Gene Kelly, Creative Genius

NATIONAL BOARD OF REVIEW. BEST ACTING. 1942

For Me And My Gal. 

ACADEMY AWARD NOMINATION FOR BEST ACTOR. 1945

Gene was nominated for an Oscar for his role as Joe Brady in Anchors Aweigh.

Other nominees were Bing Crosby, Gregory Peck, Cornel Wilde, and the winner, Ray Milland for The Lost Weekend.

Anchors Aweigh won one Oscar; Georgie Stoll for the scoring of a musical picture. It was also nominated for Best Picture, Best Cinematography, and Best Song: I Fall In Love Too Easily.

HONORARY ACADEMY AWARD 1951

"To Gene Kelly in appreciation of his versatility as an actor, director and dancer, and specifically for his brilliant achievements in the art of choreography on film."

Biography Channel

The Academy Award for An American In Paris was an acknowledgment that Gene Kelly was something more than just a hoofer, that he really was an artist.

Los Angeles Times. March 1952

Gene Kelly in Europe had typed an acceptance speech for An American In Paris and it had been sent here for the program.

Motion Picture magazine, 1954

The way he learned about it is a story in itself. He was in Germany [Making The Devil Makes Three] and sound asleep. At 5 in the morning the phone rang. It was Stanley Donen calling from Hollywood. "What are you doing", Gene hollered into the phone, "getting me up in the middle of the night?"

“Standing in for Gene Kelly on the Academy stage”, Stan told him. “They’ve just given you a special Oscar for your starring performance and choreography in An American In Paris”.

Gene didn’t get back to sleep that night, and he woke the family up early to tell them the news.

“He was awfully pleased”, Lois McClelland, his secretary for the last eight years, recollects. “We knew that he was terribly, terribly pleased because he underplayed it so.”

Modern Screen December 1952

American In London

In spite of anything he may have said before, or even at the time, he was thrilled to receive it. As a matter of fact he didn’t quite believe the BBC broadcaster who announced it. It took a recording from Hollywood, and a playback of those familiar voices in the actual ceremony, to convince him. It was almost too good to be true. It meant more than personal acclaim. It meant that the public had accepted his ideas; that it was eager to receive the best he could give. It also meant that he could count on all the studio backing he needed.

Source unknown, possibly Photoplay late 1973.

Article by Barbra Paskin. Living The Life Of Kelly

In 1951 Kelly was awarded a special Oscar…Even today he still feels somewhat awed by the sight of the small, bronze statuette.

“The glamour has worn off but I’m still impressed by it. I’ve got two now – the first one was a nomination in 1945 for Anchors Aweigh. I figure I’m dead lucky to have one in the house – let alone two!”

Gene's Oscar was destroyed along with almost all of his possessions in a fire at his house in December 1983

At the 1984 Awards when Gene and Ray Bolger were doing presenting duties, Gene was presented with a replacement Oscar:

Ray Bolger: "Before we turn to the next award there is something I'd like to do."

Gene: "If you're gonna ask me to dance, forget it."

Ray: Well, if you don't ask me I won't ask you."

Gene: "You got a deal.".

Gene Allen the President of the Academy comes on stage: "Many of you know Gene Kelly's house was gutted by a fire last Christmas and one of the valuable losses was the Oscar the Academy had given him back in 1951 for his magnificent and brilliant contribution to the art of choreography on film. Gene, the officials and the board of governors want you to accept this as a replacement."

Gene: "Thank you. That's the nicest thing. Now I must tell you I'm not completely surprised because I was tipped off. I knew they were gonna do it, I guess they thought I'd cry or something, and I'm about to so thank you so - you're all so nice. That's all. Thank you."

GRAND PRIZE AND GOLDEN BEAR AWARDS. BERLIN FILM FESTIVALS 1954 AND 1956

Chicago Tribune. July 4^th 1954

The Grand Prize of West Berlin’s Film Festival was awarded today to an American movie, Invitation To The Dance, starring Gene Kelly.

Gene was given the Golden Bear award for Invitation To The Dance, which was voted Best Motion Picture, 1956.

The Berlin Film Festival, held each February since 1951, ranked alongside Venice and Cannes as one of Europe's leading film festivals.

