated to his memory.

Working methods and influence on filmed dance

When he began his collaborative film work, he was influenced byRobert AltonandJohn Murray Anderson,striving to create moods and character insight with his dances. He choreographed his own movement, along with that of the ensemble, with the assistance ofJeanne Coyne,Stanley Donen,Carol Haney,and Alex Romero.He experimented with lighting, camera techniques, and special effects to achieve true integration of dance with film, and was one of the first to use split screens, double images, and live action with animation, and is credited as the person who made the ballet form commercially acceptable to film audiences.

A clear progression was evident in his development, from an early concentration on tap and musical comedy style to greater complexity using ballet and modern dance forms.Kelly himself refused to categorize his style: "I don't have a name for my style of dancing... It's certainly hybrid... I've borrowed from the modern dance, from the classical, and certainly from the American folk dance—tap-dancing, jitterbugging... But I have tried to develop a style which is indigenous to the environment in which I was reared."He especially acknowledged the influence ofGeorge M. Cohan:"I have a lot of Cohan in me. It's an Irish quality, a jaw-jutting, up-on-the-toes cockiness—which is a good quality for a male dancer to have."He was also heavily influenced by an African-American dancer,Robert Dotson,whom he saw perform atLoew's Penn Theatrearound 1929. He was briefly taught by Frank Harrington, an African-American tap specialist from New York.However, his main interest was in ballet, which he studied under Kotchetovsky in the early 1930s. BiographerClive Hirschhornwrites: "As a child, he used to run for miles through parks and streets and woods—anywhere, just as long as he could feel the wind against his body and through his hair. Ballet gave him the same feeling of exhilaration, and in 1933, he was convinced it was the most satisfying form of self-expression."He also studied Spanish dancing under Angel Cansino,Rita Hayworth's uncle.Generally speaking, he tended to use tap and other popular dance idioms to express joy and exuberance—as in the title song forSingin' in the Rainor "I Got Rhythm" inAn American in Paris,whereas pensive or romantic feelings were more often expressed via ballet or modern dance, as in "Heather on the Hill" fromBrigadoonor "Our Love Is Here to Stay"fromAn American in Paris.

Kelly in rehearsal withSugar Ray Robinsonand assistantJeanne Coyne(his future wife) in theNBCOmnibustelevision specialDancing is a Man's Game(1958)

According to Delamater, Kelly's work "seems to represent the fulfillment of dance–film integration in the 1940s and 1950s". While Fred Astaire had revolutionized the filming of dance in the 1930s by insisting on full-figure photography of dancers, while allowing only a modest degree of camera movement, Kelly freed up the camera, making greater use of space, camera movement, camera angles, and editing, creating a partnership between dance movement and camera movement without sacrificing full-figure framing. Kelly's reasoning behind this was that he felt the kinetic force of live dance often evaporated when brought to film, and he sought to partially overcome this by involving the camera in movement and giving the dancer a greater number of directions in which to move. Examples of this abound in Kelly's work and are well illustrated in the "Prehistoric Man" sequence fromOn the Townand "The Hat My Father Wore on St. Patrick's Day" fromTake Me Out to the Ball Game.In 1951, he summed up his vision as: "If the camera is to make a contribution at all to dance, this must be the focal point of its contribution; the fluid background, giving each spectator an undistorted and altogether similar view of dancer and background. To accomplish this, the camera is made fluid, moving with the dancer, so that the lens becomes the eye of the spectator,your eye".

Kelly's athleticism gave his moves a distinctive broad, muscular quality,and this was a deliberate choice on his part, as he explained: "There's a strong link between sports and dancing, and my own dancing springs from my early days as an athlete... I think dancing is a man's game and if he does it well he does it better than a woman."Caron said that while dancing with Astaire she felt like she was floating, Kelly danced close to the ground.He railed against what he saw as the widespread effeminacy in male dancing, which, in his opinion, "tragically" stigmatized the genre, alienating boys from entering the field:

Dancingdoesattract effeminate young men. I don't object to that as long as they don't dance effeminately. I just say that if a man dances effeminately, he dances badly—just as if a woman comes out on stage and starts to sing bass. Unfortunately, people confuse gracefulness with softness.John Wayneis a graceful man and so are some of the great ballplayers... but, of course, they don't run the risk of being called sissies.

In his view, "one of our problems is that so much dancing is taught by women. You can spot many male dancers who have this tuition by their arm movements—they are soft, limp, and feminine."He acknowledged that in spite of his efforts—in TV programs such asDancing: A Man's Game(1958) for example—the situation changed little over the years. He also sought to break from the class-conscious conventions of the 1930s and early 40s, when top hat and tails or tuxedos were the norm, by dancing in casual or everyday work clothes, so as to make his dancing more relevant to the cinema-going public. His first wife, actress and dancerBetsy Blairsaid:

A sailor suit or his white socks and loafers, or the T-shirts on his muscular torso, gave everyone the feeling that he was a regular guy, and perhaps they, too, could express love and joy by dancing in the street or stomping through puddles... he democratized the dance in movies.

