Some clips from "Gene Kelly: Anatomy of a Dancer" (2002) directed by Robert Trachtenberg
It became obvious after awhile that Gene Kelly, the natural athlete, (particularly adept at hockey and baseball) had been kissed by the goddess of dance, Terpsichore. His mother Harriet took over a failed dancing studio and her middle son quickly established himself as a natural teacher and choreographer, with a winning way with young people. Graduating at 16 while holding down several jobs, Kelly looked to university (Penn State) as his next challenge. He switched his major from journalism to economics and soon realized while helping the family weather the Depression, there might be a future for him in entertainment.
June Havoc playing Gladys and Gene Kelly playing Joey Evans in "Pal Joey" on Broadway
Kelly's big break came on Christmas night 1940 with his breakthrough role of Joey Evans, a second-rate nightclub entertainer in 1930s Chicago, in which he meets and falls in love with Linda.
Timeless, effortless, elegant and indelible as the 50th anniversary of Singin' in the Rain approaches (the film was first released on 27th March 1952 in New York City), Gene Kelly's body of work still thrives and still thrills. With films that also include 'An American in Paris', 'Summer Stock', 'On the Town' and 'Brigadoon', Kelly revived the movie musical and redefined dance on screen, bringing with him an inspired sensibility and an original vitality. He endeared himself to audiences and had a profound, eternal impact on the craft. A lasting influence in the worlds of film and dance, his first major film success came at the age of thirty and a short ten years later, he had made his final hit film.
Ironically, Kelly was put under contract at Selznick International by Mayers son-in-law David O. Selznick, who had no interest in producing musicals and thought Kelly could exist purely as a dramatic actor. With no roles forthcoming, Kelly was loaned out to MGM to co-star with Judy Garland in 'For Me and My Gal'. The film was a hit and Selznick subsequently sold the actor and his contract to MGM.
A series of mediocre roles followed and it was not until Kelly was loaned out to Columbia for 1944s 'Cover Girl', with Rita Hayworth, that he became firmly established as a star. His landmark alter ego sequence, in which he partnered with himself, brought film dance to a new level of special effects. With Stanley Donen as his assistant, Kelly created a sense of the psychological and integrated story telling never before seen in a Hollywood musical.
Gene Kelly and Kathryn Grayson in "Thousands Cheer" (1943) directed by George Sidney
Realizing what they had, MGM refused to ever loan him out again, ruining Kellys opportunity to star in the film versions of 'Guys and Dolls', 'Pal Joey' and even 'Sunset Boulevard'. Back with producer Arthur Freed at MGM, Kelly continued his innovative approach to material by placing himself in a cartoon environment to dance with Jerry the Mouse in 'Anchors Aweigh' (1945).
During his marriage to the actress Betsy Blair, Kelly was radicalized and the couple became well known for their liberal politics. In 1947, when the Carpenters Union went on strike and the Hollywood studios were looking for an intermediary to intervene on their behalf, Kelly was chosen much to everyone's surprise. He traveled back and forth from Culver City to union headquarters in Chicago for two months, mediating a strike that was costing the studios dearly. When a settlement was finally reached, Kelly was shocked to learn that the studios felt it was unfair and that they had been cheated by his siding with the strikers. Naively and genuinely trying to help and unaware of unstated expectations, underhanded tactics, and slush funds Kelly's efforts only resulted in further exacerbating his relationship with Louis B. Mayer.
He was, however, able to continue refining and showcasing his unique appeal with standout numbers in 'The Pirate' and 'Words and Music', among other films. Determined from the start to differentiate himself from Fred Astaire, Kelly concerned himself with incorporating less ballroom dancing and more distinctly American athleticism into his choreography.
Finally, Kelly and Stanley Donen were assigned their own film to co-direct 1949s 'On the Town'. In just five days of shooting selected sequences, they opened up the genre as no one had ever done before, creating another first a musical film shot on location. Followed by his two masterworks, 'An American in Paris', with its 17-minute ballet sequence, and 'Singin in the Rain', Kelly achieved icon status at the age of forty. In 1951, he was awarded a special Oscar for 'An American in Paris' for his “extreme versatility as an actor, singer, director and dancer, but specifically for his brilliant achievement in the art of choreography.”
