O'Connor's big break into big budget movies came in 1952 when Gene Kelly chose him as his co-star for
MGM's ground-breaking dance
musical
SINGIN' IN THE RAIN. A spoof of the movie industry and its struggle to
convert from silent to talking pictures,
SINGIN' IN THE RAIN
was not a commercial success when first released, but it has since become
recognized as one of the greatest movie musicals of all time.
In addition to his tap dances with co-stars
Debbie Reynolds and Gene Kelly (including the "Moses Supposes"
number pictured below),
SINGIN' IN THE RAIN also gave O'Connor the opportunity to showcase his
comedic energy and athletic dancing in "Make 'em Laugh" -- the most famous
scene of his entire film career.
"Make
'em Laugh" (clip) (a .MP3 file courtesy
Rhino Records).
(For help opening the multimedia files, visit the plug-ins page.)
After
SINGIN' IN THE RAIN, O'Connor stayed on at
MGM to co-star for a second time
with Debbie Reynolds
in I LOVE MELVIN (1953), and after two more "Francis, the Talking Mule"
films at
Universal, he was
loaned to 20th Century-Fox to
appear with
Ethel Merman,
Vera-Ellen and
George Sanders in Irving Berlin's
CALL ME MADAM (1953), adapted from the Broadway play by Russel Crouse and
Howard Lindsay.
In what is perhaps the second best-known movie musical of his career (behind
SINGIN' IN THE RAIN), O'Connor played the heavy drinking son of
vaudevillians
Ethel Merman and Dan Dailey who
falls in love with
Marilyn Monroe in 20th
Century-Fox's Cinemascope musical THERE'S NO BUSINESS LIKE SHOW BUSINESS
(1954), again with music by Irving Berlin.
Music Clips from THERE'S NO BUSINESS LIKE SHOW BUSINESS:
(For help opening the multimedia files, visit the plug-ins page.)
In the last major film of his career under the studio system of the 1950s,
O'Connor played the title character in
Paramount's THE BUSTER
KEATON STORY (1957), ostensibly about the life and career of the legendary
silent film comedian. However, the film was not well received by critics
or audiences who felt it took liberties with the facts of Keaton's life and saw
its humorous moments as mere reenactments from the deadpan comic's films.