In particular, he wanted to create a completely different image from that associated with Fred Astaire, not least because he believed his physique did not suit such refined elegance: "I used to envy his cool, aristocratic style, so intimate and contained. Fred wears top hat and tails to the Manor born—I put them on and look like a truck driver."

Personal life

From the mid-1940s through the early 1950s, his wife Betsy Blair and he organized weekly parties at theirBeverly Hillshome, and they often played an intensely competitive and physical version ofcharades,known as "The Game".

His papers are housed at theHoward Gotlieb Archival Research CenteratBoston University.

Late in life, Kelly was awarded Irish citizenship under Ireland's Citizenship by Foreign Birth program. The application was initiated on his behalf by his wife Patricia Ward Kelly.

On December 22, 1983, the actor's Beverly Hills mansion burned down.Faulty Christmas tree wiring was blamed. His family and pets escaped and he suffered a burned hand.

Marriages

Kelly, photographed byAllan Warren,in 1986

Kelly married three times. His first marriage was to actressBetsy Blairin 1941. They had one child, Kerry (b. 1942), and divorced in April 1957.

In 1960, Kelly married his choreographic assistantJeanne Coyne,who had previously been married to Stanley Donen between 1948 and 1951. Kelly and Coyne had two children, Timothy (b. 1962) and Bridget (b. 1964). This marriage lasted until Coyne died in 1973.

Kelly married Patricia Ward in 1990 (when he was 77 and she was 30).Their marriage lasted until his death six years later and she has not remarried.

Political and religious views

Kelly was a lifelong supporter of theDemocratic Party.His period of greatest prominence coincided with theMcCarthy erain the US. In 1947, he was part of theCommittee for the First Amendment,the Hollywood delegation that flew to Washington to protest at the first official hearings by theHouse Committee on Un-American Activities.His first wife, Betsy Blair, was suspected of being a communist sympathizer, and whenUnited Artists,which had offered Blair a part inMarty(1955), were considering withdrawing her under pressure from theAmerican Legion,Kelly successfully threatened MGM's influence on United Artists with a pullout fromIt's Always Fair Weatherunless his wife was restored to the part.He used his position on the board of directors of theWriters Guild of America Weston a number of occasions to mediate disputes between unions and the Hollywood studios.

He was raised as a Roman Catholic and was a member of the Good Shepherd Parish and the Catholic Motion Picture Guild inBeverly Hills, California.However, after becoming disenchanted by the Roman Catholic Church's support forFrancisco Francoagainst the Second Spanish Republic during theSpanish Civil War,he officially severed his ties with the church in September 1939. This separation was prompted, in part, by a trip Kelly made to Mexico in which he became convinced that the church had failed to help the poor in that country.After his departure from the Catholic Church, Kelly became an agnostic, as he had previously described himself.

Illness and death

Kelly's health declined steadily in the late 1980s and early 1990s. In July 1994, he suffered a stroke and stayed inRonald Reagan UCLA Medical Centerhospital for seven weeks. In early 1995, he had another stroke which made him severely disabled. Kelly died on February 2, 1996.

Awards and honors

Plaque honoring Gene Kelly at hisalma mater,the University of Pittsburgh

• 1942 – Best Actor award from the National Board of Review for his performance inFor Me and My Gal
• 1946 –Academy Awardnomination for Best Actor inAnchors Aweigh(1945)
• 1951 – Nominated for aGolden Globe Awardfor Best Actor in a Motion Picture Musical or Comedy forAn American in Paris
• 1952 – Honorary Academy Award "in appreciation of his versatility as an actor, singer, director and dancer, and specifically for his brilliant achievements in the art of choreography on film." This Oscar was lost in a fire in 1983 and replaced at the 1984 Academy Awards.
• 1953 – Nomination from the Directors Guild of America, Best Director forSingin' in the Rain,1952 (shared with Stanley Donen).
• 1956 –Golden Bearat the6th Berlin International Film FestivalforInvitation to the Dance.
• 1958 – Nomination for Golden Laurel Award for Best Male Musical Performance inLes Girls.
• 1958 –Dance Magazine's annual TV Award forDancing: A Man's Gamefrom theOmnibustelevision series. It was also nominated for an Emmy for best singing.
• 1960 – In France, Kelly was made aChevalierof theLegion of Honor.
• 1960 - Star on the Hollywood Walk of Fame for motion pictures
• 1962 – Gene Kelly Dance Film Festival staged by theMuseum of Modern Art
• 1964 –Best Actor AwardforWhat a Way to Go!(1964) at theLocarno International Film Festival
• 1967 – Emmy for Outstanding Children's Program forJack and the Beanstalk
• 1970 – Nomination for Golden Globe, Best Director forHello, Dolly!,1969
• 1970 – Nomination from the Directors Guild of America, Best Director forHello, Dolly!,1969
• 1981 –Cecil B. DeMilleAward atGolden Globes
• 1981 – Kelly was the subject of a 2-week film festival in France
• 1982 – Lifetime Achievement Award in the fifth annualKennedy Center Honors
• 1985 – Lifetime Achievement Award from the American Film Institute
• 1989 – Life Achievement Award from Screen Actors Guild
• 1991 –Pittsburgh Civic Light Operainaugurated the Gene Kelly Awards, given annually to high-school musicals inAllegheny County, Pennsylvania.
• 1992 – Induction into theAmerican Theater Hall of Fame
• 1994 –National Medal of Artsawarded by United States PresidentBill Clinton
• 1994 – TheThree Tenorsperformed "Singin' in the Rain" in his presence during a concert atDodger Stadiumin Los Angeles.
• 1996 – HonoraryCésar Award,the César is the main national film award in France.
• 1996 – At the Academy Awards ceremony, directorQuincy Jonesorganized a tribute to the just-deceased Kelly, in whichSavion Gloverperformed the dance to "Singin' in the Rain".
• 1997 – Ranked number 26 inEmpire(UK) magazine's "The Top 100 Movie Stars of All Time" list
• 1999 – Ranked number 15 in the American Film Institute's "Greatest Male Legends" of Classic Hollywood list
• 2013 – "Singin' in the Rain" ranked number one in "The Nation's Favorite Dance Moment".

