Gene Kelly

Eugene Curran "Gene" Kelly (August 23, 1912 – February 2, 1996) was an American-Irish dancer, actor, singer, film director, producer and choreographer. He was known for his energetic and athletic dancing style, his good looks, and the likeable characters that he played on screen.

Best known today for his performances in films such as An American in Paris (1951), Anchors Aweigh (1945), and Singin' in the Rain (1952), he was a dominant force in musical films until they fell out of fashion in the late 1950s. His many innovations transformed the Hollywood musical and he is credited with almost single-handedly making the ballet form commercially acceptable to film audiences. 

Kelly received an Academy Honorary Awardin 1952 for his career achievements. He later received lifetime achievement awards in the Kennedy Center Honors (1982), and from the Screen Actors Guild and American Film Institute. In 1999, the American Film Institute also numbered him 15th in their Greatest Male Stars of Classic Hollywood cinema list.

Early life

Kelly was born in the East Liberty neighborhood of Pittsburgh. He was the third son of James Patrick Joseph Kelly, a phonograph salesman, and his wife Harriet Catherine Curran. His father was born in Peterborough, Ontario, Canada, to an Irish Canadian family. His maternal grandfather was an immigrant fromDerry, Northern 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. They both rebelled, as recalled by Kelly: "We didn't like it much and were continually involved in fistfights with the neighborhood boys who called us sissies...I didn't dance again until I was fifteen."[6] At one time his childhood dream was to playshortstop for the hometown Pittsburgh Pirates. By the time he decided to dance, he was an accomplished sportsman and able to defend himself. He attended St. Raphael Elementary School in the Morningside neighborhood of Pittsburgh and graduated from Peabody High School at age sixteen. He entered Pennsylvania State College as a journalism major, but the 1929 crash forced him to work to help his family. He created dance routines with his younger brother Fred to earn prize money in local talent contests. They also performed in local nightclubs.

In 1931 Kelly enrolled at the University of Pittsburgh to study economics, joining the Phi Kappa Theta fraternity. He became involved in the university's Cap 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. He was admitted to the University of Pittsburgh Law School.

Kelly's family had opened a dance studio in the Squirrel Hill neighborhood of Pittsburgh. In 1932 they renamed it The Gene Kelly Studio of the Dance. They opened a second location in Johnstown, Pennsylvania in 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 Rodef Shalom synagogue in Pittsburgh to teach dance, and to stage the annual Kermess. This venture was successful enough that they retained his services for seven years, until he departed 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 began to increasingly focus on performing, and later claimed: "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 sixteen the dropout rate was very high." In 1937, having successfully managed and developed the family's dance school business, he finally did move to New York City in search of work as a choreographer.[6] Kelly returned to Pittsburgh, to his family home at 7514 Kensington Street by 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 revue Hold Your Hats at the Pittsburgh Playhouse in April 1938. Kelly appeared in six of the sketches, one of which, La Cumparsita, became the basis of an extended Spanish number in the film Anchors Aweigh (film) eight years later.

His first Broadway assignment, in November 1938, was as a dancer in Cole Porter's Leave It to Me!—as the American ambassador's secretary who supports Mary Martin while she sings My Heart Belongs to Daddy. He had been hired by Robert 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 One 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 actress Katharine Cornell, who was known for finding and hiring talented young actors.

Kelly's first big breakthrough was in the Pulitzer Prize-winning The 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, for Billy 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 in Rodgers and Hart's Pal 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 in Pal 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 eight 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 with David O. Selznick, agreeing to go to Hollywood at the end of his commitment to Pal Joey, in October 1941. Prior to his contract, he also managed to fit in choreographing the stage production of Best Foot Forward.

