Rating: 
Summary: Great Musical Numbers--But That's All
Review: Famed musical director Vincent Minnelli strained the extensive powers of MGM to create a showcase for Gene Kelly's brilliant choreography set against some of George Gershwin's finest music--and the result is a creative fire the likes of which Hollywood has seldom seen. This does not, however, change the fact that film which encompasses these musical numbers is one of the most profoundly boring motion pictures committed to the screen. As a matter of fact, whenever Kelly and company aren't singing and dancing, AN AMERICAN IN PARIS becomes a purely pedestrian affair.To describe the story as unimaginative would be a profound understatement. Gene Kelly is an All-American G.I. who has settled in France to study art, and his work attracts the attention of wealthy Nina Foch--but Nina isn't interested in Gene purely for his way with a paint brush. Her patronage means Gene can pay the rent, so he strings her along for a bit hoping he might eventually feel something for her, but then he falls hard for Parisian Leslie Caron. And maybe Leslie loves him and maybe not. What to do? Both the story and its execution are so predictable that I stopped caring about the characters and starting wishing they would all shut up about it long before the story ended. The sheer brilliance of the musical numbers actually highlights the weak story and mundane dramatic performances. For the most part the musical numbers actually have very little to do with this extremely tired story--they are just scattered here and there in the film like the proverbial raisins in rice pudding, and the film as a whole seems all the less interesting by comparison. My recommendation? If you are a serious musical fan you have to see AN AMERICAN IN PARIS for the musical numbers. But they are the only reason to see the movie. Keep your remote handy so you can fast forward over the boring parts--which start the instant the singing and dancing ends and continue on until the singing and dancing begins again. Musical numbers are five star knockouts, but everything else is zip. GFT (Amazon.com Reviewer)
Rating: 
Summary: A Filmed Love Affair with The Dance
Review: Gene Kelly's "An American in Paris" is, without a doubt, one of the best choreographed and cinematically perfect films ever made. Not a single frame of this masterpiece is wasted. Kelly, costars Leslie Caron, Oscar Levant, and character great Nina Foch, under the direction of master filmmaker Vincent Minnelli, are flawless. With the magnificent music of Gershwin, featuring a brilliant piano/orchestral turn by Levant, the movie is the standard by which all musicals should be measured. The final segment is a triumph of sight and sound. "Moulin Rouge" may be the rage now, but "American in Paris" still holds its own after a half century.
Rating:
Summary: S'magnifique
Review: People are always tempted to compare this with Singin' in the Rain, for obvious reasons. (I am guilty of the same thing.) And I concur with most people when I say that it isn't as good as SITR, but it's very good just the same; they're different enough that you can like one without disparaging the other. The best thing about this film (after Gene Kelly) is its sweet, innocent charm. It's gentle and romantic and makes you long for a simpler time. This gentleness carries over to the dance numbers, which are less athletic and physical than those in SITR. The best numbers include Jerry Mulligan's (Kelly's) playful romp with the French children ("Who Could Ask for Anything More?") and "Tra-la-la-la" (with Oscar Levant). Kelly absolutely shines here; his charm, his screen presence, and his ability are downright magnetic. (Does anyone else break into an uncontrollable grin every time he starts dancing?) Watch how he taps not only on the floor and the piano but against the piano leg and the door frame. It's a little detail but I think it's nice. The 17-minute ballet sequence at the end is entirely entertaining, but it's a little too "big" for my taste. I think the best part of this sequence (and the most surprising) is probably Kelly's solo "Chocolat" performance, wherein he's dressed in a form-fitting cream-colored bodysuit (aka "The Wigglebutt Dance"). This must have seemed rather avant garde back in 1951. Though I prefer SITR as a whole, I found the Jerry Mulligan character Kelly plays easier to warm up to than Don Lockwood in SITR; I suppose because he is more of a regular Joe and not a somewhat hammy movie star. I think that in general he's given better lines in this film, too. The scene between he and Leslie Caron as they walk along the Seine river is one of the most romantic scenes I've ever had the pleasure of watching. Caron is all demure shyness (and she plays it to perfection); Kelly is open with his feelings yet very tender. Listen to the gentle nuance of his voice and watch how he tenderly touches her hand... P>The more minor characters are in this film are delightful, even the American lady in Lise's perfume shop. Oscar Levant provided just the right amount of cynical humor, and Nina Foch really does a great job as the wannabe sugarmama. I love her performance in the cab just after Jerry's hurt her feelings by openly flirting with Lise in the cafe.
Rating:
Summary: Who really danced with Kelly?
Review: What I'm about to say is not being disparaging in anyway, as I believe this is the finest musical ever made on film. But it's way past time to set the record straight and give the credit where it is due!
I know it's hard to imagine, but believe it or not, Leslie Caron didn't dance in most of the dance sequences. It was a wonderful dancer and long time friend of Kelly's by the name of Joan Sandes. The spooky thing about it is that on film you can't tell them apart.
