Un americano en París

I enjoyed this film. It was lighthearted, delightful, and very colorful. You can see that MGM was showing off Technicolor. There are hardly any colors that do not appear in this film. Every scene is packed full. The choreography was great. Gene Kelly is a wonder. He is so talented. The dance numbers in this film are all perfectly executed, and perfectly designed. He understands that the dances can tell the story as much as anything else. The last section of the film, the grand dance sequence, is very impressive. What makes this film very special is Gershwin's music. Few American composers have had a better gift for melody. I very much enjoy Gershwin's music. It is enchanting. Ira Gershwin is definitely one of the greatest lyric writers. He is so witty and charming. This was a highly entertaining film.

Gene Kelly came up with some really grand ideas for musicals while with MGM. Here he's at the top of his creative powers working with the Arthur Freed musical unit. Hard to believe when you watch An American In Paris that the players never left the back lot at MGM.

The magic of An American In Paris is due to the creative editing under the direction of Vincent Minnelli and the sets that MGM designed blended with some background establishing shots. The idea of the film originated with Kelly who wanted simply to do a film with a lengthy ballet sequence involving George Gershwin's tone poem An American in Paris. It sounded good to Arthur Freed who approached Ira Gershwin who said fine with him as long as they used other Gershwin material.

Gershwin got the kind of deal for Gershwin music that Irving Berlin normally got. Not one note of non-Gershwin music is heard in An American in Paris. Listen to some of the background music and you will hear things like Embraceable You and But Not For Me which are not real musical numbers.

Another guy who was a fair hand at writing lyrics, Alan Jay Lerner, wrote the story which admittedly is a thin one. All about an ex-GI played by Gene Kelly who after World War II never left France, just settled into an apartment on the Left Bank and proceeded to become a starving artist. He lives with eccentric composer Oscar Levant and does that ever sound like a redundancy.

Two women are interested in him. Another expatriate American played by Nina Foch who wants to sponsor him as a painter if he'll reciprocate in other matters. But Kelly falls for a shop girl played by Leslie Caron in her film debut. Caron also has musical comedy star Georges Guetary interested in here.

Of course the plot is just an excuse to sing and dance to the music of George Gershwin. An American in Paris happens to be the first film I ever saw as an in flight movie on the first airplane trip I ever took. I still remember flying back from Phoenix Arizona to Kennedy Airport seeing Gene Kelly doing I've Got Rhythm. My favorite number in the film however is Tra-La-La which Kelly sings and dances all over the apartment with Oscar Levant playing the piano. At one point Kelly dances on top of the baby grand piano.

In a book about Arthur Freed, I read a quote where he said in the American in Paris ballet sequence was to be done with the background of the French impressionists which he felt the public would take to rather than a realistic setting on the streets or back lot. So it happened that way. Kelly had done lengthy ballet sequences in Words and Music, The Pirate, and On the Town. But this one topped them all. Still does in my opinion and that includes some of Gene Kelly's later films.

In a surprise upset at the Oscars, An American In Paris was chosen best picture for 1951, beating out the heavily favored A Streetcar Named Desire. I guess fantasy trumped realism that year. Big budgets also have an upper hand in these things as well.

Still An American in Paris is one of the best movie musicals ever done and since the studios no longer have all that creative talent under one roof, something less likely to be repeated.

In the year of distribution (1951) of An American in Paris, I had just been married. My husband and I saw the film, and laughed and cried over it. We enjoyed the spectacular dancing, the vibrant colors of clothes and sets, and the marvelous Gershwin music. We both swore that someday we would get to Paris.

Sadly, it was not to be for us, as my husband, Thanos, died 24 years later, having been sick for many years.

The following year an old friend invited me to visit him while he was on sabbatical from school. He had spent many years in Paris, teaching English there, and rented a little house in Neuilly. I said no, but all my friends said "GO! It's the opportunity of a lifetime." So I did, and fell in love with that glorious old city.

I cried because Thanos was not with me, and yet I felt he knew I had come here for both of us, and was glad for me. I have since visited the City of Light 5 times, and love it so very much. I am now too old and too disabled to do any more world traveling, but that city of romance is something that will always remind me of Thanos. That's why I still love to see the youthful Gene Kelly and Leslie Caron falling in love as WE were once young and in love - and the glorious city of Paris - the most beautiful place in the world!

Okay, so the plot is on shaky ground. Yeah, all right, so there are some randomly inserted song and/or dance sequences (for example: Adam's concert and Henri's stage act). And Leslie Caron can't really, um, you know... act.

But somehow, 'An American In Paris' manages to come through it all as a polished, first-rate musical--largely on the basis of Gene Kelly's incredible dancing talent and choreography, and the truckloads of charm he seems to be importing into each scene with Caron. (He needs to, because she seems to have a... problem with emoting.)

The most accomplished and technically awe-inspiring number in this musical is obviously the 16-minute ballet towards the end of the film. It's stunningly filmed, and Kelly and Caron dance beautifully. But my favourite number would have to be Kelly's character singing 'I Got Rhythm' with a bunch of French school-children, then breaking into an array of American dances. It just goes to prove how you don't need special effects when you've got some real *talent*.

Not on the 'classics' level with 'Singin' In The Rain', but pretty high up there nonetheless. Worth the watch!

OK, there is no doubt that Gene Kelly can dance, and he can even sing and act passably well. But never have I seen him play a less appealing character than in "An American in Paris". It's one thing to be a lovable rogue, so long as you retain a basic humanity and don't go out of your way to insult the viewer's decency. In some ways "An American in Paris" is Kelly's "Pal Joey", except Frank Sinatra managed to carry off that film by dint of his acting skills.

Part of the plot revolves around his being a painter whose "talent" has been discovered by wealthy patroness Milo (the lovely Nina Foch in an unsympathetic role). Unfortunately for the credibility of the plot, Kelly's paintings are are "motel art" at its worst. (For anyone who questions my credibility: I'm a professional artist and am quite familiar with "the School of the City of Paris" style his paintings ape) And what does Kelly--who supposedly wants to have a solo show "more than anything on earth"--do when it is dropped into his lap by Milo? He promptly does everything to sabotage her interest.

Kelly's interest in Leslie Caron couldn't be more superficial and unbelievable. Despite what others have written here, the scene with Kelly and Caron on the banks of the Seine ("Our Love is Here to Stay") is like the rest of their relationship: stiff, perfunctory and unconvincing.

The story bogs down considerably half-way through, and finally, any semblance of plot or character development is thrown out the window. It's as if director Minelli said "hey, we've got a bunch of great Gershwin Brothers music. Let's stage a big dance finale that is set in Old Paris but has nothing to do with anything else in this film and leaves every story element unresolved". Then, for no reason at all, we'll resolve the plot". What a load of crap.

There is plenty that is visually and audibly appealing in "An American in Paris". The sets and costuming are good, the music is, with few exceptions, excellent. Oscar Levant gives a great supporting performance. But if you want to see Gene Kelly at his best, I recommend watching "Invitation to the Dance" instead, where his considerable dancing skills and charm are unhindered by the very things that cause "An American in Paris" to fail.