Film career

1941–1945: Becoming established in Hollywood

Selznick sold half of Kelly's contract to MGM for his first motion picture: For Me and My Gal (1942) starring box-office champion Judy Garland. Kelly claimed to be "...appalled at the sight of myself blown up twenty times. I had an awful feeling that I was a tremendous flop." For Me and My Gal performed very well and, in the face of much internal resistance, Arthur Freed of MGM picked up the other half of Kelly's contract.[6] After appearing in a cheap B-movie drama Pilot #5 (1943) and in Christmas Holiday (1944) he took the male lead in Cole Porter's Du Barry Was a Lady (1943) opposite Lucille Ball (in a part originally intended for Ann Sothern). His first opportunity to dance to his own choreography came in his next pictureThousands Cheer (1943), where he performed a mock-love dance with a mop.

He achieved a significant breakthrough as a dancer on film when MGM loaned him to Columbia to work with Rita Hayworth in Cover Girl (1944), a film that foreshadowed the best of his future work. He created a memorable routine dancing to his own reflection. Despite this, noted critic Manny Farber was 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." At the end of 1944, Kelly enlisted in theU.S. Naval Air Service and was commissioned as lieutenant junior grade. He was stationed in the Photographic Section, Washington D.C., where he was involved in writing and directing a range of documentaries, and this stimulated his interest in the production side of film-making.

In Kelly's next film, Anchors Aweigh (1945), MGM gave him a free hand to devise a range of dance routines—including a celebrated animated dance with Jerry Mouse, and his duets with co-star Frank Sinatra. The iconic performance was enough for Manny 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."[17] Anchors Aweigh became one of the most successful films of 1945 and it garnered Kelly his first and only Academy Award nomination for Best Actor. In Ziegfeld Follies (1946) – which was produced in 1944 but not released until 1946 – Kelly collaborated with Fred Astaire – for whom he had the greatest admiration – in the famous "The Babbitt and the Bromide" challenge dance routine.

1946–1952: MGM

On his return to Hollywood in the spring of 1946, MGM had nothing planned and used him in a routine, black-and-white movie: Living in a Big Way. The film was considered so weak that the studio asked Kelly to design and insert a series of dance routines, and they noticed his ability to carry off such assignments. This led to a lead part in his next picture, withJudy Garland and director Vincente Minnelli— a musical film version of S.N. Behrman's play, The Pirate, with songs by Cole Porter, in which Kelly plays the lead. The Pirate gave full rein to Kelly's athleticism. It is also notable for Kelly's work with The 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.

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 as d'Artagnan in The Three Musketeers—and also appeared with Vera-Ellen in the Slaughter on Tenth Avenue ballet in Words and Music (1948). He was due to play the male lead opposite Garland in Easter Parade (1948), but broke his ankle playing volleyball. He withdrew from the film and convinced Fred Astaire to come out of retirement to replace him. There followed Take 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 make On the Town, 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 for On 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 and Jeanne Coyne I could never have done these things. When we came to do On 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 early mafiamelodrama: Black Hand (1950). This exposé of organized crime is set in New York's "Little Italy" during late 19th century, and focuses on the Black Hand, a group which extorts money upon threat of death. In real-life incidents upon which this film is based, it was the Mafia, not the Black Hand, who functioned as the villain. Even in 1950, however, Hollywood 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 followed Summer Stock (1950) – Garland's last musical film for MGM – in which Kelly performed the celebrated "You, You Wonderful You" solo routine with a newspaper and a squeaky floorboard. In his book "Easy the Hard Way", Joe Pasternak, head of one of the other musical units within MGM, singled out Kelly for his patience and willingness to spend as much time as necessary to enable the ailing Garland to complete her part.

There followed in quick succession two musicals which have secured Kelly's reputation as a major figure in the American musical film, An American in Paris(1951) and – probably the most popular and admired of all film musicals – Singin' in the Rain (1952). As co-director, lead star and choreographer, Kelly was the central driving force. Johnny Green, 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 was Louis B. Mayer or the gatekeeper. He wasn't awed by anybody, and he had a good record of getting what he wanted".

An American in Paris won six Academy Awards, including Best Picture and, in the same year, Kelly received an honorary Academy Award for his contribution to film musicals and the art of choreography. The film also marked the debut of Leslie Caron, who Kelly had spotted in Paris and brought to Hollywood. Its dream ballet sequence, lasting an unprecedented seventeen minutes, was the most expensive production number ever filmed at that time. Bosley Crowther described it as, "...whoop-de-doo ... one of the finest ever put on the screen."