Tony Martin visits his wife Cyd Charisse and Gene Kelly on the set of "Brigadoon" (1954) directed by Vincente Minnelli
The musical era, as well as the Freed unit at MGM, wind to a close and Kelly's last productions, including 'Brigadoon' and the ambitious 'It's Always Fair Weather', failed to appeal to either critics or the public. The latter film also brought a bitter end to his partnership with Stanley Donen. The two had made history together in their three previous films.
But professional and personal conflict lead to the breakup, including the fact that Donen's wife, Jeanne Coyne, had fallen in love with Kelly. With Kelly's own marriage to Betsy Blair in dissolution, both couples divorced and Kelly eventually married Coyne in 1960.
In the late 1950s, the television show OMNIBUS invited Kelly to create a documentary about the relationship between dance and athletics 'Dancing: A Mans Game' is considered one of the classic treasures from televisions golden age. However, the hit Kelly so badly craved and needed as director of the film 'Hello Dolly', eluded him, unable to compete in a market that now included such movies as 'Midnight Cowboy' and 'Easy Rider'.
Jeanne Coyne died of leukemia in 1973, leaving Kelly to raise their two young children alone. In his determination to be a better father than he had been to his first daughter, Kelly refused all work that would take him away from Los Angeles, including the offer to direct the film 'Cabaret' in Munich. He tried series television, guest appearances, childrens records and became a frequent advisor to younger filmmakers who were hoping to resurrect the movie musical. At his death in 1996, it was said of Kelly, he went downhill so fast you hardly saw him go.
Yet, the potency of Kellys gifts, his remarkable achievements in dance and choreography and the creativity and charisma with which he exploded in a handful of films continues to endure and to inform. Gene Kellys final filmed words are from 1994s Thats Entertainment III quoting Irving Berlin, he remarked: “The song has ended, but the melody lingers on.” And, so too has Kelly himself. He was number 15 on AFIs millennium list of most popular actors and 'Singin in the Rain' has been voted the singular most popular movie musical of all time".
Source: www.pbs.org
Q: So what do you think Kelly’s appeal was?
A: You know right before I started the film, this very young woman was in my office repairing my computer and my assistant turned to her and said, “What happens when I say Gene Kelly to you?” and she instantly said, “I smile.” The guy was a movie star in the classic sense of the word — he had that X quality that you cannot define. But he actually had the talent to back up the sheer charisma. He was very frank in some of his archival interviews, his appeal really transcends and even filters down to the movie audience of today. When I was around him, he was still getting fan mail from thirteen-year old girls!
Source: www.pbs.org
"I didnt want to move or act like a rich man. I wanted to dance in a pair of jeans. I wanted to dance like the man in the streets". –Gene Kelly
Jake Gyllenhaal joined a friend for lunch at LA's Angelini Osteria restaurant on 19th January 2012. 
Jake Gyllenhaal out for sushi with Adam Levine & friends in LA, on 18th January 2012
Gene Kelly and Cyd Charisse in a promotional still of "Brigadoon" (1954) directed by Vincente Minnelli
Lobby card featuring Ernie Kovacs and Cyd Charisse in "Five Golden Hours", 1961
“Anna [Karina] is an actress and who arrives in New York. She goes to see Gene Kelly and she says to him, “I am a French actress, I admire you, can’t you find me some work?”Finally it’s the discovery of America by this girl from within seven or eight great genres of the American cinema. Then Gene Kelly says, “But no, my little girl, the musical comedy is finished, the great stage at MGM no longer exists.” Then they go into the street and it becomes a little bit musical.
Then, I don’t know what, she needs money, she steals money, she meets people and it becomes a criminal episode. I would have wanted, for example, for her to get hired as a maid, or a gardener, or whatever, by Faulkner.” —Jean-Luc Godard on an unrealized project that was to star Anna Karina, Gene Kelly, and William Faulkner. The project was abandoned after Faulkner’s death on July, 6 1962.