Work

• 
  On the Town(1949)
• 
  An American in Paris(1951)
• 
  Singin' in the Rain(1952)

Musical films

Main article:Gene Kelly filmography

Kelly appeared as actor, singer and dancer in musical films. He always choreographed his own dance routines and often the dance routines of others and used assistants. As was the practice at the time, he was rarely formally credited in the film titles.

Theatre

Date	Production	Role	Venue
1938–1939	Leave It to Me!	Secretary to Mr. Goodhue Chorus	Imperial Theatre,Broadway
1939	One for the Money	Ensemble	Booth Theatre,Broadway
1939–1940	The Time of Your Life	Performer – Harry Choreographer
1940–1941	Pal Joey	Performer – Joey Evans	Ethel Barrymore Theatre,Broadway St. James Theatre,Broadway
1941–1942	Best Foot Forward	Choreography	Ethel Barrymore Theatre,Broadway
1958–1960	Flower Drum Song	Director	St. James Theatre,Broadway
1974	Take Me Along	Performer – Sid Davis	The Muny,Regional
1979	Coquelico	Producer	22 Steps,New York
1985–1986	Singin' in the Rain	Original film choreography	Gershwin Theatre,Broadway

Television

Year	Title	Role	Notes
1957	Schlitz Playhouse of Stars	Tom T. Triplet	Episode: "The Life You Save"
1958	Omnibus	Himself	Episode: "Dancing: A Man's Game"
1962–1963	Going My Way	Father Chuck O'Malley	30 episodes
1965	Gene Kelly: New York, New York	Himself	Directed byWoody Allen
1965	The Julie Andrews Show	Himself	Television special
1967	Jack and the Beanstalk	Jeremy Keen, Proprietor (Peddler)	Television movie
1971	The Funny Side	Himself (host)	6 episodes
1973	Magnavox Presents Frank Sinatra	Himself	Television special
1977	Yabba Dabba Doo! The Happy World of Hanna-Barbera	Himself (host)	Television special
1978	Gene Kelly: An American in Pasadena	Himself	Television special
1979	The Mary Tyler Moore Hour	Himself (guest)	Episode: #1.5
1981	The Muppet Show	Himself	Episode: "Gene Kelly"
1984	The Love Boat	Charles Dane	Episode: "Hong Kong Cruise: Polly's Poker Palace/Shop Ahoy/Double Date/The Hong Kong Affair/Two Tails of a City"
1985	North and South	Senator Charles Edwards	Miniseries
1986	Sins	Eric Hovland	Miniseries

Documentaries

• 1999 –Anatomy of a Dancer,directed by Robert Trachtenberg, PBS, 2002
• 2013 –Gene Kelly, to Live and Dance,by Bertrand Tessier, France 5, 2017

Radio

Year	Program	Episode	Ref
1943	Suspense Mystery Radio Play	Thieves Fall Out
1946	Hollywood Players	The Glass Key
1949	Suspense Mystery Radio Play	To Find Help

References

Further reading

• Wise, James.Stars in Blue: Movie Actors in America's Sea Services.Annapolis, MD: Naval Institute Press, 1997.ISBN1557509379OCLC36824724

External links

• Gene KellyatIMDb
• Gene Kellyat theTCM Movie Database
• Gene Kellyat theInternet Broadway Database
• The Gene Kelly Awards – University of Pittsburgh
• Naval Intelligence File on Gene Kelly
• Gene Kelly – An American Life – PBSArchivedAugust 8, 2017, at theWayback Machine
• Gene Kelly – Pittsburgh Music History
• Site Français Gene Kelly