Stanley Donen ( ; April 13, 1924 – February 21, 2019) was an American film director and choreographer. He received the Honorary Academy Award in 1998, and the Career Golden Lion at the Venice Film Festival in 2004. Four of his films have been inducted into the National Film Registry at the Library of Congress.
Donen began his career as a dancer in the chorus line on Broadway for director George Abbott. From 1943, he worked in Hollywood as a choreographer before collaborating with Gene Kelly where Donen worked as a contract director for MGM under producer Arthur Freed. Donen and Kelly directed the films On the Town (1949), Singin' in the Rain (1952), and It's Always Fair Weather (1955). Donen's relationship with Kelly deteriorated during their final collaboration. His other films during this period include Royal Wedding (1951), Seven Brides for Seven Brothers (1954), and Funny Face (1957).
He then broke his contract with MGM to become an independent film producer in 1957. Donen received acclaim for his later films including the romance films Indiscreet (1958), Charade (1963), and Two for the Road (1967). He also directed the spy thriller Arabesque (1966), the British comedy Bedazzled (1967), the musicals Damn Yankees (1958) and The Little Prince (1974), the dramedy Lucky Lady (1975), and the sex comedy Blame It on Rio (1984).
Early life and stage career Stanley Donen was born on April 13, 1924, in Columbia, South Carolina to Mordecai Moses Donen, a dress-shop manager, and Helen (Cohen), the daughter of a jewelry salesman. His younger sister Carla Donen Davis was born in August 1937. Born to Jewish parents, Donen became an atheist in his youth. Donen described his childhood as lonely and unhappy as one of the few Jews in Columbia, and he was occasionally bullied by antisemitic classmates at school. To help cope with his isolation, Donen spent much of his youth in local movie theaters and was especially fond of Westerns, comedies and thrillers. The film that had the strongest impact on him was the 1933 Fred Astaire and Ginger Rogers musical Flying Down to Rio. Donen said that he "must have seen the picture thirty or forty times. I was transported into some sort of fantasy world where everything seemed to be happy, comfortable, easy and supported. A sense of well-being filled me." He shot and screened home movies with an 8 mm camera and projector that his father bought for him.
Inspired by Astaire, Donen took dance lessons in Columbia and performed at the local Town Theater. His family often traveled to New York City during summer vacations where he saw Broadway musicals and took dance lessons. One of his early instructors in New York was Ned Wayburn, who taught eleven-year-old Astaire in 1910. After graduating from high school at the age of sixteen, Donen attended the University of South Carolina for one summer semester, studying psychology. Encouraged by his mother, he moved to New York City to pursue dancing on stage in the fall of 1940. After two auditions, he was cast as a chorus dancer in the original Broadway production of Rodgers and Hart's Pal Joey, directed by George Abbott. The titular Pal Joey was played by the young up-and-comer Gene Kelly, who became a Broadway star in the role.
Abbott cast Donen in the chorus of his next Broadway show Best Foot Forward. He became the show's assistant stage manager, and Kelly asked him to be his assistant choreographer. Eventually Donen was fired from Best Foot Forward, but in 1942 was the stage manager and assistant choreographer for Abbott's next show Beat the Band. In 1946, Donen briefly returned to Broadway to help choreograph dance numbers for Call Me Mister.
Film career
1943–1949: Hollywood choreographer
In 1943 Arthur Freed, the producer of musical films at Metro Goldwyn Mayer, bought the film rights to Best Foot Forward and made a film version starring Lucille Ball and William Gaxton. Donen moved to Hollywood to audition for the film and signed a one-year contract with MGM. Donen appeared as a chorus dancer and was made assistant choreographer by Charles Walters. At MGM Donen renewed his friendship with Kelly, who was now a supporting actor in musicals. When Kelly was loaned to Columbia Pictures for a film, he was offered the chance to choreograph his own dance numbers and asked Donen to assist. Kelly stated: "Stanley needed a job. I needed someone to count for the cameraman, someone who knew the steps and could explain what I was going to do so the shot was set up correctly."Morley, Sheridan & Leon, Ruth. Gene Kelly: A Celebration, p. 88, Pavilion Books Ltd. 1996. . Donen accepted and choreographed three dance sequences with Kelly in Cover Girl (1944). Donen came up with the idea for the "Alter Ego" dance sequence where Kelly's reflection jumps out of a shop window and dances with him. Director Charles Vidor insisted that the idea would never work, so Donen and Kelly directed the scene themselves and Donen spent over a year editing it. The film made Kelly a movie star and is considered by many film critics to be an important and innovative musical. Donen signed a one-year contract with Columbia and choreographed several films there, but returned to MGM the following year when Kelly wanted assistance on his next film.
