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On June 25, 2019, The New York Times Magazine listed Gene Kelly among hundreds of artists whose material was reportedly destroyed in the 2008 Universal Studios fire.

A clear progression was evident in his development, from an early concentration on tap and musical comedy style to greater complexity using ballet and modern dance forms. Kelly himself refused to categorize his style: "I don't have a name for my style of dancing... It's certainly hybrid... I've borrowed from the modern dance, from the classical, and certainly from the American folk dance—tap-dancing, jitterbugging... But I have tried to develop a style which is indigenous to the environment in which I was reared." He especially acknowledged the influence of George M. Cohan: "I have a lot of Cohan in me. It's an Irish quality, a jaw-jutting, up-on-the-toes cockiness—which is a good quality for a male dancer to have." He was also heavily influenced by an African-American dancer, Robert Dotson, whom he saw perform at Loew's Penn Theatre around 1929. He was briefly taught by Frank Harrington, an African-American tap specialist from New York. However, his main interest was in ballet, which he studied under Kotchetovsky in the early 1930s. As biographer Clive Hirschhorn explains: "As a child, he used to run for miles through parks and streets and woods—anywhere, just as long as he could feel the wind against his body and through his hair. Ballet gave him the same feeling of exhilaration, and in 1933, he was convinced it was the most satisfying form of self-expression." He also studied Spanish dancing under Angel Cansino, Rita Hayworth's uncle. Generally speaking, he tended to use tap and other popular dance idioms to express joy and exuberance—as in the title song for Singin' in the Rain or "I Got Rhythm" in An American in Paris, whereas pensive or romantic feelings were more often expressed via ballet or modern dance, as in "Heather on the Hill" from Brigadoon or "Our Love Is Here to Stay" from An American in Paris.

Stanley Donen, brought to Hollywood by Kelly to be his assistant choreographer, received co-director credit for On the Town. According to Kelly: "when you are involved in doing choreography for film, you must have expert assistants. I needed one to watch my performance, and one to work with the cameraman on the timing ... without such people as Stanley, Carol Haney, and Jeanne Coyne I could never have done these things. When we came to do On the Town, I knew it was time for Stanley to get screen credit because we weren't boss–assistant anymore but co-creators." Together, they opened up the musical form, taking the film musical out of the studio and into real locations, with Donen taking responsibility for the staging and Kelly handling the choreography. Kelly went much further than before in introducing modern ballet into his dance sequences, going so far in the "Day in New York" routine as to substitute four leading ballet specialists for Sinatra, Munshin, Garrett, and Miller.

Kelly's health declined steadily in the late 1980s. In July 1994, he suffered a stroke and stayed in Ronald Reagan UCLA Medical Center hospital for seven weeks. In early 1995, he had another stroke in Beverly Hills. Kelly died on February 2, 1996 at the age of 83. His body was cremated, without a funeral or memorial service.

Kelly married Patricia Ward in 1990 (when he was 77 and she was 30). Their marriage lasted until his death six years later and she has not remarried since.

In 1989, Kelly voiced a Don Lockwood animatronic on the Great Movie Ride at the Disney-MGM Studios in Orlando, Florida.

On December 22, 1983, the actor's Beverly Hills mansion burned down. Faulty Christmas tree wiring was blamed. His family and pets escaped and he suffered a burnt hand.

Kelly starred in the poorly received action film Viva Knievel! (1977), with the then high-profile stuntman, Evel Knievel. Kelly continued to make frequent TV appearances. His final film role was in Xanadu (1980), a surprise flop despite a popular soundtrack that spawned five Top 20 hits by the Electric Light Orchestra, Cliff Richard and Kelly's co-star Olivia Newton-John. In Kelly's opinion, "The concept was marvelous, but it just didn't come off." In the same year, he was invited by Francis Ford Coppola to recruit a production staff for American Zoetrope's One from the Heart (1982). Although Coppola's ambition was for him to establish a production unit to rival the Freed Unit at MGM, the film's failure put an end to this idea. Kelly served as executive producer and co-host of That's Dancing! (1985), a celebration of the history of dance in the American musical. Kelly's final on-screen appearance was to introduce That's Entertainment! III (1994). His final film project was the animated film Cats Don't Dance, not released until 1997, on which Kelly acted as an uncredited choreographic consultant. It was dedicated to his memory.