Busy Philipps and her husband Marc Silverstein took their 3-year-old daughter Birdie out to breakfast on Saturday (January 14). Their good friend Jake Gyllenhaal also came along to eat at Los Angeles restaurant Square One. The two actors greeted each other with a hug, with Jake also stroking Birdie's hair. Source: celebritybabyscoop.com
Jake Gyllenhaal and Busy Phillips having breakfast at Square One in Los Angeles, on 14th January 2012
Jake Gyllenhaal at the 69th Annual Golden Globe Awards (Ceremony Rehearsals)
Jake Gyllenhaal presented the 69th Annual Golden Globe Awards, on 15th January 2012
Michelle Williams poses as Marilyn Monroe in Vogue Germany magazine (February 2012), photoshoot by Brigitte Lacombe 
Michelle Williams won a Golden Globe Award for Best Performance in "My Week with Marilyn" (2011)
It became obvious after awhile that Gene Kelly, the natural athlete, (particularly adept at hockey and baseball) had been kissed by the goddess of dance, Terpsichore. His mother Harriet took over a failed dancing studio and her middle son quickly established himself as a natural teacher and choreographer, with a winning way with young people. Graduating at 16 while holding down several jobs, Kelly looked to university (Penn State) as his next challenge. He switched his major from journalism to economics and soon realized while helping the family weather the Depression, there might be a future for him in entertainment.
June Havoc playing Gladys and Gene Kelly playing Joey Evans in "Pal Joey" on Broadway
Kelly's big break came on Christmas night 1940 with his breakthrough role of Joey Evans, a second-rate nightclub entertainer in 1930s Chicago, in which he meets and falls in love with Linda.
Timeless, effortless, elegant and indelible as the 50th anniversary of Singin' in the Rain approaches (the film was first released on 27th March 1952 in New York City), Gene Kelly's body of work still thrives and still thrills. With films that also include 'An American in Paris', 'Summer Stock', 'On the Town' and 'Brigadoon', Kelly revived the movie musical and redefined dance on screen, bringing with him an inspired sensibility and an original vitality. He endeared himself to audiences and had a profound, eternal impact on the craft. A lasting influence in the worlds of film and dance, his first major film success came at the age of thirty and a short ten years later, he had made his final hit film.
Ironically, Kelly was put under contract at Selznick International by Mayers son-in-law David O. Selznick, who had no interest in producing musicals and thought Kelly could exist purely as a dramatic actor. With no roles forthcoming, Kelly was loaned out to MGM to co-star with Judy Garland in 'For Me and My Gal'. The film was a hit and Selznick subsequently sold the actor and his contract to MGM.
A series of mediocre roles followed and it was not until Kelly was loaned out to Columbia for 1944s 'Cover Girl', with Rita Hayworth, that he became firmly established as a star. His landmark alter ego sequence, in which he partnered with himself, brought film dance to a new level of special effects. With Stanley Donen as his assistant, Kelly created a sense of the psychological and integrated story telling never before seen in a Hollywood musical.
Gene Kelly and Kathryn Grayson in "Thousands Cheer" (1943) directed by George Sidney
During his marriage to the actress Betsy Blair, Kelly was radicalized and the couple became well known for their liberal politics. In 1947, when the Carpenters Union went on strike and the Hollywood studios were looking for an intermediary to intervene on their behalf, Kelly was chosen much to everyone's surprise. He traveled back and forth from Culver City to union headquarters in Chicago for two months, mediating a strike that was costing the studios dearly. When a settlement was finally reached, Kelly was shocked to learn that the studios felt it was unfair and that they had been cheated by his siding with the strikers. Naively and genuinely trying to help and unaware of unstated expectations, underhanded tactics, and slush funds Kelly's efforts only resulted in further exacerbating his relationship with Louis B. Mayer.
He was, however, able to continue refining and showcasing his unique appeal with standout numbers in 'The Pirate' and 'Words and Music', among other films. Determined from the start to differentiate himself from Fred Astaire, Kelly concerned himself with incorporating less ballroom dancing and more distinctly American athleticism into his choreography.
