姓名：吉恩·凯利 性别：男 英文名：Gene Kelly 生日：1912年8月23日 星座：处女座 国籍：美国 地域：欧美 生平介绍：生于宾夕法尼亚州的匹兹堡。毕业匹兹堡大学经济学系。从小酷爱跳舞，曾做过舞蹈教员、加油站服务员和沟渠挖掘工。1938年进入百老汇。曾为比利．罗斯的钻石马蹄歌舞团编排舞蹈，并曾在歌舞剧《伙伴乔伊》中串演角色，得到观众的赞扬。1942年，他转入电影界，曾与朱迪．加兰搭档在《艺人丽影》中演出。其开朗随和的性格、甜美自然的声调使其成为40年代米高梅公司歌舞片和正剧片的明星。1945年，他主演的《翠凤艳曲》使其获得奥斯卡影帝提名。49年他主演的《锦城春色》又大获成功。从此他成为好莱坞首席舞蹈大师。1952年，他自导自演的《雨中曲》获得极大成功。1956年，他独自导演的第一部音乐歌舞片《舞会请贴〉曾获柏林国际电影节大奖。米高梅的歌舞片黄金时代没落后，他开始转入自导自演的非歌舞片。1962年他执导了《冷暖心声冷暖情》（Gigot）描写好心肠的哑巴收留饥寒交迫的母女的遭遇，悲欢交错，十分感人，是他导演中最佳代表之一。 演员作品 娱乐世界III That's Entertainment! III (1994) 影舞者 That's Dancing! (1985) 仙纳杜的狂热 Xanadu (1980) 娱乐世界续集 That's Entertainment, Part II (1976) 娱乐世界 That is Entertainment (1974) 女人四十一枝花 40 Carats (1973) 傻女十八变 What a Way to Go! (1964) 愿嫁金龟婿 Let's Make Love (1960) 向上帝挑战 Inherit the Wind (1960) 初恋 Marjorie Morningstar 1958) 巴黎之恋 Les Girls (1957) 一路福星 The Happy Road (1957) 好天气 It's Always Fair Weather (1955) 蓬岛仙舞 Brigadoon (1954) 雨中曲 Singin' in the Rain (1952) 花都艳舞 An American in Paris (1951) 万花绵绣 Summer Stock (1950) 出场开赛 Take Me Out to the Ball Game (1949) 锦城春色 On the Town (1949) 三剑客 The Three Musketeers (1948) 风流海盗 The Pirate (1948) 翠风艳曲 Anchors Aweigh (1945) 封面女郎 Cover Girl (1944) 第五号机师 Pilot #5 (1943) 抗战万岁 Cross of Lorraine, The (1943) 千万喝采 Thousands Cheer (1943) 只为你我 For Me and My Gal (1942) 导演作品 娱乐世界续集 That's Entertainment, Part II (1976) 你好，多莉！ Hello, Dolly! (1969) Gigot (1962) 一路福星 The Happy Road (1957) 心声幻影 Invitation to the Dance (1956) 好天气 It's Always Fair Weather (1955) 雨中曲 Singin' in the Rain (1952) 锦城春色 On the Town (1949) 编剧作品 心声幻影 Invitation to the Dance (1956) 出场开赛 Take Me Out to the Ball Game (1949) by Bruce EderGene Kelly was never very popular as a singer, even though he did cut records and was seen in movie roles in which he sang -- rather, it was his work onscreen as a dancer, choreographer, and director that allowed him to exert a key influence over the popularity of certain song catalogs in the mid-20th century. Showing an early aptitude in both gymnastics and dance, Eugene Curran Kelly, as he was named at birth, had devoured, by his early teens, everything he could about dance in general and ballet in particular. He was already a successful dance teacher in his hometown of Pittsburgh when he began his ascent in the original Broadway production of Richard Rodgers' and Lorenz Hart's Pal Joey. This led to a film contract with David O. Selznick, which was sold to MGM before Kelly even reported to Hollywood. The allegiance with MGM proved a godsend for both the studio and Kelly, who (with the help of producer Arthur Freed) began a process of energizing the film company's musical output for the next 15 years. The studio had been doing notable musicals almost since the dawn of sound, going back to the original 1929 musical comedy/drama The Broadway Melody, and was gradually moving -- under the guidance of Freed and the people with whom he surrounded himself -- to the next level; by the time Kelly arrived, the "Broadway Melody" series of movies had seen their day, and the rapidly maturing presences of Judy Garland and Mickey Rooney would soon bring a halt to their cycle of youth-oriented musicals built around standardized formulas and the two young stars' seemingly boundless enthusiasm. Kelly was initially cast alongside Garland in For Me and My Gal, a safe, period musical coming out of a vaudeville setting and tradition, and in his next screen appearance, starring in Thousands Cheer (1943), he carried the movie, an adult version of the Garland/Rooney-style "hey kids, let's put on a show" vehicle. But by the mid-'40s, MGM was starting to do somewhat more diverse musicals, which were mounted on an ever-grander scale and used much larger budgets; not all of these were successful, including those in which Kelly worked -- their version of Cole Porter's Du Barry Was a Lady was hopelessly compromised by the studio's dampening down of most of the stage original's more daring elements. But in the midst of all of this activity (which included a loan-out to Columbia Pictures for Cover Girl, a musical that was more ambitious than any of his MGM films to date), Kelly revealed himself to be a quintuple threat: dancer, actor, singer, choreographer, and