In 1970, he made another television special: Gene Kelly and 50 Girls and was invited to bring the show to Las Vegas, Nevada—which he did for an eight-week stint on the condition he be paid more than any artist had ever been paid there. He directed veteran actors James Stewart and Henry Fonda in the comedy Western The Cheyenne Social Club (1970), which performed poorly at the box office. In 1973, he worked again with Frank Sinatra as part of Sinatra's Emmy-nominated TV special, Magnavox Presents Frank Sinatra. He appeared as one of many special narrators in the surprise hit That's Entertainment! (1974). He subsequently directed and co-starred with his friend Fred Astaire in the sequel That's Entertainment, Part II (1976). It was a measure of his powers of persuasion that he managed to coax the 77-year-old Astaire—who had insisted that his contract rule out any dancing, having long since retired—into performing a series of song-and-dance duets, evoking a powerful nostalgia for the glory days of the American musical film.

In 1966, Kelly starred in an hour-long musical television special for CBS titled, Gene Kelly in New York, New York. The special focuses on Gene Kelly in a musical tour around Manhattan, dancing along such landmarks as Rockefeller Center, the Plaza Hotel and the Museum of Modern Art, which serve as backdrops for the show's entertaining production numbers. The special was written by Woody Allen, who also stars alongside Kelly. Guest stars included choreographer Gower Champion, British musical comedy star Tommy Steele, and songstress Damita Jo DeBlanc.

In 1963, Kelly joined Universal Pictures for a two-year stint. He joined 20th Century Fox in 1965, but had little to do—partly due to his decision to decline assignments away from Los Angeles for family reasons. His perseverance finally paid off, with the major box-office hit A Guide for the Married Man (1967), in which he directed Walter Matthau. Then, a major opportunity arose when Fox—buoyed by the returns from The Sound of Music (1965)—commissioned Kelly to direct Hello, Dolly! (1969), again directing Matthau along with Barbra Streisand. The film was nominated for seven Academy Awards and won three.

Kelly continued to make some film appearances, such as Hornbeck in the Hollywood production of Inherit the Wind (1960) and as himself in Let's Make Love (also 1960). However, most of his efforts were now concentrated on film production and directing. In Paris, he directed Jackie Gleason in Gigot (1962), but the film was drastically recut by Seven Arts Productions and flopped. Another French effort, Jacques Demy's homage to the MGM musical, The Young Girls of Rochefort (Les Demoiselles de Rochefort, 1967), in which Kelly appeared, was a box-office success in France and nominated for Academy Awards for Best Music and Score of a Musical Picture (Original or Adaptation), but performed poorly elsewhere.

In 1958, Kelly directed Rodgers and Hammerstein's musical play Flower Drum Song. Early in 1960, Kelly, an ardent Francophile and fluent French speaker, was invited by A. M. Julien, the general administrator of the Paris Opéra and Opéra-Comique, to select his own material and create a modern ballet for the company, the first time an American had received such an assignment. The result was Pas de Dieux, based on Greek mythology, combined with the music of George Gershwin's Concerto in F. It was a major success, and led to his being honored with the Chevalier de la Légion d'Honneur by the French Government.