Gene was also a guest in 1960, when it was said: "The tabloid Press sulked because a lot of the sex appeal was missing, due to the many male figures on the guest list"!!  No comment!!

They also showed Christmas Holiday in 1998, as a retrospective.

UCLA HONORARY FRATERNITY MEMBERSHIP. NOVEMBER 1957

Los Angeles Times November 13^th 1957

Dancer Gene Kelly will be made an honorary member of Delta Kappa Alpha tonight at Royce Hall on the UCLA campus.

NOMINATION FOR A GOLDEN LAUREL AWARD FOR BEST MALE MUSICAL PERFORMER FOR LES GIRLS. 1958

WINNER, DANCE MAGAZINE ANNUAL TV AWARD FOR DANCING, IT'S A MAN'S GAME 1958

ALSO NOMINATED FOR AN EMMY FOR BEST CHOREOGRAPHY.

FRENCH HONOURS 1960/1962

TV Radio Mirror November 1962

Gene was cited by the American Legion for his outstanding contribution, to Franco-American relations…honoured as a Friend by the City of Paris where he directed Jackie Gleason in Gigot.

You can read about the love affair between Paris and Gene in the page This Star Called Paris.

HONORARY DOCTORATE OCTOBER 1961

New York Times October 5^th 1961

Gene Kelly received an Honorary Doctorate of Fine Arts degree today from the University of Pittsburgh.

MUSEUM OF MODERN ART 1962

Take Me Along  brochure, Dallas Summer Season, 1974

At the same time Kelly was making his debut in a weekly television series and receiving critical acclaim for his directorial achievements in Gigot, the Museum of Modern Art was honouring him with a retrospective showing of his motion pictures. His films were shown daily from September 2^nd to October 6^th, 1962. It was the first time the Museum had chosen an actor to be represented – usually their series were devoted to spotlighting directors.

MADAME TUSSAUD'S WAXWORKS FIGURE 1963

Chicago Tribune. April 1^st 1963

Gene Kelly gets waxed by Madame Tussaud’s factory, and if he can make it, will be in London for the August unveiling.

SILVER SAIL,  BEST ACTOR, FOR WHAT A WAY TO GO.  LOCARNO INTERNATIONAL FILM FESTIVAL 1964

MOVIELAND WAX MUSEUM FIGURE 1965

Los Angeles Times. February 7^th 1965

A Singin’ In The Rain setting, with a wax likeness of Gene Kelly, is one of the exhibits at Movieland Wax Museum, Buena Park

[Gene visited on 30^th January.]

BEST DRESSED AWARD. 1967

Los Angeles Times. January 20^th 1967

CALMAC, mens and boys Apparel Club of California, presents the annual ‘best-dressed’ award to actor-dancer Gene Kelly.

So, not everyone agreed with Gene's self-assessmant as a 'walking slum'!

GOLD MEDAL OF THE PENNSYLVANIA ASSOCIATION OF BROADCASTERS. MARCH 1967

Pittsburgh Post Gazette. March 17^th 1967

Mr. Kelly had come to Washington at the invitation of the Pennsylvania Association of Broadcasters…to accept their second annual gold Medal (the first one went to the late Ed Wynn, of Philadelphia) to the Pennsylvanian who down through the years has made a major contribution to the arts.

Gene Kelly was pleased, and looked it. He must have been, to shelve temporarily the final editing of …A Guide For The Married Man…in order to fly here and receive the Gold Medal in person.

At his side was the former Jeanne Coyne, of East Liberty. Back when Mr. Kelly was teaching at his Squirrel Hill dancing school, little did he suspect that one day Miss Coyne, his prize pupil, would be Mrs. Gene Kelly and the mother of his two small children…

It was a busy 12 hours or so for Mr. Kelly; interviews, a luncheon in the Senate Building hosted by Congressman Robert Corbett…a television taping session, a reception, the dinner itself…Mr Kelly never stopped answering questions…

EMMY AWARD FOR JACK AND THE BEANSTALK. OUTSTANDING CHILDREN'S PROGRAMME 1967

TRIBUTE ENTERED INTO THE CONGRESSIONAL RECORD NOVEMBER 1969

Tony Thomas. The Films Of Gene Kelly 1974

Gene Kelly was honored on November 18 1969 when a tribute to him…was entered in the Congressional Record. It saluted his contribution to the entertainment industry but also mentioned that he had been cited by the Government for services rendered and that he had travelled as a goodwill ambassador for the State Department in 1964.

