The classical period of the musical coincided with the heyday of the Hollywood studios from the early thirties to the early fifties. The conventions of the integrated musical were formed in the Astaire--Rogers musicals made at RKO in the thirties and the form peaked at MGM in the forties and early fifties, most notably in films produced by Arthur Freed. Thomas Schatz has provided a useful definition of the integrated musical. `Rather than create a realistic --or at least plausible --world whose inhabitants find reasonable motives for breaking into song (rehearsals, shows, etc.) the music itself seems to determine the attitudes, values and demeanour of the principal characters. As the musical genre evolved it sacrificed plausibility for internal narrative logic, steadily expanding its range of narrative, visual and musical expression'. The nature of integration in the film musical lies not simply in the idea that the music and the dances, in particular, should advance the plot but also suggests integration with the entire cinematic process. Integration involves not only choreographing the dances for the camera but also involves the general movement of the film from camerawork to editing. In other words the film is a total piece in which the numbers not only evolve from the narrative but also, in turn, influence the narrative. This integration was first fully realised in the Freed--Kelly--Donen musicals e.g. On the Town and Singin' in the Rain. At the centre of the integrated musical is modern dance where the body is used without restrictions of style and method, almost spontaneously. This becomes the means of psychological expression through movement. The musical's special power as a genre has been to embody an American popular mythology. By doubling romantic relationships with the energy and beauty of song and dance, the musical endows courting with magical qualities. Music and spectacle were generated by the energy of successful cour...
