An American in Paris (1951)

Featured Audience Ratings

• Chris W

  
  Using the music of George Gershwin as a foundation, Vincente Minnelli directs this Oscar winner about an American G.I. named Jerry living as an expat in Paris who, while trying to make a living as a painter, not only falls in love with Paris, but also with a young perfume shop clerk… More
  Using the music of George Gershwin as a foundation, Vincente Minnelli directs this Oscar winner about an American G.I. named Jerry living as an expat in Paris who, while trying to make a living as a painter, not only falls in love with Paris, but also with a young perfume shop clerk named Lise. Unfortunately, Lise is engaged, unbeknownst to Jerry. Not only that, but he's also unaware that a woman who has taken an interest in his work is actually more interested in him than his paintings. Okay, so the story isn't all that impressive, and neither are the characters, but the film is still a success, if only because of the whole style over substance thing (in one of the cases where this is ultimately good instead of bad). With Gene Kelly in the lead, you know there's gonna be some great song and dance numbers, and this film doesn't disappoint. The crowining achievement here is the 17 minute ballet that makes up the film's climax: a real shostopper of a number set to the Gershwin piece the film is named after. In this one sequence alone, the audience is treated to a excellent narrative told through dance and music (but no words) that features soem excellent Impressionst style costumes and sets. It's a great moment, and the whole film could have been excellent had it all been like this. It's not though, but I still kinda like it. The characters are likeable, even though not much is done to really develop them substantially or make you care about them immensenly. The perforamnces are at least decent. Kelly is of course terrific, and Leslie Caron does a good job in her film debut as Lise. Nina Foch is also good, but I could have used more of her. All in all, a decent musical, but nothing tremednously special. It sure could have been, but it's not. I do like it though, and think that if you have an interest in any of the cast, the director, musicals, or Gershwin, then you'd do well to give it a watch...just don't expect it to be the Oscar masteriece it was hailed as being though.

• Matheus C

  
  Vincente Minnelli pode ser considerado um dos principais responsáveis por elevar o gênero de filme musical ao status de arte. Ainda que não seja a melhor de suas obras (estas são Agora Seremos Felizes e Gigi), Sinfonia de Paris impressionou o bastante na época a ponto de levar seis… More
  Vincente Minnelli pode ser considerado um dos principais responsáveis por elevar o gênero de filme musical ao status de arte. Ainda que não seja a melhor de suas obras (estas são Agora Seremos Felizes e Gigi), Sinfonia de Paris impressionou o bastante na época a ponto de levar seis estatuetas na noite do Oscar, incluindo a de Melhor Filme. Escrito por Alan Jay Lerner (mais tarde responsável por Gigi e My Fair Lady), o roteiro de Sinfonia de Paris não escapa do arquétipo padrão de musicais da Metro: como perfeitamente descrito por Frank Sinatra em Isto Era Hollywood, "garoto conhece garota, garoto perde garota, garoto canta e consegue a garota." Neste caso, o garoto é Jerry Mulligan (Gene Kelly), ex-soldado que agora se dedica à pintura na cidade das luzes. A garota é uma estreante Leslie Caron que, apesar de ter alcançado grande sucesso em outros filmes, aqui claramente demonstra não ter total consciência do que fazer quando não está dançando. O lado subversivo do romance é que, ao mesmo tempo em que vivem um affair, ambos vão para a cama de pessoas diferentes (ou assim subentende-se): ela para a de um cantor amigo de Jerry (Georges Guétary) e ele para a de uma mulher mais velha que patrocina sua arte (Nina Foch). Esta ruptura de caráter que faz do personagem de Kelly um semi-gigolô o torna mais interessante do que o tradicional "sujeito boa praça" interpretado pelo ator durante toda sua filmografia (e a decisão de vestir o bailarino em collants revela mais sobre o Minnelli do que pode ficar explícito na tela). A história é, no entanto, apenas um pretexto para a apresentação de clássicas canções do vasto repertório de George Gershwin (incluindo "I Got Rhythm" e "S' Wonderful"). Os números musicais possuem uma série de predicados próprios, embaladas pela sempre criativa coreografia de Kelly e pelo fantástico tato na direção de arte de Minnelli. De fato, torna-se tão fácil se deixar seduzir pelo seu "cinema dos sonhos" (como definiram os críticos da Cahiers du Cinema) e acabar suprimindo as falhas narrativas do filme. Mas o que fez Sinfonia de Paris realmente conquistar seu lugar na história do cinema foram os frenéticos dezoito minutos finais: uma sequência única de balé onde o casal revive sua história de amor utilizando pinturas de consagrados artistas impressionistas franceses como cenário. É neste momento em que o perfeito casamento da arte de Kelly e de Minnelli criam algumas das mais belas imagens já capturadas em película. Se a cena final é apressada e obviamente calculada é porque o diretor sabia que nada conseguiria superar aqueles momentos. Melhor mesmo é se retirar enquanto se está no topo.