Singin' in the Rain featured 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 with Cyd Charisse. Though the film did not initially generate the same enthusiasm as An American in Paris, it subsequently overtook the earlier film to occupy its current pre-eminent place among critics and filmgoers alike.

1953–57: The decline of the Hollywood musical

Kelly, at the peak of his creative powers, now made what in retrospect some see as a mistake. In December 1951, he signed a contract with MGM that sent him to Europe for nineteen 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. When Kelly returned to Hollywood in 1953, the film musical was already beginning to feel the pressures from television, and MGM cut the budget for his next picture Brigadoon (1954), with Cyd Charisse, forcing him to make the film on studio back lots instead of on location in Scotland. This year also saw him appear as guest star with his brother Fred in the celebrated I Love to Go Swimmin' with Wimmen routine in Deep in My Heart. MGM's refusal to loan him out for Guys and Dolls and Pal Joey put further strains on his relationship with the studio. He negotiated an exit to his contract which involved making three further pictures for MGM. The first of these, It's Always Fair Weather (1956) co-directed with Donen, was a musical satire on television and advertising, and includes his famous roller skate dance routine to I Like Myself, and a dance trio with Michael Kidd and Dan Dailey that Kelly used to experiment with the widescreen possibilities of Cinemascope. MGM had lost faith in Kelly's box-office appeal, and as a result It's Always Fair Weather "premiered" at seventeen drive-in theatres around the Los Angeles metroplex. Next followed Kelly's last musical film for MGM, Les Girls (1957), in which he partnered a trio of leading ladies, Mitzi Gaynor,Kay Kendall and Taina Elg. It too sold few movie tickets. The third picture he completed was a co-production between MGM and himself, a cheapie B-film The Happy Road, 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 he directed Rodgers and Hammerstein's musical play Flower Drum Song. Early in 1960, Kelly, an ardent Francophile and fluent French speaker, was invited by A. M. Julien, the general administrator of the Paris Opéra andOpéra-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 was Pas de Dieux, based on Greek mythology, combined with the music of George Gershwin's Concerto in F. It was a major success, and led to his being honored with the Chevalier of the Legion d'Honneur by the French Government. Kelly continued to make some film appearances, such as Hornbeck in the 1960 Hollywood production of Inherit the Wind. However, most of his efforts were now concentrated on film production and directing. In 1962 he directed Jackie Gleason in Gigot in Paris, but the film was drastically re-cut by Seven Arts Productions and flopped. Another French effort, Jacques Demy's homage to the MGM musical: Les Demoiselles de Rochefort (1967) in which Kelly appeared, was popular in France and nominated for Academy Awards for Best Music and Score of a Musical Picture (Original or Adaptation) but performed poorly, elsewhere. He appeared as himself in George Cukor's Let's Make Love (1960).

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

His first foray into television was a documentary for NBC's Omnibus, Dancing is a Man's Game (1958) where he assembled a group of America's greatest sportsmen – including Mickey Mantle, Sugar Ray Robinson and Bob Cousy – and re-interpreted 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 an Emmy nomination for choreography and now stands as the key document explaining Kelly's approach to modern dance.

Kelly also appeared frequently on television shows during the 1960s. However, his one effort at a television series—as Father Chuck O'Malley in Going My Way (1962–63), based on the Best Picture of 1944 starring Bing Crosby—was dropped after thirty episodes, though it enjoyed great popularity in Roman Catholic countries outside the U.S.

He also appeared in three major TV specials: New York, New York (1966), The Julie Andrews' Show (1965), and Jack and the Beanstalk (1967)—a show he produced and directed that again combined cartoon animation and live dance, winning him an Emmy Award for Outstanding Children's Program. In 1963, Kelly joined Universal Pictures for a two-year stint. He joined 20th Century Fox in 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 hit A Guide for the Married Man(1967) where he directed Walter Matthau. Then, a major opportunity arose when Fox – buoyed by the returns from The Sound of Music (1965) – commissioned Kelly to direct Hello, Dolly! (1969), again directing Matthau along with Barbra Streisand. The film was nominated for seven Academy Awards, including Best Picture, and won three.

