Gjon Mili, “Gene Kelly in a multiple-exposure dance sequence", 1944

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People of my generation, post World War II “baby boomers” were educated visually by LIFE Magazine. It was the core of our photographic education and most of work was representational and humanistic reportage.

Every so often the magician would report on innovation like the photography of Gjon Mili (1904-1984), and in particular, his work with Harold Edgerton of MIT and his stop action series using stroboscopic light and electronic flash.

Gjon Mili, “Dancer and actor Gene Kelly in a multiple-exposure dance sequence from the movie ‘Cover Girl’”, 1944, LIFE Picture Collection

The multi-exposure sequence with Gene Kelly re-exploring a dance from the 1944 movie “Cover Girl” in the photographer’s studio is stunning if only as a photographic accomplishment. All of the action is in focus; there is no blur with the dancer whizzing by. Psychologically the dance is striking in the film because Kelly’s character is doubled. He is mirroring his alter ego, dancing with his conscience, an unusual coupling. It looks like an animation of the classic action of a mime escaping an invisible box — to unheard music. Mili captures and Kelly exudes grace, athleticism, masculinity even romance on a spare white line of a horizon.

It does actually seem to be an act of self revelation.

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