• AJ V

  
  The story wasn't all that bad until they decided to add silly song and dance numbers, which last over 10 minutes long. I was so annoyed with this movie.

• Randy T

  
  Make no mistake about it, <i>An American in Paris</i> is all about the dance. Sure there are vocals and instrumentals and even a bit of a story, but it's all to support the high-stepping promenade. A real technicolor extravaganza.

• Jeremy S

  
  Best Picture Academy Award-winning film, with the unbelievably great dancer and signer Gene Kelly. A perfect showcase for dazzling scenes built around Gershwin's great score. With the great song 'I Got Rhythm'. Visually beautiful love story and the great ballet… More
  Best Picture Academy Award-winning film, with the unbelievably great dancer and signer Gene Kelly. A perfect showcase for dazzling scenes built around Gershwin's great score. With the great song 'I Got Rhythm'. Visually beautiful love story and the great ballet sequence, filmed in the style of Impressionist paintings, is legendary. Songs include "I Got Rhythm," "Embraceable You," "S'Wonderful," and the title song are the best.

• First L

  
  As far as musicals go, "An American in Paris" is a fairly enjoyable one, even if the long ballet sequence at the end feels tacked on. Leslie Caron is quite a stunningly attractive girl. It's a conventional plot involving a beautiful girl who falls in love with a… More
  As far as musicals go, "An American in Paris" is a fairly enjoyable one, even if the long ballet sequence at the end feels tacked on. Leslie Caron is quite a stunningly attractive girl. It's a conventional plot involving a beautiful girl who falls in love with a dancing painter, but has committed herself to the older singing gentleman who helped her out during the war. Likewise, the dancing painter has been ensnared by an art-loving sponsor who seems just as interested in his body as she does in his body of work. Did I mention Leslie Caron is a knockout? Gene Kelly is his typically graceful and talented self as well and Gene Kelly fans should be very pleased with the film. But the movie pushes it's nearly 2 hour running time to the limit and could've used some judicious editing. I enjoyed the "french" atmosphere, but I can't recall any of the songs (a problem I don't have with director vincente Minnelli's later film, "Gigi"). Personally, I found Kelly's performance as a tortured artist to be less convincing than some of his other roles. This film won the academy award for best picture.

• danny d

  
  without question one of my favorite musicals of all time. kelly is the greatest musical actor and despite the greatness of singin in the rain i think this is his best movie. laslie caron is one of the most beautiful women ive ever seen on screen and the music, acting, locations, and… More
  without question one of my favorite musicals of all time. kelly is the greatest musical actor and despite the greatness of singin in the rain i think this is his best movie. laslie caron is one of the most beautiful women ive ever seen on screen and the music, acting, locations, and story are all perfect. the only thing holding this entire film back from perfection is an ending that misses the more romantic climax for the sake of being "neat", but overall this is a classic and must see for fans of film.

• jay n

  
  The final ballet is indeed impressive, Oscar Levant lends his trademark goofy charm and Leslie Caron exudes gamine charm but the base story is trite and its somewhat difficult to see why this is so revered.

• Cindy I

  
  A musical for people who don't like musicals. My problem with musicals is how I hate for people to just burst out in song for no reason. What I like about this film is that every musical break relates to the plot of the film. It doesn't necessarily advance the story, but at… More
  A musical for people who don't like musicals. My problem with musicals is how I hate for people to just burst out in song for no reason. What I like about this film is that every musical break relates to the plot of the film. It doesn't necessarily advance the story, but at least it makes sense. Gene Kelly is tremendous as always, but Leslie Caron shines in her first movie role.

• Jennifer X

  
  This is grrreat! Leslie Caron proves to be the only person able to keep up with Gene Kelly's MAD dancing.

• moon r

  
  again with the tryin' too hard, mr. kelly...but sometimes to stunning effect in this celestial effort to give the yokels more than what they asked for and to get into the history books as well

• Michael G

  
  Not bad, but not great. The warbling Frenchman killed it for me.

• Leigh R

  
  Didn't intrigue me like I thought it would.