FORECOURT OF THE STARS. NOVEMBER 1969

On November 24^th 1969 Gene was invited to immortalise his hand and footprints on the ground in front of Graumann’s Chinese Theatre

NOMINATION FOR GOLDEN GLOBE AWARD FOR DIRECTOR, HELLO DOLLY. 1970

THALIANS TRIBUTE. OCTOBER 1972

Los Angeles Times. September 11^th 1972

The Thalians have set publication of a Gene Kelly souvenir book…as part of their tribute to Kelly at the Century Plaza.

Pittsburgh Post Gazette. October 30^th 1972

People behind the scenes at the Thalian Dinner in Hollywood, honouring Gene Kelly, got the distinct impression that Ginger Rogers was miffed because of Fred Astaire’s presence. She had been slated to speak and backed out at the last minute.

ST. GENESIUS AWARD. MAY 1973

Los Angeles Times. May 2^nd 1973

Gene Kelly has been voted the St. Genesius Award by the board of directors at St. Genesius College, for his outstanding service to humanity…

DISTINGUISHED CONTRIBUTION TO THE PERFORMING ARTS. MAY 1973

Daily Collegiate. Penn State University. May 3^rd 1973

To celebrate their 75^th anniversary, the Penn State Thespians will present nine alumni and one former faculty member with awards acknowledging their achievements as former Thespians or as outstanding personalities in show business. The presentations will be made on May 12^th…

The first awards for Distinguished Contribution to the Performing Arts will be presented to…Gene Kelly…though Gene Kelly attended Penn State for only one year, 1929-30, he danced in three Thespian shows.

ARTHUR FREED AWARD. MAY 1973

Los Angeles Times. May 29^th 1973

A superb series of film clips from the golden musicals era, most of them featuring Gene Kelly, led to Jack Benny’s presentation to Kelly of the Arthur Freed Award.

MR. SHOWMANSHIP. JANUARY 1974

Los Angeles Times. January 4^th 1974

Gene Kelly has been nominated Mr. Showmanship for his contribution to motion picture over the years, by the Common-wealth Theaters.

ST. GENESIUS AWARD. NOVEMBER 1978

Los Angeles Times. October 28^th 1978

Gene Kelly will be awarded the St. Genesius Award from the Catholic Actors Guild at a dinner in New York, November 11^th.

Los Angeles Times. November 14^th 1978.

Gene Kelly escorted long-time friend Ethel Kennedy to a banquet attended by 1200 of his fans in New York City when he was presented with the St. Genesius Award.

GENE KELLY RETROSPECTIVE. 1979

Newspaper article by Joe Leydon, around 1979

Friday was the opening night of the Gene Kelly retrospective at SMU’s Meadow School of the Arts, so of course the honoree was on hand, decked out in his bestbib and tucker.

Somehow it was odd to see Kelly – the epitome of virile grace and informal panache – confined in a tuxedo…one expected shirtsleeves and dungarees from the man who seemed to throw himself through the dances of Singin’ In The Rain and Anchors Aweigh.

But Kelly – ludicrously youthful-looking at 67, capable of passing for a man 15 years younger – didn’t mind the formality of the situation. He’s used to the reverence and the retrospectives. Even though he takes it all with a grain of salt.

FRIARS CLUB TRIBUTE  January 1976

VARIETY CLUB TRIBUTE. London. May 27th 1980

British newspaper article.

As Gene Kelly confessed, he’s had to sit through so many reruns of ‘that number’ that “I can’t enjoy it anymore – but I enjoyed it today.” Which was 27^th May, the occasion being a tribute luncheon to the star by Variety Club Tent 36…the showbiz turnout drenched him with extravagant affection and a climactic standup ovation.