In 1970 he made another TV special: Gene Kelly and 50 Girls and was invited to bring the show to Las Vegas, Nevada—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 actors James Stewart and Henry Fonda in the comedy western The Cheyenne Social Club (1970) which performed poorly at the box-office. In 1973, he worked again with Frank Sinatra as part of Sinatra's Emmy nominated TV special, Magnavox Presents Frank Sinatra. Then, in 1974, he appeared as one of many special narrators in the surprise hit of the year That's Entertainment!. He subsequently directed and co-starred with his friend Fred Astaire in the sequel That'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.

In 1977 Kelly starred in the poorly received action film Viva Knievel, with the popular stuntman, Evel Knievel. Kelly continued to make frequent TV appearances and, in 1980, appeared in an acting and dancing role with Olivia Newton-John in Xanadu (1980)—an expensive theatrical flop that has since attained a cult following. In Kelly's opinion, "The concept was marvelous but it just didn't come off." In the same year, he was invited by Francis Ford Coppola to recruit a production staff for American Zoetrope's One from the Heart (1982). Although Coppola's ambition was for him to establish a production unit to rival the Freed Unit at MGM, the film's failure put an end to this idea. In 1985 Kelly served as executive producer and co-host of That's Dancing! – a celebration of the history of dance in the American musical. Kelly's final on-screen appearance was to introduce That's Entertainment! III. His final film project was in 1994 for the animated film Cats Don't Dance, released in 1997 and dedicated to him, on which Kelly acted as an uncredited choreographic consultant.

Working methods and influence on filmed dance

When he began his collaborative film work, he was influenced by Robert Alton and John 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 of Jeanne Coyne, Stanley Donen, Carol Haney and Alex Romero. He experimented with lighting, camera techniques and special effects in order to achieve true integration of dance with film, and was one of the first to use split screens, double images, live action with animation and is credited as the person who made the ballet form commercially acceptable to film audiences.

There was a clear progression 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 of George 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, Dancing Dotson, whom he saw perform at Loew's Penn Theatre around 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 Thirties. As biographer Clive Hirschhorn explains: "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.[9] Generally speaking, he tended to use tap and other popular dance idioms to express joy and exuberance – as in the title song from Singin' in the Rain or "I Got Rhythm" from An American in Paris, whereas pensive or romantic feelings were more often expressed via ballet or modern dance, as in "Heather on the Hill" from Brigadoon or "Our Love Is Here to Stay" from An American in Paris.

Kelly in rehearsal with Sugar Ray Robinson and assistant Jeanne Coynein the NBC Omnibus television 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 from On the Town and "The Hat My Father Wore on St. Patrick's Day" from Take Me Out to the Ball Game. In 1951, he summed up his vision as follows: "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 very 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." 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: "Dancing does attract 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 Wayne is a graceful man and so are some of the great ball players...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 as Dancing: 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. As his first wife, actress and dancer Betsy Blair explained: "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 didn't 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

Marriages

Kelly married actress Betsy Blair in 1941. They had one child, Kerry, and divorced in April 1957.

In 1960 Kelly married his choreographic assistant Jeanne Coyne, who had divorced Stanley Donen in 1949 after a brief marriage. He remained married to Coyne until her death in 1973. They had two children, Bridget and Tim. He was married to Patricia Ward from 1990 until his death in 1996.

Political and religious views

Kelly was a lifelong supporter of the Democratic Party. His period of greatest prominence coincided with the McCarthy era in the U.S. In 1947, he was part of the Committee for the First Amendment, the Hollywood delegation that flew to Washington to protest at the first official hearings by the House Committee on Un-American Activities. His first wife, Betsy Blair, was suspected of being a Communist sympathizer and when United Artists, who had offered Blair a part in Marty (1955), were considering withdrawing her under pressure from theAmerican Legion, Kelly successfully threatened MGM's influence on United Artists with a pullout from It's Always Fair Weather unless his wife was restored to the part. He used his position on the board of directors of the Writers Guild of America, West on a number of occasions to mediate disputes between unions and the Hollywood studios.