• Eric H

  
  In an age when references to Mars are dropped from movie titles and Greedo shoots first it's hard to believe there was a time when Hollywood didn't fear it's audience. At the time this was made, cinemagoers were led by Hollywood, today it's quite the opposite. Take… More
  In an age when references to Mars are dropped from movie titles and Greedo shoots first it's hard to believe there was a time when Hollywood didn't fear it's audience. At the time this was made, cinemagoers were led by Hollywood, today it's quite the opposite. Take the central character Jerry Mulligan as played by Kelly. On paper he's quite unlikable, one of those movie characters you would despise if you encountered in real life. He's basically a wastrel, living off the goodwill of his friends while attempting to bed their girlfriends. His treatment of "older" woman Foch, his sole benefactor and supporter of his art, is quite cruel. (I say "older" as Foch was actually ten years younger than her male lead at the time.) But in the movies we are so often seduced by the bad guy and Kelly oozes badass charisma. Despite him being a bit of a dick we can't help root for him in his attempts to make Caron a little less wide eyed and innocent. As is to be expected the movie is full of bright and breezy dance numbers but there's a darkness in it's heart. Levant's character is so gloomily pensive it's hard not to imagine him found hanged in his dingy Parisian apartment soon after the events of the movie. Likewise Foch, a rich American who finds she has plenty of money but few friends. Even the innocent and toothy Caron seems on the cusp of going all "Betty Blue" on Kelly. Strangely for an American film, the most likable character is a Frenchman, Guetary, the only character who really seems at ease with life. The music and lyrics are famously by the Gershwin brothers (though not composed specifically for the movie) and include such memorable standards as "Our Love is Here to Stay", "I Got Rhythm" and "S'Wonderful". The lyric free closing number is a stunning mix of twentieth century American show tune and late nineteenth century Russian ballet. If a modern director wanted to end his film with a dialogue free twenty minutes the producers would have a fit. In 1951 audiences sensibilities hadn't been ruined by TV yet and so this was quite acceptable. The plot is put aside for a hypnotically lit and wildly choreographed production, full of surrealistic imagery and kinetic camerawork. This was the first color film to win an Oscar since "Gone With The Wind", and what color! It's hard to believe this wasn't photographed by the same DP responsible for "The Band Wagon", but in the studio system technicians were talented enough to be interchangeable. A director of Minnelli's vision could adapt any cinematographer to his vision. Kelly wanted this to be actually filmed in Paris but thankfully Minnelli got his way and shot it completely on the backlot. Had it been shot on location I don't think it would be half the movie as the director's magic realism sensibility would have been compromised. It's not so easy to stage complex dance numbers in the cramped streets of a European city. If you want an accomplished yet fun feast of film-making with a melancholy undertow this is well worth your time. S'wonderful!

• Mike N

  
  [b]Obscurity is the refuge of the incompetent.[/b] - [color=DarkOliveGreen]Robert Heinlein[/color] [b]My mind to me a kingdom is, Such present joys therein I find, That it excels all other bliss That earth affords or grows by kind: Though much I… More
  [b]Obscurity is the refuge of the incompetent.[/b] - [color=DarkOliveGreen]Robert Heinlein[/color] [b]My mind to me a kingdom is, Such present joys therein I find, That it excels all other bliss That earth affords or grows by kind: Though much I want though most would have, Yet still my mind forbids to crave.[/b] - [color=RoyalBlue]Sir Edward Dwyer[/color] [b]I find a little giggle-gas before I begin gives me immense pleasure.[/b] -[color=SandyBrown] Orin Scrivello[/color] [b]Many times I've lied, many times I've listened Many times I've wondered how much there is to know.[/b] - [color=Gray]Robert Plant[/color] [b]I told myself I'd make an entry about my Halloween costume, but that sort of never materialized. Perhaps I'll resurrect that endeavor, seeing as how my journal is collecting stale fingerprints from users shuffling past it to all the other updates in this asylum. Maybe later tonight I'll update? Yeah, no. Also, this is the best quote you've ever read.[/b] [b]I'll quote myself to prove it. Yeah. No. [/b]- [color=Green]Neum Daddy/Neumthor/NeumDagger/Neumorado Sexington/Somebody Else[/color][b] Perhaps, if I am lucky, the feeble efforts of my lifetime will someday be noticed, and maybe, in some small way, they will be acknowledged as the greatest works of genius ever created by Man.[/b] - Jack Handey[color=Red] [/color][b] Intelligence recognizes what has happened. Genius recognizes what will happen.[/b] - [color=Red]John Ciardi[/color] [b]You know, if I were to die right now, in some sort of fiery explosion due to the carelessness of a friend...well, that would just be ok.[/b] - [color=YellowGreen]Spongebob Squarepants [/color] [b]The problem with the world is that the stupid are cocksure and the intelligent are full of doubt.[/b] - [color=Red]Bertrand Russell[/color] [b]I've finally found someone I can love - a good, clean love...without utensils.[/b] - [color=DeepSkyBlue]Frank Drebin[/color] [b]The vision and the faculty divine; Yet wanting the accomplishment of verse.[/b] - [color=Sienna]William Wordsworth[/color] [b]It's always darkest just before it goes pitch black. [/b]- [color=DarkSlateGray]...uh, modern proverb?[/color] [b]Winning is not everything, but wanting to win is.[/b] - Vince Lombardi [b]Art is dangerous. It is one of the attractions. When it ceases to be dangerous, you don't want it.[/b] -[color=Navy] Duke Ellington[/color] [b]We ask for strength and you give us difficulties which make us strong; We ask for wisdom and you send us problems, the solutions of which develop wisdom; We plead for prosperity and you give us a brain and brawn to work; We plead for courage and you give us dangers to overcome. We ask favors and you give us opportunities; Therefore, Great Spirit, we ask you bless us and assist us according to thy will.[/b] - [color=DarkOrange]Unknown[/color]