Clambake also climaxed a London sojourn for Kelly that began the previous Saturday with a media reception at which a flock of young dancers from local shows and schools quizzed him on choreographic technique, followed on Sunday by an appearance at the jampacked National Film Theatre in connection with the British Film Institute’s MGM retrospective…

As for the VC shindig at the Hilton, with BBC-TV cameras covering for nationwide tape replay that night, Kelly was also drenched with local ‘in’ gags by dais speakers…Other salutes came from Bryan Forbes, Anna Neagle, Alfred Marks and fellow dancer Anton Dolin. Other dancers were also in the audience, including Dame Alicia Markova.

USA FILM FESTIVAL JUNE 1980. A SALUTE TO GENE KELLY

Dallas newspaper reports

Kelly will appear in person at the Bob Hope Theater for the opening night.

The series begins Friday and continues throughout July with a different MGM Kelly musical every weekend…

It should be a fitting tribute to a man who took ballet, tap, modern dance and athletics and put them all into an ‘ordinary Joe’ framework – a concept with which the ordinary moviegoer could identify. He delighted audiences unaccustomed to ‘virile’ choreography

Somehow it was odd to see Kelly – the epitome of virile grace and informal panache – confined in a tuxedo. ..But Kelly – ludicrously youthful-looking at 67, capable of passing for a man 15 years younger – didn’t mind the formality of the situation. He’s used to the reverence and the retrospectives. Even though he takes it all with a grain of salt.

“As you get older,” he said in his familiar sandpapered voice, beaming a wide Irish grin, “everything happens. They even look at some pictures you did that weren’t so good and say, ‘Oh, weren’t they nice?’”

Dallas Times Herald June 1980

…The years have not dimmed the smiling Irish charm of Kelly, or completely stifled the feet. He did an amusing little side-shuffle leaving the stage of the Bob Hope Theater – after having shared a love-fest with a packed theatre of old and new Kelly fans.

A young woman during an audience question and answer session following a showing of The Pirate: “After tonight, well I just wanted to say that if you ever need a place to stay in Dallas…”

It was like that all night, a love affair between 400 fans and a star.

Movie stars come and go in Dallas these days.. They can be rude, supercilious, bored. They can also be charming and entertaining, like Gene Kelly. Way after midnight, following a press conference, a champagne reception, the film showing and the Q&A session, a reunion with his old friend E.Y.” Yip” Harburg…and a little talk to the students, a stop by the Chi Omega convention (at their urgent request), dozens of autographs, a party and a reunion with his old friend Betty Garrett – even after all that, Kelly was still smiling and chatting with ease, signing tap shoes and apparently as fresh as the acrobatic strolling player in The Pirate

…Several hundred were turned away because there was not enough room for everyone.

…He arrived carrying a Key to the City given to him by Councilman Max Goldblatt

…He remembered names and made jokes with new friends as if they were old friends.

PITTSBURGH HONOR. JUNE 1981

Pittsburgh Post Gazette. March 9^th 1981

Gene Kelly will return to Pittsburgh as guest of honor at the Civic Light Opera Guild’s Pink Frolic Ball, June 26^th…”It is most appropriate that we recognise and honor Pittsburgher Gene Kelly for his creative achievements to American musicals, providing entertainment, enjoyment and enrichment throughout the world…”

FRENCH GALA TRIBUTE SEPTEMBER 1981

Daily Mail September 17^th 1981

The original American In Paris, Gene Kelly has been back in the French capital showing his daughter Bridget, 16, the sights of the city…the high spot of the stay is the gala tonight, honouring him with appearances by American In Paris co-stars Leslie Caron and Georges Guetary.

The gala benefits the American Centre for Students and Artists, which is why the retiring Gene felt he could not say No.

VISION AWARD. MAY 1982

Los Angeles Times. May 31^st 1982

The center honors Gene Kelly with its first Vision Award. There is a wonderful caricature of Kelly on the invitation announcing cocktails and dinner.

KENNEDY CENTER HONORS. 25th December 1982

The John F Kennedy Center for the Performing Arts, Washington. 25^th December 1982

“I look forward to an America which will not be afraid of grace and beauty.

"…I am certain that after the dust of centuries has passed over our cities, we too will be remembered, not for victories or defeats in battle or in politics, but for our contribution to the human spirit.” JFK.

A celebration of the performing arts honoring George Abbott, Lillian Gish, Benny Goodman, Gene Kelly and Eugene Ormandy.