In 1944, Donen and Kelly choreographed the musical Anchors Aweigh, released in 1945 and starring Kelly and Frank Sinatra. The film is best known for its groundbreaking scene in which Kelly dances with Jerry the Mouse from the Tom and Jerry cartoons. The animation was supervised by William Hanna and Joseph Barbera and is credited to the MGM animation producer Fred Quimby, but the idea for the scene was Donen's. Donen and Kelly originally wanted to use either Mickey Mouse or Donald Duck for the sequence and met with Walt Disney to discuss the project; Disney was working on a similar idea in The Three Caballeros (1944) and was unwilling to license one of his characters to MGM. The duo spent two months shooting Kelly dancing and Donen spent a year perfecting the scene frame by frame. According to Barbera "the net result at the preview of Anchors Away that I went to, blew the audience away".
While Kelly completed his service in the U.S. Naval Air Service as a photographer from 1944 to 1946, Donen did uncredited work as a choreographer on musical films. Of this period Donen said, "I practiced my craft, working with music, track and photography. I often directed the sequences. I always tried to have an original idea about how to do musical sequences." Donen stated that he was excused from military service as 4-F due to his high blood pressure. When Kelly returned to civilian life, he and Donen directed and choreographed Kelly's dance scenes in Living in a Big Way (1947). They then began work on an original story about two baseball players in the early 20th century who spend their off-season as vaudevillian song and dance men. This film would eventually become Take Me Out to the Ball Game (1949). Kelly and Donen hoped to co-direct the film, but Freed hired Busby Berkeley instead, and they only directed Kelly's dance numbers. The film starred Kelly, Frank Sinatra and Jules Munshin.
1949: On the Town
After the success of Take Me Out to the Ball Game, Freed gave Donen and Kelly the chance to direct On the Town, which was released in 1949. The film was an adaptation of the Betty Comden and Adolph Green Broadway musical about sailors on leave in New York City and was the first musical to feature location-filming. Donen and Kelly wanted to shoot the entire film in New York, but Freed would only allow them to spend one week away from the studio.
That week produced the film's opening number "New York, New York". Away from both studio interference and sound stage constrictions, Donen and cinematographer Harold Rosson shot a scene on the streets of New York City that pioneered many cinematic techniques that would be adopted by the French New Wave a decade later. These techniques included spatial jump cuts, 360-degree pans, hidden cameras, abrupt changes of screen direction and non-professional actors. Donen's biographer Joseph A. Casper stated that the scene avoids being gratuitous or amateurish, while still "developing plot, describing the setting while conveying its galvanizing atmosphere and manic mood, introducing and delineating character." Casper also said: "Today the film is regarded as a turning point: the first bona fide musical that moved dance, as well as the musical genre, out of the theater and captured it with and for film rather than on film; the first to make the city an important character; and the first to abandon the chorus."
On the Town starred Kelly, Frank Sinatra and Jules Munshin as three sailors on a 24-hour shore leave in New York whose romantic pursuits lead them to Ann Miller, Betty Garrett and Vera-Ellen. The film was a success both financially and critically and won the Academy Award for Best Music, Scoring of a Musical Picture while screenwriters Comden and Green won the Writers Guild of America Award for Best Written American Musical. Like Orson Welles, Donen made his directorial debut at 25. Donen stated that Kelly was "responsible for most of the dance movements. I was behind the camera in the dramatic and musical sequences." Kelly believed that he and Donen "were a good team. I thought we complemented each other very well" he said.Kelly, Gene. Dialogue on Film. American Film 4, #4 (February 1979) pp. 37.
1949–1952: MGM contract director
After the success of On the Town, Donen signed a seven-year contract with MGM as a director. His next two films were for Freed, but were made without Kelly's participation. After being replaced as director on Pagan Love Song over personal differences with star Esther Williams, Donen was given the chance to direct his boyhood idol Fred Astaire.
Royal Wedding (1951) starred Astaire and Jane Powell as a brother-sister American dancing team performing in England during the royal wedding of Elizabeth and Philip in 1947. Judy Garland was originally cast in the lead role, but was fired for absenteeism due to illness and was ultimately replaced by Powell. In the film, Powell's love affair with a wealthy Englishman (Peter Lawford) threatens to ruin the brother-sister act, while Astaire finds his own romance with another dancer (Sarah Churchill). The film is loosely based on Astaire's real-life career with his sister and early dancing partner, Adele Astaire, who retired after marrying an English lord in 1932 and includes one of Astaire's best remembered dance sequences, the "You're All the World to Me" number where he appears to defy gravity by dancing first on the walls and then on the ceiling. The shot was achieved by building the set inside a steel-reinforced rotating cylindrical chamber, with the camera attached to the cylinder. Both Astaire and the film's lyricist Alan Jay Lerner claimed that they thought of the idea. The film included music by Lerner and Burton Lane and was released in March 1951.
Next, Donen made Love Is Better Than Ever, which was not released until March 1952. The film stars Larry Parks as a streetwise show business agent who is compelled to marry an innocent young dance teacher (Elizabeth Taylor). Donen and Kelly appear in cameo roles. The reason for the film's delayed release (by over a year) was Parks's appearance before the House Un-American Activities Committee and his eventual admission of his former membership in the Communist Party, and for naming other participants. The film was unsuccessful at the box-office.
1952: Singin' in the Rain