director. Anchors Aweigh put Kelly alongside a young Frank Sinatra but it also gave him a bravura dance segment involving live action and animation mixed together, all in Technicolor, in which his dancing partner was Jerry the Mouse from the Tom & Jerry cartoons. As Kelly's popularity and box office grosses grew, so did his influence at the studio, and he began proposing more ambitious projects as a director as well as a choreographer and performer. And there were other activities taking place at MGM in the post-World War II era that utilized additional aspects of his talent -- when MGM started its record label in 1948, there was a Gene Kelly album, Song & Dance Man, included among its earliest releases. And he did, in those days in his movies, share some vocals with the likes of a young Frank Sinatra -- and acquitted himself decently -- but it was the dancing and choreography that were the real focus of his work. It was in the big musicals conceived near the end of the '40s -- starting with On the Town, adapted from the hit stage musical by Betty Comden, Adolph Green and Leonard Bernstein -- and his later, more personalized vehicles, An American in Paris and Singin' in the Rain, that gave Kelly his greatest influence over music. By that time, his vocal range had narrowed somewhat from the pleasing light tenor he'd revealed in For Me and My Gal a decade earlier, but his onscreen geniality and overall popularity allowed him to effectively re-popularize many songs by George and Ira Gershwin, and Arthur Freed and Nacio Herb Brown. His most popular and influential work as a singer can also be found on the soundtracks for those films -- although it was the films themselves, and the arrangements and visual set pieces (which Kelly had a lot to do with shaping, even when he didn't have co-directing credit, as on An American in Paris), that did more for the songs than his vocalizing. One can also add to that list the soundtracks to Brigadoon, Summer Stock, and the compilation soundtrack That's Entertainment! The Best of the M-G-M Musicals. Rather ironically, his singing on Brigadoon wasn't all that good -- and dangerously close to ragged at times -- but the soundtrack was around for years and it was through the movie that most people came to know the score after the show's original Broadway run. Alas, Kelly's time in the limelight was relatively brief, not quite 20 years in terms of his actual output. He'd come along on the eve of the studio's ascent to its peak of production in his particular area of expertise (and, in many ways, helped make the achievement of that peak possible); but it was a short time, only a decade, before the arrival of television began reducing movie audiences, and the rise of the teenage filmgoer fundamentally changed the nature of who went to movies, and all production at MGM began getting scaled back. By 1955, the film musical -- especially as it was done at MGM -- was a dying art form commercially, and Kelly turned increasingly toward directing, but those assignments were relatively few and far between, and he allowed his dramatic acting -- which he had never entirely forsaken, but had never built into great prominence before the public either -- to become the focus of his film work in movies such as Marjorie Morningstar and Inherit the Wind. He proved to be as adept at drama as he had been at dance; and in the '70s, spurred on by the growing interest in America's cinematic past that coalesced around MGM's compilation feature That's Entertainment!, Kelly directed the equally fine follow-up, That's Entertainment, Part 2. But for all of his aspirations as a director, his best movie work of the post- MGM era was probably in the Jacques Demy-directed Young Girls of Rochefort; although Demy's focus was song and melody rather than dance, he succeeded in creating a popular new musical idiom for the '60s outside of Hollywood, where Kelly never really had the proper chance to try, and invested himself instead in gargantuan productions such as Hello, Dolly. Instead, as on That's Entertainment, Part 2, he had to content himself with preserving and working within the context of his own past.