In isolation, the scene (55:20-59:30) seems to merely serve the plot in providing the foundation for Don and Lina’s actions during the film’s climax, but considering it in the context of the setting and the film’s production enriches our understanding. Within the film’s setting, Don and Lina’s failure to adapt for talkie pictures reflects how the incorporation of sound ended the careers of many silent stars, serving as a symbol for the struggles they faced. However, in 1952, the studio system that had risen in the 1920s was collapsing due to the United States vs Paramount Pictures antitrust case, and public opinion had turned against studios’ profit-first mentality. By examining the scene from this perspective, we can understand Don’s panic (and Lina’s denial) as results of a rigorous workplace pressure to perform well. Additionally, the uncomfortable pseudo-relationship between Don and Lina can be seen as a reflection of studios carefully doctoring actors’ media personas under the star system.
Connections between the real world contexts of both the setting and time of production are prevalent throughout the entire film. For example, the film focuses on role of sound in film, an issue that Singin’ in the Rain is only emblematic of because it is set during the advent of it. Additionally, the film’s nostalgic perspective on interwar America, prior to Hays Code censorship mirrors Gene Kelly’s disillusionment with American politics and the persecution of communists. At the same time however, Singin’ in the Rain celebrates the great cultural and artistic achievements of the United States and the hegemony of American culture, which aligns with the patriotism present in postwar America.