• Matthew Y

  
  One of the worst films to ever win Best Picture An American in Paris is a real oddball considering it is sandwiched between two far superior Gene Kelly musicals (On the Town and Singin' in the Rain) and why this was the one they decided to honor is simply baffling. It isn't… More
  One of the worst films to ever win Best Picture An American in Paris is a real oddball considering it is sandwiched between two far superior Gene Kelly musicals (On the Town and Singin' in the Rain) and why this was the one they decided to honor is simply baffling. It isn't so much that it hasn't aged well so much as it has died and has started to decompose. I've heard people refer to the script as problematic, let me tell ya, that's the least of this films worries. With awkwardly ill-advised attempts at witty humor (you can almost hear the crickets) and not even one tolerable song this "Musical" goes down in flames in just about every way a film can. The film almost catches itself in the end with a 16 minute ballet which is easily Kelly's most ambitious and lavished number in any of his films. Unfortunately by this point most will have given up on the production. Being a Gene Kelly fan with was a major appointment to me and one of the Academy Awards biggest blunders.

• Simeon D

  
  Gene Kelly is the man! He's awesome! I mean sure he doesn't show much emotion but that aside he completely fits into his stereotypical obnoxious American "Jack Mulligan". This is a colorful, extravagant, classic Hollywood musical with catchy tunes and choreography… More
  Gene Kelly is the man! He's awesome! I mean sure he doesn't show much emotion but that aside he completely fits into his stereotypical obnoxious American "Jack Mulligan". This is a colorful, extravagant, classic Hollywood musical with catchy tunes and choreography (though both are very unnecessary seeing as they don't relate to the story at all, most of all at the end which is a twenty minute dance-fantasy that doesn't make any sense whatsoever). Should this have won Best Picture: I'm not sure... it is very adult and the lavish production costs are put to good use; but I have to see what other films were nominated.... A Streetcar Named Desire- yeah, yup, screw this, Streetcar should have definitely won. 96/100

• Lord N

  
  I dunno. this is like Hamlet, given its reputation you expect a lot out of it and then you watch it and you go "wow that isn't really as good and its reputation implies". I can appreciate the artistic value and the great choreography and decent songs, hence the 60%. but… More
  I dunno. this is like Hamlet, given its reputation you expect a lot out of it and then you watch it and you go "wow that isn't really as good and its reputation implies". I can appreciate the artistic value and the great choreography and decent songs, hence the 60%. but the rest of the movie wasn't that great. Gene Kelly didn't really do that well and quite frankly neither did anyone else (hence the fact that this was nominated for no acting awards). It was hardly even entertaining. it was entertaining at some points but on the whole it wasn't that great of a movie. I appreciate it, but I don't really like it. the biggest problem that I had, was the stupid 17 minute ballet sequence. it was a little too much for me. it was just sort of pointless I felt. It was a visual masterpiece but it had no merits beyond that. Final Verdict: it really wasn't that great, its visuals and its choreography made it only okay at best. Replacement Winner: A Streetcar Named Desire.

• Ivan D

  
  Though the story was way too simplistic and common for nabbing a Best Picture prize in the Oscars, no one really cannot deny the aesthetic beauty of the Gene Kelly-choreographed dance sequences, particularly the final 17-minutes long, impressionistic dance extravaganza. "An… More
  Though the story was way too simplistic and common for nabbing a Best Picture prize in the Oscars, no one really cannot deny the aesthetic beauty of the Gene Kelly-choreographed dance sequences, particularly the final 17-minutes long, impressionistic dance extravaganza. "An American in Paris" is a musical of enormous quality, and it's victory in the Oscars is not because of the story, or performances, but its pure escapist nature that it has able to captivate and immerse audiences into. Of course, Paris is not a perfect place, nor was any other cities in the world, but for 2 hours, "An American in Paris" has tried to made us believe so, and forget our problems even for that short period of time. And for that, this picture succeeds, a film that showcases one of the basic reasons why we have movies and why do we go to it.

• Juli R

  
  I like Gershwin. And Gene Kelly's dance segments are amazing. The final ballet is the reason to see this movie.

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