New York Times December 1982

Gene:   It seems to us natives out in the Golden West that this evening is very special; I am honoured and pleased.

Earlier in the day the Honorees were welcomed at the White House by Ronald Reagan:

“The famous clergyman Thomas Ward Beecher once said that every artist dipped his brush in his own soul and painted his own nature into his pictures. The artists we have here tonight have painted a panorama with their lives, a spectacular display of talent, achievement, personal integrity that challenges all of us to be the best that we can be. They reward our spirit by allowing us from time to time to mingle our everyday world with their world of pageantry and dreams, and how lucky we are that they are Americans. They have enriched us all.”

Host Walter Cronkite:

“We are here tonight to recognise and pay homage to some of our most valued citizens.

Consider a self-styled Irish Mick from Pittsburgh who heard America calling and transformed our conception of the dance….”

Yves Montand:

“Gene Kelly has given the world something nobody can forget. He put the dance on the street. For the first time we saw a classical dancer in trousers, short-sleeve shirt and loafers, but still elegant, dancing in the streets and making us all feel we can dance like him. He is absolutely American. He could be nothing else. But when an artist is as good as Gene Kelly it makes us forget about language. He shows how to find the road to joy in your hearts and that is international. Gene will always be our American in Paris and much more. He is in people’s hearts everywhere, an American for the whole world.”

Montand then told Gene’s story, accompanied by stills from his early life and work:

“In the tough steel town of Pittsburgh it wasn’t easy for eight year-old Gene and his brother to accept their mother’s announcement. They were going to dance classes with their sisters. They were afraid of being called cissies. Gene turned to the acceptable world of athletics, starring in three varsity sports, but the dance had started to intrigue him. He got his BA in Economics but became preoccupied with the dance, experimenting and searching for new forms away from the classics. He staged local productions but wanted to move on in search of something different. By now he was sure what it was. ‘When I got to New York’, he said, ‘I knew I wanted to dance to American music, to find a style that could truly be called American’. To pay the rent he took bit parts and bided his time. George Abbott provided the springboard. He had a new production and offered Gene the lead.  [Stills from Pal Joey shown]. If you are big on Broadway they say, can Hollywood be far behind? It wasn’t. He launched a career that would eventually revolutionise the movie musical as an art form. [Clips from various movies followed].

“Using film’s full potential Kelly created cinematic numbers in which the dancer did with his body what the actor did with words. To capture the essence of a character by movement. [More clips followed].

"A sensitive and skilled director, an actor who could hold his own in any company, a new kind of choreographer, and above all, a dancer – the consummate song and dance man.” [The rain dance followed].

There was then a standing ovation, including Reagan and his wife. Gene looked proud, dignified, then gestured that was enough adulation.

Gregory Hines:

“Like many other dancers of my generation I was raised on Gene’s films. They inspired me, and I always wanted to meet him because if and when I did, he would teach me things about dancing and singing and acting. Then I did meet him and he did teach me those things. So this is for you Gene Kelly.”

He then did an excellent song and dance number, and got a ‘thumbs-up’ from Gene at the end.

Then SITR started playing and a chorus of dancers appeared, along with Donald O’Connor, Cyd Charisse, and Comden and Green, who sang:

“We’re singin’ in the rain, we’re singin’ of Gene Kelly, it’s a happy refrain. He dances on clouds, he’s way up above. A showman, an artist, he brings the world love. Who could take Kelly’s place, he has style, he has grace. What fabulous eyes, what a smile, what a face. His fame will remain, a star with a brain, he’s dancing and acting, and directing, and choreographing, and making love, and singin’ in the rain.”

Gene was visibly moved, and laughed and wiped his eyes and shook his head.

Then one of the chorus line stepped forward and said in a loud voice:

“Mr Kelly, on behalf of all the gypsies everywhere, we thank you.”

At that, Gene’s face crumpled with emotion, he could no longer hold it back. I guess those few words meant as much to him as all the other plaudits.

The host, to all the Honorees:

“You’ve graced our stages, you’ve graced our lives, you’ve graced our history. Now it is time for you to take another bow and for us to show our gratitude.”

And that is what they did.