When Kelly returned to Hollywood in 1953, the film musical was beginning to feel the pressures from television, and MGM cut the budget for his next picture Brigadoon (1954), with Cyd Charisse, forcing him to make the film on studio back lots instead of on location in Scotland. This year also had him appear as guest star with his brother Fred in the "I Love to Go Swimmin' with Wimmen" routine in Deep in My Heart (1954). MGM's refusal to lend him out for Guys and Dolls and Pal Joey put further strains on his relationship with the studio. He negotiated an exit to his contract that involved making three further pictures for MGM. The first of these, It's Always Fair Weather (1955), co-directed with Donen, was a musical satire on television and advertising, and includes his roller-skate dance routine to I Like Myself, and a dance trio with Michael Kidd and Dan Dailey that Kelly used to experiment with the widescreen possibilities of Cinemascope. MGM had lost faith in Kelly's box-office appeal, and as a result It's Always Fair Weather premiered at 17 drive-in theatres around the Los Angeles metroplex. Next followed Kelly's last musical film for MGM, Les Girls (1957), in which he partnered a trio of leading ladies, Mitzi Gaynor, Kay Kendall, and Taina Elg. It, too, sold few movie tickets. The third picture he completed was a co-production between MGM and himself, a cheapie B-film, The Happy Road (1957), set in his beloved France, his first foray in a new role as producer-director-actor. After leaving MGM, Kelly returned to stage work.

His many innovations transformed the Hollywood musical, and he is credited with almost single-handedly making the ballet form commercially acceptable to film audiences. Kelly received an Academy Honorary Award in 1952 for his career achievements, the same year An American in Paris won six Academy Awards, including Best Picture. He later received lifetime achievement awards in the Kennedy Center Honors (1982) and from the Screen Actors Guild and American Film Institute. In 1999, the American Film Institute also ranked him as the 15th greatest male screen legend of Classic Hollywood Cinema.

Then followed in quick succession two musicals that secured Kelly's reputation as a major figure in the American musical film. First, An American in Paris (1951) and—probably the most admired of all film musicals—Singin' in the Rain (1952). As co-director, lead star, and choreographer, Kelly was the central driving force in both of these films. Johnny Green, the head of music at MGM at the time, said of him,

Kelly asked the studio for a straight acting role and he took the lead role in the early mafia melodrama Black Hand (1950). This exposé of organized crime is set in New York's "Little Italy" during the late 19th century and focuses on the Black Hand, a group that extorts money upon threat of death. In real-life incidents upon which this film is based, it was the Mafia, not the Black Hand, who functioned as the villain. Filmmakers had to tread gingerly whenever dealing with big-time crime, it being safer to go after a "dead" criminal organization than a "live" one. There followed Summer Stock (1950)—Garland's last musical film for MGM—in which Kelly performed the "You, You Wonderful You" solo routine with a newspaper and a squeaky floorboard. In his book Easy the Hard Way, Joe Pasternak, head of another of MGM's musical units, singled out Kelly for his patience and willingness to spend as much time as necessary to enable the ailing Garland to complete her part.

MGM wanted Kelly to return to safer and more commercial vehicles, but he ceaselessly fought for an opportunity to direct his own musical film. In the interim, he capitalized on his swashbuckling image as d'Artagnan in The Three Musketeers (also 1948)—and also appeared with Vera-Ellen in the Slaughter on Tenth Avenue ballet in Words and Music (1948 again). He was due to play the male lead opposite Garland in Easter Parade (1948), but broke his ankle playing volleyball. He withdrew from the film and convinced Fred Astaire to come out of retirement to replace him. There followed Take Me Out to the Ball Game (1949), his second film with Sinatra, where Kelly paid tribute to his Irish heritage in "The Hat My Father Wore on St. Patrick's Day" routine. This musical film persuaded Arthur Freed to have Kelly make On the Town (also 1949), in which he partnered with Frank Sinatra for the third and final time. A breakthrough in the musical film genre, it has been described as "the most inventive and effervescent musical thus far produced in Hollywood."

Kelly was a lifelong supporter of the Democratic Party. His period of greatest prominence coincided with the McCarthy era in the US. In 1947, he was part of the Committee for the First Amendment, the Hollywood delegation that flew to Washington to protest at the first official hearings by the House Committee on Un-American Activities. His first wife, Betsy Blair, was suspected of being a communist sympathizer, and when United Artists, which had offered Blair a part in Marty (1955), were considering withdrawing her under pressure from the American Legion, Kelly successfully threatened MGM's influence on United Artists with a pullout from It's Always Fair Weather unless his wife was restored to the part. He used his position on the board of directors of the Writers Guild of America West on a number of occasions to mediate disputes between unions and the Hollywood studios.