Finally, Kelly and Stanley Donen were assigned their own film to co-direct 1949s 'On the Town'. In just five days of shooting selected sequences, they opened up the genre as no one had ever done before, creating another first a musical film shot on location. Followed by his two masterworks, 'An American in Paris', with its 17-minute ballet sequence, and 'Singin in the Rain', Kelly achieved icon status at the age of forty. In 1951, he was awarded a special Oscar for 'An American in Paris' for his “extreme versatility as an actor, singer, director and dancer, but specifically for his brilliant achievement in the art of choreography.”
Tony Martin visits his wife Cyd Charisse and Gene Kelly on the set of "Brigadoon" (1954) directed by Vincente Minnelli
But professional and personal conflict lead to the breakup, including the fact that Donen's wife, Jeanne Coyne, had fallen in love with Kelly. With Kelly's own marriage to Betsy Blair in dissolution, both couples divorced and Kelly eventually married Coyne in 1960.
In the late 1950s, the television show OMNIBUS invited Kelly to create a documentary about the relationship between dance and athletics 'Dancing: A Mans Game' is considered one of the classic treasures from televisions golden age. However, the hit Kelly so badly craved and needed as director of the film 'Hello Dolly', eluded him, unable to compete in a market that now included such movies as 'Midnight Cowboy' and 'Easy Rider'.
Jeanne Coyne died of leukemia in 1973, leaving Kelly to raise their two young children alone. In his determination to be a better father than he had been to his first daughter, Kelly refused all work that would take him away from Los Angeles, including the offer to direct the film 'Cabaret' in Munich. He tried series television, guest appearances, childrens records and became a frequent advisor to younger filmmakers who were hoping to resurrect the movie musical. At his death in 1996, it was said of Kelly, he went downhill so fast you hardly saw him go.
Yet, the potency of Kellys gifts, his remarkable achievements in dance and choreography and the creativity and charisma with which he exploded in a handful of films continues to endure and to inform. Gene Kellys final filmed words are from 1994s Thats Entertainment III quoting Irving Berlin, he remarked: “The song has ended, but the melody lingers on.” And, so too has Kelly himself. He was number 15 on AFIs millennium list of most popular actors and 'Singin in the Rain' has been voted the singular most popular movie musical of all time". Source: www.pbs.org
Q: So what do you think Kelly’s appeal was?
"I didnt want to move or act like a rich man. I wanted to dance in a pair of jeans. I wanted to dance like the man in the streets". –Gene Kelly
Natalie Portman will present the Golden Globes Awards 2012!
Natalie Portman attending the Golden Globes on 15th January 2012
Joining Natalie in presentation duties will be Jake Gyllenhaal, Nicole Kidman, Clive Owen, Melissa McCarthy, Salma Hayek, and more! Be sure to tune into the Golden Globes on Sunday (January 15) on NBC! Ed Helms, Julianna Margulies and Natalie Portman will join Actor nominee Armie Hammer, SAG Awards® social network ambassador Regina King and SAG President Ken Howard as presenters at the 18th Annual Screen Actors Guild Awards®, Executive Producer Jeff Margolis announced. Source: movies.broadwayworld.com
Bérénice Bejo and Jean Dujardin at 17th Annual Critics' Choice Awards, on 12th January 2012
Still of Jean Dujardin as George Valentin in "The Artist" (2011) directed by Michel Hazanavicius
"I was thrilled, proud, and very scared," he says. "I didn't want to go to get the prize because it's not my job and because I'm very shy. It's a little irrational, because you never think of the prizes. I haven't had many. I still don't know if I really received it, in fact." Source: www.peoplestylewatch.com
The scene in which Jean Dujardin and Missi Pyle appear saluting their audience in the beginning of "The Artist" (2011) is very similar
to that classic rapport between Gene Kelly and Jean Hagen in "Singin' in the Rain" (1952) directed by Stanley Donen & Gene Kelly.