Irish America magazine December 1990

Forty five million of us watched on television the night Gene Kelly was presented with the Lifetime Achievement Award in the Performing Arts and we saw how the audience at Kennedy Center in Washington gave him the biggest ovation of the evening. Each time he sat down the audience roared him to his feet time and again. It was the nation's outpouring of appreciation for all the great moments he has given us over the course of his more than fifty years in show business.

AMERICAN FILM INSTITUTE LIFETIME ACHIEVEMENT AWARD 1985

From the booklet which accompanied the AFI Tribute 1985:

Kelly is an artist constantly searching and reaching…perhaps the phrase “American Dreams” is too limiting, as Gene Kelly’s emotional and artistic appeal is truly universal. In accepting last year’s Life Achievement Award, Lilian Gish spoke of an actor’s desire to ‘please the world’, of a language of film that spoke to every individual in every country on earth. She might very easily have been speaking of Gene Kelly, a man who recognised the simplest and grandest of the world’s dreams, added a little color, song and movement, and gave them back to us to carry away into our lives. For this gift and for his great artistry, the Trustees of the American Film Institute have voted the thirteenth Life Achievement Award to this American Dreamer Gene Kelly.

Gene was the 13^th person to be honoured by the AFI. Almost every face in the audience was a familiar one, including Andy Williams, Telly Savalas, William Shatner, Michael York, Cary Grant, Ernest Borgnine, Andy Warhol, Karl Malden, Jack Lord, Sean Penn, Robert Wagner, Sissy Spacek, Robert Stack, and many others whose faces I know but whose names elude me.  Gene entered to a standing ovation and walked through the crowds to join his family at a horseshoe shaped table in front of the stage.

Shirley Maclaine was the host for the evening. She told the story of how in 1953 she was in the chorus of The Pyjama Game. Gene came to see it and then made his way, with difficulty, to the dressing room of the chorus girls. He moved her red ponytail aside and whispered in her ear: “Kid, you’ve really got something, keep going.”

Thirty years later she had her own show and Gene came to see her. He said the same words to her again! She asked how long she should keep going. He replied:

 “You keep going as long as you find happiness in helping people realise their dreams.”

She told how Gene always credited Judy with helping him through his first terrifying moments on film.

There followed a clip from For Me & My Gal.

Then Shirley said she thought Gene’s scar “The sexiest thing I ever saw”, but his refusal to cover it up meant that he was aware that a dancer could not lie, about the emotion, about the character that he’s dancing, because he is dancing our dreams up there.

There followed clips from I Got Rhythm, The Hat Me Dear Old Father Wore, the ballet from On The Town, the Newspaper dance, the Alter Ego number, and I Like Myself.

Gregory Hines did an impromptu dance and said that Gene had stolen a step thirty years before Gregory invented it! He thanked Gene from his feet and from his heart.

Then came clips from some duets: Put Me To The Test; The Babbitt And The Bromide; Be A Clown; Our Love Is Here To Stay; Slaughter On 10^th Avenue; the dance with Jerry mouse; the dance with Shirley from What A Way To Go; and I Begged Her.

There followed a tribute from Fred Astaire:

 “You know that Kelly, he’s just terrific. For a good many years I’ve admired this fella. He dances like crazy, directs like crazy, does all these marvellous things and is very serious about the whole thing. I love to have him direct me for instance. Because he can handle me, he’s tough. Every once in a while I’d go to him and I’d say ‘Gene, how about this’…it happened a couple of times, but no more. I let him do the whole thing and it was great. He knows what he’s doing. He’s a tremendous performer, he’s a great guy and that’s all there is to it. I love working with him. He’s a tremendous talent and he has all my respect.”

Shirley: “In 1949 Gene stepped behind the camera for the first time. The film was On The Town and what he did changed the course of musicals forever.”

Then came a tribute from Betty Comden and Adolph Green.

“We were bowled over to see an unknown young man named Kelly in action. We witnessed a torrent of dance, song and charm that almost splintered the roof of that old country barn. We knew we were seeing a great new talent.