After Kelly returned to Hollywood in 1946, MGM had nothing planned and used him in a routine, black-and-white movie: Living in a Big Way (1947). The film was considered so weak that the studio asked Kelly to design and insert a series of dance routines; they noticed his ability to carry out such assignments. This led to a lead part in his next picture, with Judy Garland and director Vincente Minnelli—a musical film version of S.N. Behrman's play, The Pirate (1948), with songs by Cole Porter, in which Kelly plays the lead opposite Garland. The Pirate gave full rein to Kelly's athleticism. It features Kelly's work with the Nicholas Brothers—the leading black dancers of their day—in a virtuoso dance routine. Now regarded as a classic, the film was ahead of its time, but flopped at the box office.

Kelly is best known today for his performances in films such as Anchors Aweigh (1945), for which he was nominated for an Academy Award for Best Actor, On the Town (1949), which was his directorial debut, An American in Paris (1951), Singin' in the Rain (1952), Brigadoon (1954), and It's Always Fair Weather (1955). Kelly made his film debut with Judy Garland in For Me and My Gal (1942), and followed by Du Barry Was a Lady (1943), Thousands Cheer (1943), The Pirate (1948), Summer Stock (1950), and Les Girls (1957) among others. After musicals he starred in two films outside the musical genre: Inherit the Wind (1960) and What a Way to Go! (1964). In 1967, he appeared in French director Jacques Demy's musical comedy The Young Girls of Rochefort opposite Catherine Deneuve. Kelly directed films without a collaborator, including the comedy A Guide for the Married Man (1967) starring Walter Matthau, and the musical Hello, Dolly! (1969) starring Barbra Streisand the latter of which was nominated for the Academy Award for Best Picture. Kelly co-hosted and appeared in Ziegfeld Follies (1946), That's Entertainment! (1974), That's Entertainment, Part II (1976), That's Dancing! (1985), and That's Entertainment, Part III (1994).

He achieved a significant breakthrough as a dancer on film when MGM lent him to Columbia to work with Rita Hayworth in Cover Girl (1944), a film that foreshadowed the best of his future work. He created a memorable routine dancing to his own reflection. Despite this, critic Manny Farber was moved to praise Kelly's "attitude", "clarity", and "feeling" as an actor while inauspiciously concluding, "The two things he does least well—singing and dancing—are what he is given most consistently to do." At the end of 1944, Kelly enlisted in the U.S. Naval Air Service and was commissioned as lieutenant, junior grade. He was stationed in the Photographic Section, Washington D.C., where he was involved in writing and directing a range of documentaries, and this stimulated his interest in the production side of filmmaking.

Selznick sold half of Kelly's contract to Metro-Goldwyn-Mayer for his first motion picture: For Me and My Gal (1942) starring Judy Garland. Kelly claimed to be "appalled at the sight of myself blown up 20 times. I had an awful feeling that I was a tremendous flop." For Me and My Gal performed very well, and in the face of much internal resistance, Arthur Freed of MGM picked up the other half of Kelly's contract. After appearing in a B movie drama, Pilot No. 5 (1943) and in Christmas Holiday (1944), he took the male lead in Cole Porter's Du Barry Was a Lady (1943) with Lucille Ball (in a part originally intended for Ann Sothern). His first opportunity to dance to his own choreography came in his next picture, Thousands Cheer (1943), where he performed a mock-love dance with a mop. Unusually, in Pilot No. 5, Kelly played the antagonist.

Offers from Hollywood began to arrive, but Kelly was in no hurry to leave New York. Eventually, he signed with David O. Selznick, agreeing to go to Hollywood at the end of his commitment to Pal Joey, in October 1941. Prior to his contract, he also managed to fit in choreographing the stage production of Best Foot Forward.