"While The Artist’s Jean Dujardin does not possess the same dancing abilities as Gene, he manages to capture that same charismatic presence. So, while the dancing eliminates him as “the next Gene Kelly,” it is the Kelly charm and smile that so many critics have identified when describing Jean. And I would have to agree. While Gene’s smile stands alone (in my opinion), Jean’s is awfully nice, too. The similarities I draw from between the two men stem from that twinkle in the eye that they use to captivate their audience". Source: genekellyfans.com
John Garfield and Lana Turner in "The Postman Always Rings Twice" (1946) directed by Tay Garnett
Garfield was in Culver City shooting 'The Postman Always Rings Twice'. But he responded to the strike action by joining the Citizens Committee for the Motion Picture Strikers, another innocuous sounding organization that supposedly had ties to the Communist Party, and drafted a petition (protesting the violence) which was sent via telegram to the Glendale chief of police, to various civic and political leaders in the Hollywood community, and to the Warner Brothers.
John Garfield was a member of the Screen Actors Guild executive board and he attempted to convince the Guild to mediate the strike. Ultimately, in 1947 the Screen Actors Guild recommended settlement through arbitration. However, by that time, most of the Hollywood guilds were against CSU and even Garfield voted against them, although as late as February 1947, he was showing sympathy for the CSU strikers. That month he participated in a benefit held at the Philharmonic Auditorium for strikers and their families.
It was staged with the help of him, Gene Kelly, Eve Arden, Harpo Marx, Keenan Wynn and others, all of whom performed in comedic and musical skits interspersed with dramatic sequences highlighting the dilemma the striking workers faced. Some of the things he petitioned for were worthy: he joined Gene Kelly and Gregory Peck in signing a petition for the American Crusade to Stop Lynching.
Among the members of The Committee for the First Amendment were John Huston, screenwriter Phillip Dunne, Humphrey Bogart, Lauren Bacall, Danny Kaye, Gene Kelly, Sterling Hayden, Marsha Hunt and John Garfield.
Gene Kelly said: "We formed The Committee for the First Amendment because we thought the people in Washington had gone too far. Everyone was being branded. If they couldn't brand you a Communist then you were called 'pink'. We formed the Committee not to protect Communism, but to support the right to free speech. There was a cloud of uncertainty hanging over this town which tarred a lot of us. People were afraid. They were losing their jobs. They had wives and kids to support. They just caved in. Even the movie moguls, who knew the blacklist was wrong, gave in."
John Garfield and his wife Robbe (1946) were among the usual guests at Gene Kelly & Betsy's parties.
Gene Kelly was married three times during his life. His first wife was Betsy Blair (December 11, 1923 – March 13, 2009). She was an aspiring actress/dancer from New Jersey who met Gene in 1940 when she was a day early for a night club audition. He was the choreographer for the show, and she was hired. They began dating, and were married in September of 1941. She was 17.
While married to Gene, Betsy was involved with various political groups, and would eventually be investigated by the House Un-American Activities Committee. Her most famous role was in the film Marty (1955) for which she received a Best Supporting Actress Oscar nomination and won a BAFTA award as Best Foreign Actress. Shortly after these acclamations, however, she and Gene began living separate lives, and the couple divorced in 1957.
Gene Kelly with his first wife Betsy Blair and daughter Kerry
“I never wanted to be a dancer. It’s true! I wanted to be a shortstop for the Pittsburgh Pirates. I got started dancing because I knew it was one way to meet girls.” -Gene Kelly
Gene Kelly was nominated in 1946 for Best Actor Oscar for "Anchors Aweigh" (1945) directed by George Sidney
Rita Hayworth and Gene Kelly in "Cover Girl" (1944) directed by Charles Vidor
“You know, somewhere in the world is the right girl for every boy. I guess I found the one for me before I even met you. I tried, but I can’t forget her.” —Gene Kelly, 'On The Town' (1949)
“Gene was one of a kind. He revolutionized dancing on film… he was a disciplinarian and a perfectionist, and I should know…” -Frank Sinatra