“Our friendship blossomed… to our joy the four of us (Stanley Donen included) were put together by Arthur Freed to do On The Town. Then came Singin’ In The Rain…”

There followed a montage of scenes from SITR, followed by a song by Cyd Charisse, Debbie Reynolds, Donald O’Connor and Comden and Green: –

 “You are our lucky star, we’re proud you’ve come so far. You started out, just buck & winging, singing, song and dance man. Now your 'reography, fills your biography. Great acting, great direction, goodness knows Gene, you’re perfection, you are our lucky star.”

After some information by Jean Furstenberg on the work of the AFI, Mikhail Baryshnikov gave a tribute.

“I understand that when Gene decided not to pursue a career in classical ballet, he took an easier route – movies. As a dancer, actor, choreographer, director, producer, writer. Like I said, easy route.

“Gene Kelly’s dancing stands as an example to us all. How a performer can produce an unforgettable mix of entertainment and art. We don’t have dancers like Gene Kelly any more.”

He then told of Irving Berlin’s visit to the set of An American In Paris, and his astonishment at the prospect of the Ballet. He said to Gene; “I hope you know what you are doing” He did. "

There followed clips from the AAIP ballet.

Then it was Leslie Caron’s turn. She said she was very moved to be there, and began with “Dear Gene” – She told her story, how Gene had made things easier for her in her new life in America, how he had made her feel welcome, how he worked with her through her screen test and through the movie.

His family were introduced. Sister Louise and husband; brother Fred and wife Dorothy; nephew Michael and wife Diane; Kerry, Jack and granddaughter Rebecca Novick, and Bridget and Tim.

There followed tributes from Betty Garratt; the Nicholas Brothers who said that many wonderful things had happened to them because of their work with Gene on The Pirate; Kathryn Grayson; Carl Reiner who honoured Gene, tongue-in-cheek, for being “one of the great stuntmen actors of all time”; Olivia Newton John who thanked him for all his support and for being a magician who disguised the fact that she had two left feet.

Then Richard Brant, the chairman of the AFI:   

“Your films have an honoured place in the repertory of American cinema. In recognition of your outstanding contribution to our motion picture heritage, this morning the board of the AFI elected you an honorary trustee. Congratulations and thank you, Gene”.

 After this came a hilarious and witty piece by Steve Martin. It was followed by Jimmy Stewart: “Gene Kelly and I both worked for MGM – it was …a long time ago. The thing I noticed as I got to know him better, and know his work, he wasn’t satisfied with dancing and choreography…he ended up an excellent actor. Then the biggest surprise of all, Hank Fonda and I were doing a Western, and the guy standing behind the camera – the director – was Gene Kelly. We loved him, he did a wonderful wonderful job as director. So Gene, I don’t know, I just think you’ve touched all the bases. Congratulations”.

Then the presentation by George Stevens Jr:          

“Tonight the AFI awards its highest honour to the former manager of the Pittsburgh Yellowjackets semi-pro ice hockey team who, hoping to become a lawyer, entered Penn State University as an Economics major. Clearly, as a youth, Gene Kelly was in need of career counselling. Happily for moviegoers around the world, he got it, and the rest is history. 

“It is for that contribution to film history that we honour him tonight. Mr Kelly has often quoted Plato’s words: ‘Dancing is the art which most influences men’s souls’. Gene combined dancing with movies and built a legacy that has stood the test of time. He has done what great artists do – created a signature that will live forever.

“So before we present him with this Lifetime Achievement Award, let us relive the joy of that Gene Kelly signature, and recall the words of the poet: ‘This is the particular crown and triumph of the artist – not to be true merely, but to be lovable; not simply to convince – but to enchant’.”

Then came Singin’ In The Rain. And everyone stood to their feet and cheered and clapped as Gene made his way to the stage:

 "I am pleased to be here tonight and very proud. I hope I can be humble, but I’m working on that. …In truth I never wanted to be a dancer. My whole ambition was to play short-stop for the Pittsburgh Pirates. However, I did discover girls, and that the girls liked the fellas who were good dancers…the only way you could get your arm round a girl was to ask her to dance…

“You need a lot of talent around you. There are no auteurs in musical movies…I’d like to say a quick word about the people that the public never see, not only the photographers, art directors, costume designers, but the Minnellis, the Donens, the Freeds, the Pasternaks, the Comdens and Greens, the Haneys, Coynes, Bakers, Romeros, Edens, Chaplins. All these people who knocked themselves out so that we could look good. The men who arranged the music… no-one knows their names, they don’t get enough credit.