In 1940, he got the lead role in Rodgers and Hart's Pal Joey, again choreographed by Robert Alton. This role propelled him to stardom. During its run, he told reporters: "I don't believe in conformity to any school of dancing. I create what the drama and the music demand. While I am a hundred percent for ballet technique, I use only what I can adapt to my own use. I never let technique get in the way of mood or continuity." His colleagues at this time noticed his great commitment to rehearsal and hard work. Van Johnson—who also appeared in Pal Joey—recalled: "I watched him rehearsing, and it seemed to me that there was no possible room for improvement. Yet he wasn't satisfied. It was midnight and we had been rehearsing since 8 in the morning. I was making my way sleepily down the long flight of stairs when I heard staccato steps coming from the stage ... I could see just a single lamp burning. Under it, a figure was dancing ... Gene."

Kelly's first big breakthrough was in the Pulitzer Prize–winning The Time of Your Life, which opened on October 25, 1939—in which, for the first time on Broadway, he danced to his own choreography. In the same year, he received his first assignment as a Broadway choreographer, for Billy Rose's Diamond Horseshoe. He began dating a cast member, Betsy Blair, and they got married on October 16, 1941.

After a fruitless search for work in New York, Kelly returned to Pittsburgh to his first position as a choreographer with the Charles Gaynor musical revue Hold Your Hats at the Pittsburgh Playhouse in April 1938. Kelly appeared in six of the sketches, one of which, La cumparsita, became the basis of an extended Spanish number in the film Anchors Aweigh eight years later.

Kelly eventually decided to pursue a career as a dance teacher and full-time entertainer, so he dropped out of law school after two months. He increased his focus on performing and later claimed: "With time I became disenchanted with teaching because the ratio of girls to boys was more than ten to one, and once the girls reached 16, the dropout rate was very high." In 1937, having successfully managed and developed the family's dance-school business, he finally did move to New York City in search of work as a choreographer. Kelly returned to Pittsburgh, to his family home at 7514 Kensington Street, by 1940, and worked as a theatrical actor.

His family opened a dance studio in the Squirrel Hill neighborhood of Pittsburgh. In 1932, they renamed it the Gene Kelly Studio of the Dance and opened a second location in Johnstown, Pennsylvania, in 1933. Kelly served as a teacher at the studio during his undergraduate and law-student years at Pitt. In 1931, he was approached by the Beth Shalom Synagogue in Pittsburgh to teach dance, and to stage the annual Kermesse. The venture proved a success, Kelly being retained for seven years until his departure for New York.

In 1931, Kelly enrolled at the University of Pittsburgh to study economics, joining the Theta Kappa Phi fraternity (later known as Phi Kappa Theta after merging with Phi Kappa). He became involved in the university's Cap and Gown Club, which staged original musical productions. After graduating in 1933, he continued to be active with the Cap and Gown Club, serving as the director from 1934 to 1938. Kelly was admitted to the University of Pittsburgh Law School.

He also sought to break from the class-conscious conventions of the 1930s and early 40s, when top hat and tails or tuxedos were the norm, by dancing in casual or everyday work clothes, so as to make his dancing more relevant to the cinema-going public. As his first wife, actress and dancer Betsy Blair explained: "A sailor suit or his white socks and loafers, or the T-shirts on his muscular torso, gave everyone the feeling that he was a regular guy, and perhaps they, too, could express love and joy by dancing in the street or stomping through puddles ... he democratized the dance in movies." In particular, he wanted to create a completely different image from that associated with Fred Astaire, not least because he believed his physique did not suit such refined elegance: "I used to envy his cool, aristocratic style, so intimate and contained. Fred wears top hat and tails to the Manor born—I put them on and look like a truck driver."

By the time he decided to dance, he was an accomplished sportsman and able to defend himself. He attended St. Raphael Elementary School in the Morningside neighborhood of Pittsburgh and graduated from Peabody High School at age 16. He entered the Pennsylvania State College as a journalism major, but after the 1929 crash, he left school and found work in order to help his family financially. He created dance routines with his younger brother Fred to earn prize money in local talent contests. They also performed in local nightclubs.

Eugene Curran Kelly (August 23, 1912 – February 2, 1996) was an American actor, dancer, singer, filmmaker, and choreographer. He was known for his energetic and athletic dancing style, his good looks, and the likable characters that he played on screen. He starred in, choreographed, or co-directed some of the most well-regarded musical films of the 1940s and 1950s, until they fell out of fashion in the late 1950s.