Invitation to the Dance is often dismissed as a failed experiment; I must disagree. In my eyes Invitation to the Dance is a masterful achievement. I find many anthology films tend to be hit and miss with their segments but all three segments presented here are gems. A pure representation of Gene Kelly’s artistry as seen in ballet sequences in previous Kelly musicals. Invitation to the Dance was made in 1953, when Kelly was at the height of his powers, however, due to the film’s lack of commercial prospects. It wasn’t released until 1956 when the movie musical had dropped in popularity due to their lack of commercial viability from the rise of television.
The film’s title says it all; this is a film which tried to make dance more accessible to all and not just some Gene Kelly vanity project. A film to show that dancing isn’t for “sissies”; it can be masculine and badass. Originally Kelly was only going to appear in one segment with the rest starring the greatest dancers in Europe; however, the studio wouldn’t allow this and demanded he appears in all the segments. Regardless I still feel the film succeeds in feeling like an inclusive experience with its array of dancers including a young child whom appear alongside Kelly and are all given their moment in the sun.
The first segment “Circus” offers a slice of early 20th century European culture with a beautiful array of sets full of eye-pleasing colours which still manage to feel authentic; somewhere that’s been used and lived in. All three segments in Invitation to the Dance are devoid of dialogue but Circus really does call back to silent cinema with its melodramatic love triangle premise. In his role as a mime, Kelly gets to express the full range of his physical talents and uses his face to convey all his emotion. Circus is a fine piece of tragic, visual melodrama with an emotionally gutting finale.
The second sequence “Ring Around the Rosy” is the section of the film most reminiscent of the MGM musical in the 1950’s with its use of impressionistic backgrounds as seen in the ballet sequences of Kelly’s musicals. I never do tire of these backgrounds as they’re always a pleasure to behold; an aesthetic and atmosphere which really characterised musicals of the era. I do love the humor present in the segment such as the femme fatale with the exaggerated Veronica Lake hairstyle which constantly had to be pulled back in order for her to even see, to the singer whose voice is the sound of a trumpet which causes the dames to swoon and faint.
The final segment “Sinbad the Sailor” is the most impressive on a technical level in which Kelly dances alongside animated characters in a dazzling piece of Arabian Nights-inspired fantasy. Famously Kelly had previously danced alongside Jerry the Mouse in Anchors Aweigh (1945 ) however Sinbad the Sailor takes this to a new level in which Kelly occupies a fully animated environment. The integration and interactions with the animated world and its characters are largely seamless and more than impressive for the time, with the dance steps of the animated characters being on synch with Kelly’s steps. Likewise, he is also joined by a live-action child and only Kelly himself could dance that well with a child. During this segment Kelly also finds a love interest with an animated Middle Eastern girl and the two even engage in a kiss: An early example of an inter-racial kiss in cinema, even if it is between a live action man and an animated woman.