An American in Paris (B or 3/4 stars)
For roughly 3 decades during Hollywood's Golden Era, the Movie Musical was at the height of its popularity. Most of them were box office gold. Most were respected/enjoyed by critics. And a lot of them were showered with major Academy Award nominations. One of the formidable forces in the musical's popularity in the late 1940s-early 50s was Gene Kelly. Thusly, two of his biggest hits were this film, 'American in Paris' {directed by the great Vincente Minnelli) - which won Best Picture & many others - and his follow-up, Singin' in the Rain, which got blanked by the Oscars, except for Jean Hagen's Supporting Actress nomination & a Music nod. Most people prefer the latter film {as I do}, but 'American in Paris' set the stage for it, grandly.
This film traces the exploits of American Jerry Mulligan (Gene Kelly), an ex-G.I. who has stayed in Paris on after WWII to paint. He lives a Bohemian lifestyle in a small room where the bed must be raised using a pulley to give way for room to set-up a breakfast table. He doesn't have much $$ and has yet to sell a painting ... but he's never been happier. His artistry attracts the attention of a wealthy patron of the arts, Milo Roberts (Nina Foch, lovely), who takes it upon herself to champion his artwork and, more particularly, the artist, himself. Jerry is grateful, but not romantically attracted to Milo. It's a different story with Lise Bouvier (Leslie Caron), a French girl he meets at a nightclub one fateful evening. It's love at 1st first sight ... but there's an issue. Lise is engaged to famed singer Henri Baurel (Georges Guetary) and, she is unwilling to end said engagement, even if it means she can't be with Jerry; who she truly loves. Singing, dancing & romantic entanglements ensues.
The overall tone is light & whimsical with a story (written by Alan Jay Lerner) that is fairly paper thin. 'An American in Paris' is more about dancing, singing & mood than it is about depth of plot or characterization. Because of that, I would not have given this film Best Picture; especially when up against such titans as Quo Vadis, A Streetcar Named Desire, A Place in the Sun, even Show Boat {a superior musical, in my estimation}. Now, ya can't argue with this film's style. The Technicolor cinematography & sophisticated camerawork are exceptional. The costumes by Irene Sharaff, Orry-Kelly & Walter Plunkett are sensational. And Cedric Gibbons' (and co.) sets are stupendous. Gene Kelly wanted to shoot the film IN France, but instead, MGM employed the best of the best to create France IN Hollywood.
The movie really only comes to life when the George Gershwin songs & the great musical numbers take center stage. These numbers include: "Nice Work if You Can Get It", "I Got Rhythm", "Embraceable You", "S Wonderful" & "I'll Build a Stairway to Paradise". "Our Love Is Here to Stay", danced by Kelly & Caron in the moonlight along the Seine river, is enchanting. And then there is the final 17 minute "An American in Paris Ballet" sequence that is an homage to Paris' joie de vivre; Kelly & Caron dance into a number of French paintings by Renoir, Rousseau, Van Gosh, Manet, Toulouse-Lautrec & others. It is simply one of the most ambitious dance sequences ever filmed and, single-handedly lifts this film up from 'standard musical' to something as special as it was to actually win Best Picture.
Gene Kelly is quite good, here; though, he comes across kinda jerkish, at times. 19 yr. old Leslie Caron was plucked from relative obscurity when Cyd Charisse couldn't play the role due to her pregnancy. Caron sparkles in the role, but she'd give us heftier performances in years to come. My favorite performance was from Nina Foch as the jealous Milo, whose love for Jerry is unrequited. Georges Guetary makes us really feel for him; he plays Henri as a truly decent man who will genuinely be hurt if - and when - Lise chooses Jerry. And Oscar Levant provides good comic relief as Jerry's cynical wisecracky pianist, Adam.
'An American in Paris' is a visual & aural blast of vibrant entertainment & a celebration of the beauty of life. It is a fine film that contains light romance, fun songs, exquisite dancing, et al ... but its sparse screenplay failed to ignite me. This film should be remembered for its strengths & overall quality than for its questionable Academy Award triumph {along with Best Picture, it won 6 total + an Honoray Award for Gene Kelly's choreography}. C'est la vie.
This film traces the exploits of American Jerry Mulligan (Gene Kelly), an ex-G.I. who has stayed in Paris on after WWII to paint. He lives a Bohemian lifestyle in a small room where the bed must be raised using a pulley to give way for room to set-up a breakfast table. He doesn't have much $$ and has yet to sell a painting ... but he's never been happier. His artistry attracts the attention of a wealthy patron of the arts, Milo Roberts (Nina Foch, lovely), who takes it upon herself to champion his artwork and, more particularly, the artist, himself. Jerry is grateful, but not romantically attracted to Milo. It's a different story with Lise Bouvier (Leslie Caron), a French girl he meets at a nightclub one fateful evening. It's love at 1st first sight ... but there's an issue. Lise is engaged to famed singer Henri Baurel (Georges Guetary) and, she is unwilling to end said engagement, even if it means she can't be with Jerry; who she truly loves. Singing, dancing & romantic entanglements ensues.
The overall tone is light & whimsical with a story (written by Alan Jay Lerner) that is fairly paper thin. 'An American in Paris' is more about dancing, singing & mood than it is about depth of plot or characterization. Because of that, I would not have given this film Best Picture; especially when up against such titans as Quo Vadis, A Streetcar Named Desire, A Place in the Sun, even Show Boat {a superior musical, in my estimation}. Now, ya can't argue with this film's style. The Technicolor cinematography & sophisticated camerawork are exceptional. The costumes by Irene Sharaff, Orry-Kelly & Walter Plunkett are sensational. And Cedric Gibbons' (and co.) sets are stupendous. Gene Kelly wanted to shoot the film IN France, but instead, MGM employed the best of the best to create France IN Hollywood.
The movie really only comes to life when the George Gershwin songs & the great musical numbers take center stage. These numbers include: "Nice Work if You Can Get It", "I Got Rhythm", "Embraceable You", "S Wonderful" & "I'll Build a Stairway to Paradise". "Our Love Is Here to Stay", danced by Kelly & Caron in the moonlight along the Seine river, is enchanting. And then there is the final 17 minute "An American in Paris Ballet" sequence that is an homage to Paris' joie de vivre; Kelly & Caron dance into a number of French paintings by Renoir, Rousseau, Van Gosh, Manet, Toulouse-Lautrec & others. It is simply one of the most ambitious dance sequences ever filmed and, single-handedly lifts this film up from 'standard musical' to something as special as it was to actually win Best Picture.
Gene Kelly is quite good, here; though, he comes across kinda jerkish, at times. 19 yr. old Leslie Caron was plucked from relative obscurity when Cyd Charisse couldn't play the role due to her pregnancy. Caron sparkles in the role, but she'd give us heftier performances in years to come. My favorite performance was from Nina Foch as the jealous Milo, whose love for Jerry is unrequited. Georges Guetary makes us really feel for him; he plays Henri as a truly decent man who will genuinely be hurt if - and when - Lise chooses Jerry. And Oscar Levant provides good comic relief as Jerry's cynical wisecracky pianist, Adam.
'An American in Paris' is a visual & aural blast of vibrant entertainment & a celebration of the beauty of life. It is a fine film that contains light romance, fun songs, exquisite dancing, et al ... but its sparse screenplay failed to ignite me. This film should be remembered for its strengths & overall quality than for its questionable Academy Award triumph {along with Best Picture, it won 6 total + an Honoray Award for Gene Kelly's choreography}. C'est la vie.