Lagerlout’s review published on Letterboxd:
I can't say anything about this film apart from the fact that it is perfect and cannot be improved even the slightest. I watched it almost every day in my early childhood and it has left a profound impact on me. I see it's influence everywhere, it's style, it's pacing, it's amazing camera work and charisma of the three leads.
Arthur Freed and his MGM geniuses knew how to put on a hell of a show and this is the best of the lot. The dance numbers, choreographed by Kelly himself, are magical. It's as if the man floats across the floor, tapping and shuffling and moving in such a way, you know you're watching something only a handful of people have. It cannot be taught, you must be born. His eyes twinkle at you as he glides across the screen.
The costumes and sets are breathtaking, in a time where those types of extravagances were demanded, expected and they sure deliver. Perhaps it's seeing the world of movies, within a movie that makes for such compelling viewing. Many lies are being told, about how musicals are made, how talking pictures were first made (I mean, the Jazz Singer had practically half the film with a man in black face. But they never seem to mention that part...), and about Hollywood in general, but you just don't care as it is so goddamn charming.
I can't fault this film, I'd be surprised to see someone who could. For me it brings together every element I love and it still feels fresh and new today just like it must have in 1952. Arthur Freed, thank you for your never failing genius and for bringing us this wonderful piece of celluloid sunshine. You're my hero.