He was raised as a Roman Catholic, and he was a member of the Good Shepherd Parish and the Catholic Motion Picture Guild in Beverly Hills, California. However, after becoming disenchanted by the Roman Catholic Church's support forFrancisco Franco against the Spanish Republic during the Spanish 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 of the Church’s failure in helping the poor. After his departure from the Catholic Church, Kelly became an agnostic and remained so for the rest of his life. He retained a lifelong passion for sports and relished competition. He was known as a big fan of the Pittsburgh Steelers and New York Yankees. From the mid-1940s through the early 1950s, he and Blair organized weekly parties at their Beverly Hills home, and they often played an intensely competitive and physical version of charades, known as "The Game".

After his death it was reported that Kelly had donated money to the Provisional Irish Republican Army (PIRA) during the 1970s.[32][33] His papers are currently housed at the Howard Gotlieb Archival Research Center at Boston University.

Late in life, Gene 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.

Illness and death

Kelly's health declined steadily in the late 1980s, a stroke in July 1994 resulted in a seven-week hospital stay and another stroke in early 1995 left Kelly mostly bedridden in his Beverly Hills home. He died in his sleep at 8:15 a.m. on February 2, 1996, and was cremated, without funeral or memorial services.

Awards and honors

• 1942 – Best Actor award from the National Board of Review for his performance in For Me and My Gal
• 1946 – Academy Award nomination for Best Actor in Anchors Aweigh (1945)
• 1951 – Nominated for a Golden Globe Award for Best Actor in a Motion Picture Musical or Comedy for An 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 for An American in Paris, 1952.
• 1956 – Golden Bear at the 6th Berlin International Film Festival for Invitation to the Dance.
• 1958 – Nomination for Golden Laurel Award for Best Male Musical Performance in Les Girls.
• 1958 – Dance Magazine's annual TV Award for Dancing: A Man's Game from the Omnibus television series. It was also nominated for an Emmy for best singing
• 1960 – In France, Kelly was made a Chevalier of the Legion of Honor.
• 1962 – Gene Kelly Dance Film Festival staged by the Museum of Modern Art.
• 1964 – Silver Sail Best Actor for What a Way to Go! (1964) at the Locarno International Film Festival.
• 1967 – Emmy for Outstanding Children's Program for Jack and the Beanstalk.
• 1970 – Nomination for Golden Globe, Best Director for Hello, Dolly!, 1969.
• 1970 – Nomination from the Directors Guid of America, Best Director for Hello, Dolly!, 1969.
• 1981 – Cecil B. DeMille Award at Golden Globes.
• 1981 – Kelly was the subject of a two-week film festival in France.
• 1982 – Lifetime Achievement Award in the fifth annual Kennedy Center Honors.
• 1985 – Lifetime Achievement Award from the American Film Institute.
• 1989 – Life Achievement Award from Screen Actors Guild.
• 1991 – Pittsburgh Civic Light Opera inaugurates The Gene Kelly Awards, given annually to high-school musicals inAllegheny County, Pennsylvania.
• 1992 – Induction into the American Theater Hall of Fame.
• 1994 – National Medal of Arts awarded by United States President Bill Clinton.[37]
• 1994 – The Three Tenors performed "Singin' in the Rain" in his presence during a concert at Dodger Stadium in Los Angeles.
• 1996 – Honorary César Award, The César is the main national film award in France.
• 1996 – At the Academy Awards ceremony, director Quincy Jones organized a tribute to the just-deceased Kelly, in which Savion Glover performed the dance to "Singin' in the Rain".
• 1997 – Ranked number 26 in Empire (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 1 in "The Nation's Favourite Dance Moment".

Filmography Main article: Gene Kelly filmography Musical films

Kelly appeared as actor and dancer in the following 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: