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Un Americano en París

Título original: An American in Paris
  • 1951
  • Approved
  • 1h 54min
CALIFICACIÓN DE IMDb
7.1/10
38 k
TU CALIFICACIÓN
Gene Kelly and Leslie Caron in Un Americano en París (1951)
Watch the trailer for the Oscar-winning film An American in Paris, starring Gene Kelly and Leslie Caron.
Reproducir trailer3:39
1 video
99+ fotos
Classic MusicalJukebox MusicalDramaMusicalRomance

Tres amigos tratan de encontrar trabajo en París. Las cosas se complican cuando dos de ellos se enamoran de la misma mujer.Tres amigos tratan de encontrar trabajo en París. Las cosas se complican cuando dos de ellos se enamoran de la misma mujer.Tres amigos tratan de encontrar trabajo en París. Las cosas se complican cuando dos de ellos se enamoran de la misma mujer.

  • Dirección
    • Vincente Minnelli
  • Guionista
    • Alan Jay Lerner
  • Elenco
    • Gene Kelly
    • Leslie Caron
    • Oscar Levant
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    7.1/10
    38 k
    TU CALIFICACIÓN
    • Dirección
      • Vincente Minnelli
    • Guionista
      • Alan Jay Lerner
    • Elenco
      • Gene Kelly
      • Leslie Caron
      • Oscar Levant
    • 213Opiniones de los usuarios
    • 82Opiniones de los críticos
    • 83Metascore
  • Ver la información de producción en IMDbPro
    • Ganó 6 premios Óscar
      • 13 premios ganados y 8 nominaciones en total

    Videos1

    An American in Paris: Trailer
    Trailer 3:39
    An American in Paris: Trailer

    Fotos131

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    Elenco principal99+

    Editar
    Gene Kelly
    Gene Kelly
    • Jerry Mulligan
    Leslie Caron
    Leslie Caron
    • Lise Bouvier
    Oscar Levant
    Oscar Levant
    • Adam Cook
    Georges Guétary
    Georges Guétary
    • Henri Baurel
    • (as Georges Guetary)
    Nina Foch
    Nina Foch
    • Milo Roberts
    Robert Ames
    • Ballet Dancer
    • (sin créditos)
    Joan Anderson
    Joan Anderson
    • Child in Ballet
    • (sin créditos)
    Marie Antoinette Andrews
    • News Vendor
    • (sin créditos)
    Larry Arnold
    • Frenchman
    • (sin créditos)
    Martha Bamattre
    • Mathilde Mattieu
    • (sin créditos)
    Felice Basso
    • Ballet Dancer
    • (sin créditos)
    Charles Bastin
    Charles Bastin
    • Smiling Young Man
    • (sin créditos)
    Joan Bayley
    • Ballet Dancer
    • (sin créditos)
    Janine Bergez
    • Girl
    • (sin créditos)
    Rodney Bieber
    • Ballet Dancer
    • (sin créditos)
    Madge Blake
    Madge Blake
    • Edna Mae Bestram
    • (sin créditos)
    Ralph Blum
    • Patron at Flodair Café
    • (sin créditos)
    Nan Boardman
    • Maid
    • (sin créditos)
    • Dirección
      • Vincente Minnelli
    • Guionista
      • Alan Jay Lerner
    • Todo el elenco y el equipo
    • Producción, taquilla y más en IMDbPro

    Opiniones de usuarios213

    7.138.3K
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    Opiniones destacadas

    8ArtVandelayImporterExporter

    I am baffled

    This film has Gene Kelly, the Gershwins, Technicolor and a huge budget. From my perspective, all are put to fine use.

    I could hardly believe when I saw it's Eye Emm Dee Bee rating barely cracked 7. Wuh? When every film noir turkey gets 6+ and everything cranked out by talentless hacks from Arnold to Bruce Willis to Keanu to every superhero movie ever made gets 8+??

    Reading the reviews actually depressed me more. People complaining about there being too much singing and dancing? In a musical!!

    Thin on plot ! A musical is not Dickens. It's singing and dancing. You know, escapism.

