Jamie. College student, aged 20 years. Incredibly crazy multifandom blog. You'll mainly see historical topics, Doctor Who, Sherlock, The Monkees, Red Sox, Gene Kelly, Frank Sinatra, Judy Garland - among many other loves.
This little part of You Wonderful You is so beautiful. I love how she hesitates for a moment, but then leans in to Gene, allowing herself to surrender to him, if only for a few moments. They way Gene then holds her close so affectionately and effortlessly just makes it even better.
Reblogging this before I go to sleep because they are my babies and I love my babies and it doesn’t matter that technically they’re older than me/dead they’re still my babies.
I’m probably over-analyzing things (because honestly when it comes to movies, I do that a lot), but I’ve noticed something that Gene Kelly does in his romantic movies, especially those with Judy Garland.
It usually occurs when their relationship is just developing, and he’ll be talking with her, or watching her, and then there’s a little pause. He does this brief little glance that lasts for maybe a second, and you’d miss it if you weren’t looking for it, but you can almost hear his character thinking, “Wow…this lady is really something.”
He does this in other movies as well (Singin’ in the Rain as well as Anchors Aweigh, to name a couple) but I find it most apparent in his films with Judy.
It’s just adorable and such a lovely little touch. Romantic Development in Film: You’re Doing It Right.
So technically this is not so much a 30 day OTP challenge as much as it is a “I’ll-try-and-get-these-done-whenever-I-can” challenge. I know I said I was going to keep it simple but I’m finding that I can’t break my ordinary technique. >.<
**please do not use this image without my permission**
When they recorded the audio track for the [title song of For Me and My Gal] a few days earlier—in the scene, they are on the cusp of love singing hopefully about a possible future together—her voice, so mellow and tender, had seemed to bring a strength to his own, often so shaky and insecure to his own ears. Days later on the soundstage when they danced to the soundtrack she was so appealingly hesitant against his quiet confidence, his sexy intensity, that the rapport was something magical.
The overall mastershot of the dance drew handclaps from the usually unresponsive crew when Berkeley yelled, “Cut and print!” Gene had put in many extra hours coaching Judy through the dance steps. It was the least he could do by way of saying thanks. He enjoyed the times with Judy so much he was certain the chemistry between them was right, their interplay easy and natural, just the way it had to be.
—Gene Kelly: A Life of Dance and Dreams, Alvin Yudkoff