An American in Paris (1951)
Jerry Mulligan, a struggling American painter in Paris, is "discovered" by an influential heiress with an interest in more than Jerry's art... (imdb)
Cast and Information
Directed By: Vincente Minnelli
Written By: Alan Jay Lerner
Starring: Gene Kelly, Nina Foch, Leslie Caron, Hayden Rorke, Anna Q. Nilsson, Oscar Levant, Georges Guétary
Genres: Romance, Drama, Musical
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All Ratings | With Reviews
TCI | Percentile | Date Rated | # Stars (Reviews)
Would kill for an outtake where Gene Kelly hoofs one of the kids in the head when doing the propeller thing.
The middle of the film is pretty enchanting with fun dance numbers and good songs and my only real problem with it is that I can't buy someone finding Leslie Caron more attractive than Nina Foch, nor her character more interesting. The beginning is a bit slow but cute, but then the ending is for a totally different film. It's total spectacle, which the rest of the film keeps somewhat in check, and at nearly 20 minutes way too long.
**Spoiler Alert** Gene Kelly does NOT turn into a werewolf at any point in this movie. Would have been a lot better if he had, then he could have car surfed down the Champs Elysee!
Beautifully directed, utterly vacuous nonsense, even by musical standards. Nowhere is this more telling than during the lengthy ballet dream sequence, which is completely captivating compared to the underwritten, lazy plot that surrounds it.
Exemplary of an era in which characters are in love simply because they tell us so, as any other plot would be far too complex. The overindulgent dance sequence at the end is the only remotely interesting thing in a film that is ultimately a glorified showreel, featuring boring characters, uninspired songs and stakes that border on farcical. This movie can go to hell for winning Best Picture and ruining the chances of the following year's true technicolor musical masterpiece.
Imperfect musical with some fine aspects.
A musical with a weak plot, you say? I don't believe it. No, really, never heard anything like it. One might say that the magnetic charm of Gene Kelly & Leslie Caron, beautiful technicolor, song/dance routines, and one hell of a final sequence is all anyone should need, but you do have a point. :eyeroll:
Often insufferable. The romance triangle plot held my attention, barely, and the extended dance at the end made me promise myself to stay away from musicals altogether (except for those with Astaire & Rogers - them I really like).
Joyful and wide-eyed entertainment in glorious Technicolor. As per usual for musicals, plot is just an excuse for singing and dancing and playing music. Seeing how Gene Kelly is responsible for choreography, it's no wonder that this part of the movie is flawless. But the plot is very, very thin, and ends just too abruptly. One of the good MGM musicals, but not among the best.
It has a certain charm, which is mostly due to the enigmatic Gene Kelly. It's easy to appreciate this movie from a technical point of view, but these 40's and 50's smultz-fests really are not my type of movie. They're enjoyable, but so often mildly irritating and patience testing. One viewing of this type of movie is nearly always enough for me.
Not quite as good as "Singing in the Rain," but still a fine musical. The title ballet is wonderful.
Basically an excuse for the lavish 17 minute ballet sequence at the end.
At times it's hard to imagine why this frothy MGM musical won Best Picture; the story is exceedingly thin, and there's a misogynistic quality to the character of Milo which bothered me. And the numbers themselves are a mixed bag; well done but variably memorable. But there are some great moments, the final ballet is undeniably impressive, and the Technicolor is glorious--justifying the Oscars for the sets, costumes, and cinematography. The Oscar for Alan Jay Lerner's script is another matter.
|1||Criteenque (Criteenque Movie Reviews)||
Kelly is a gifted choreographer. He revels in using props and scenery to enhance the complex dance routines, especially in the climactic 16 minute ballet sequence. But the presence of a 16 minute ballet sequence is troubling, to say the least.
Without a doubt the best thing about the film is the 17 minute long ballet section which is an over the top sequence and that is entirely why it is so much fun and any claims of it not fitting in with the film are completely wrong - the film does not fit in with it! Because whereas this long ballet section is vivid, lively, confident and full of expression the rest of the film is decidedly lacking.
|Average Percentile 53.33% from 895 Ratings|