    And then the whining about it not deserving the Best Picture Oscar. Uh, get over it. That was 70 years ago. Nobody reviewing here was alive to be at an Oscar home party that night.

    If you can't enjoy a film of dancing and singing draped over Gershwin music there is something seriously wrong with you. Fear not, Avengers 12: The Endquickeninggame is coming to a streaming service near you.
    9bkoganbing

    Experiencing Paris With Gershwin

    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.
    8gaityr

    He's got rhythm...

    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!
    delh1

    The dream film that altered my life!

    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!
    8TheLittleSongbird

    Overlong and rather slight in the story, but the music and choreography more than makes up for it

    I am a fan of musicals, and while I don't consider An American in Paris as a direct favourite of mine I still enjoyed it regardless. I agree it is overlong, and the story is very slight here and plays second-fiddle to the music, choreography and such, thankfully all of which make up for it. The cinematography is beautiful, as are the luscious costumes, while the Technicolour is simply marvellous. The choreography is very clever and well-staged, Gene Kelly dances with real athleticism and the 17 minute long ballet sequence while criticised for being overlong and dated is very balletic and I think interesting. And George Gershwin's(Porgy and Bess) score is superb, particularly the charming I Got Rhythm sequence and I'll Build a Staircase to Paradise. Gene Kelly is fine in his role, and Leslie Caron's debut actually is pretty good. Vincente Minelli does well directing. All in all, not a favourite but I still really liked it. 8/10 Bethany Cox

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    Argumento

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    • Trivia
      Leslie Caron had suffered from malnutrition during World War II and was not used to the rigorous schedule of filming a movie. Because she would tire so easily, she was only able to work every other day to the annoyance of Gene Kelly.
    • Errores
      Adam is seen in his studio three times. When first seen, he is alone and playing a black baby grand. The second time, he is playing a brown baby grand upon which Jerry dances. In the third sequence, he is again alone and playing the black grand. Perhaps the brown piano was fashioned to accommodate and withstand Jerry's dancing on it.
    • Citas

      Jerry Mulligan: That's... quite a dress you almost have on.

      Milo Roberts: Thanks.

      Jerry Mulligan: What holds it up?

      Milo Roberts: Modesty.

    • Créditos curiosos
      And Presenting The American In Paris Ballet
    • Versiones alternativas
      In 1995 a restored version was prepared for release on video/laserdisc, with the 18-minute ending ballet soundtrack reprocessed in stereo.
    • Conexiones
      Edited into Histoire(s) du cinéma: Seul le cinéma (1994)
    • Bandas sonoras
      Our Love Is Here to Stay
      (1937) (uncredited)

      Music by George Gershwin

      Lyrics by Ira Gershwin

      Sung by Gene Kelly

      Danced by Gene Kelly and Leslie Caron

      Played often in the score as the love theme between Jerry and Lise

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    Preguntas Frecuentes24

    • How long is An American in Paris?Con tecnología de Alexa
    • What is 'An American in Paris' about?It's about one hour and fifty-four minutes.
    • Is 'An American in Paris' based on a book?
    • What make was Milo's green convertible?

    Detalles

    Editar
    • Fecha de lanzamiento
      • 9 de abril de 1952 (México)
    • País de origen
      • Estados Unidos
    • Idiomas
      • Inglés
      • Francés
      • Alemán
    • También se conoce como
      • Un americano en París
    • Locaciones de filmación
      • París, Francia(second unit exterior photography)
    • Productora
      • Loew's
    • Ver más créditos de la compañía en IMDbPro

    Taquilla

    Editar
    • Presupuesto
      • USD 2,723,903 (estimado)
    • Total en EE. UU. y Canadá
      • USD 267,824
    • Fin de semana de estreno en EE. UU. y Canadá
      • USD 182,606
      • 19 ene 2020
    • Total a nivel mundial
      • USD 275,077
    Ver la información detallada de la taquilla en IMDbPro

    Especificaciones técnicas

    Editar
    • Tiempo de ejecución
      1 hora 54 minutos
    • Relación de aspecto
      • 1.37 : 1

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