“The other thing these people did, they made us strive to do better. Now perhaps I’m making this sound like hard work, well it was, but we had fun, we had the best of times. And I think it was because we all thought we were trying to create some kind of magic and joy. And you know, that’s what you do up there. You dance love, you dance joy and you dance dreams. And I know if I can make you smile by jumping over a couple of couches or by running through a rainstorm, then I’ll be very glad to be a song and dance man, and I won’t worry that the Pittsburgh Pirates lost one hell of a short-stop.”

As a finale Shirley asked that everyone would join in a song which should have been dedicated to gene Kelly’s face: It was sung with great gusto by everyone, including Gene who had to wipe tears from his beautiful ‘Irish eyes’.

When Irish eyes are smiling

Sure it’s like a morn in Spring

In the lilt of Irish laughter

You can hear the angels sing

When Irish hearts are happy

All the world seems bright and gay

And when Irish eyes are smiling

Sure they steal your heart away.

PITTSBURGH UNIVERSITY HONOR. 1987

Ocala Star Banner. June 24^th 1987

Gene Kelly says the four years he spent in college before becoming famous dancing on film “made me more of a person.”

The 74-year-old Pittsburgh native was honoured Tuesday by the University of Pittsburgh which is celebrating its bicentennial…President Wesley W. Posvar presented Kelly with a medallion and unveiled a bronze star on campus honouring him as an outstanding alumnus and “a great artist.”

Posvar and Kelly also screened rare movie footage, recently found in university archives, of Kelly performing in undergraduate productions.

Asked at a news conference why he spent the “four best years of a dancer’s life” in college, Kelly replied, “It made me more of a person, aided me as a creative artist and to any young person I would say, ‘Get an education. Never stop learning.’”

SCREEN ACTORS GUILD ACHIEVEMENT AWARD 1988

December 1988 Gene was the 25^th recipient of the Screen Actors Guilds Achievement Award “for fostering the finest ideals of the acting profession.”

Free Lance Star. December 15^th 1988

Dancer, actor and director Gene Kelly is the 25^th recipient of the Screen Actors Guild Annual Achievement Award…given for “Fostering the finest ideals of the acting profession.”

AMERICAN SOCIETY OF COMPOSERS, AUTHORS AND PUBLISHERS 1989

April 1989 Gene received the Pied Piper Award from the American Society of Composers, Authors and Publishers for his contribution to the music industry.

THE AMERICAN IRELAND FUND SALUTES GENE KELLY November 8, 1990

You can read more about this event in the 'Make A Wish' interview on the 'I Could Talk About...' page.

GENE KELLY AWARDS. PITTSBURGH

In 1991 the University of Pittsburgh created the annual Gene Kelly Awards for high school musicals in Allegheny County. They are held at the Benedum Center, close to where Gene attended dance classes as a boy.

LIFETIME ACHIEVEMENT AWARD OF THE SCHOOL OF AMERICAN BALLET. 1992

New York Times 10^th February 1992 Nadine Brozan

Gene Kelly always wanted to go backstage when he saw Suzanne Farrell, the former principal dancer of the New York City Ballet, perform, but, he recallled the other day,  “I only watched her dance from afar. I was too shy to run backstage and say, ‘Hey, I think you’re a real prima ballerina.’”

Tonight he will be able to tell her in person, when she presents him the Lifetime Achievement Award of the School of American Ballet, the official academy of the New York City Ballet and Ms. Farrell’s alma mater. The ceremony will take place during a benefit dinner-dance at the New York State theater, where alumni of the school, including Darci Kistler and Robert la Fosse, will perform.

“Getting this honor is so prestigious,” Mr Kelly said. He added, “I am more than delighted to be getting it from the hands of Suzanne, a little girl from Cincinnati. I am her fan. I am sorry that she had to leave the ballet as suddenly as she did and sorry that I didn’t see her last performance. I would have had tears in my eyes.

Ms Farrell retired as prima ballerina with the New York City Ballet Company, where she had been George Balanchine’s muse, in 1989, because of problems requiring hip surgery.