Kelly was very particular about his dancers, and Caron neither had the experience nor the strength to pull it off. Sandes was made to order, as she had the talent, and she looked like Caron. Also, Caron wasn't an acrobat. If you observe the scene in which the French girl is depicted as a book worm, she does some rather controlled acrobatic moves. This again was Sandes.
Caron, being a contract player was sworn to secrecy, and even if she might have wanted to tell who did most of the dancing, she had a promising career to protect. Who could blame her? Alot of celebs were in the same position. I didn't know that Audrey Hepburn didn't do her own singing in "My Fair Lady" until recently.
Sandes began dancing lessons under Fred Kelly (Gene's brother) when she was 5 years old. Gene named her "Bootsie", and she's been Bootsie to her friends ever since. She's a dear friend of mine, and she still teaches ballet, tap, and acrobatics to this day.
As a side note, she can be seen as a principal dancer in the film "King and I", but you'd be hard pressed to spot her in all that make up.
Rating:
Summary: Movie Musical Magic
Review: This amazing film is essential viewing for anyone who loves a great dance musical. Gene Kelly is brilliant, as usual. Oscar Levant displays his piano virtuosity and his acid wit. A very young Leslie Caron is a sight to behold! Who could ask for anything more?
Rating:
Summary: HEAVEN
Review: Gene Kelly glides and slides with feet on air and head in clouds,Oscar Levant scowls smokes and wisecracks, Leslie Caron is the quintessential innocent Minnelli heroine, Nina Foch the quintessential Minnelli flipside of his angelic heroine, world weary,wealthy party girl.One of the best musicals ever made, a fantasy Paris the characters dance and sing through.Clever script,amazing performances,enchanting sets,costumes,cinematography and music all contribute to the greatness of this work, but it is undoubtedly Vincente Minnelli who makes the film what it is:HEAVEN.All leading up to the orgasmic moment during the legendary fantasy ballet where the sky tints yellow - orange, silhouetting Kelly carrying Caron, music swelling as two souls touch.
Rating:
Summary: An excellent film
Review: "An American In Paris" is an amazing film. It won the Oscar for Best Picture and Gene Kelly was awarded a special Oscar for his choreography. I, and I'm sure that most people would agree, feel that "Singin' In The Rain" is Gene Kelly's best film, but this is a close second.
Basic story: Kelly is an ex-GI who stuck around in Paris to become an artist. He's now an artist, but a struggling one. He meets Leslie Caron and through the wonders of movie musicals, he falls in love with her in about ten seconds. He starts his pursuit of her, but he is also being pursued by a wealthy older woman who wants to sponsor him in an art show. The woman is interested in more than Kelly's art and Caron also has her own problems. She is engaged to an older man whom she doesn't love, but rescued her during the war and so she feels indebted to him. However, even with all these complications we must remember that this is a '50s musical so there can only be one outcome, a good one. Also worth noting is Oscar Levant. He plays Kelly's best pal and brings his usual cynicism and humor to the role.
The plot is exceptionally good for a musical, but what makes a person watch this movie is the musical numbers. Gene Kelly does the dancing and George Gershwin's catalog is used for the music. What could be better? Kelly shows his "everyman" qualities by dancing in a small cafe, on a sidewalk with a swarm of French children, and in the apartment of his best friend. He also does an incredibly romantic dance with Leslie Caron to Gershwin's "Our Love Is Here To Stay". Its beautiful.
The whole movie climaxes in a 17 minute ballet finale. Yes, ballet. Now I don't like ballet, but Kelly brings such an earthy and sexy feel to it that you almost forget its ballet. There are elements of humor in the finale, but for the most part it is incredibly romantic. Its set to a beatiful orchestration of Gershwin's "An American In Paris" suite. The ballet is set on a massive scale, there are many dancers and the fact that Kelly was able to choreograph everything so flawlessly is just a testament to his genius. Everyone is different and for some this isn't a "rewatch" scene, but the first time you see it, it is breathtaking. It took me a few viewings before I think I fully appreciated everything that was going on in the scenes.
One last note, any woman who enjoys seeing good looking men must see this film. Gene Kelly is very handsome and has a strong, dancer's body. During the ballet he dons a skin-tight costume and struts across the screen. Women, keep a glass of ice water handy. Don't say I didn't warn you.
Rating:
Summary: A great Classic film!
Review: This is a very wonderful and special musical. Gene Kelly and Leslie Caron are brilliantly cast together. The dancing is just beautiful. I highly recommend it.
Rating:
Summary: One of Gene Kelly's Best Movies
Review: An American in Paris is a classic that may not actually live up to its hype but is still quite good. It is probably one of Gene Kelly's better movies. He gives his usual performance as a playa type with a mix of arrogance and charm. After performing Pal Joey on Broadway, he seems to have permanently adopted that stage persona for every character he plays and, for the most part, it works, particularly as softened down a little for this movie. The Gerswhin music is wonderful and the supporting cast is of the highest quality, particulary Oscar Levant and Nina Foch, in a rather thankless role she manages to humanize. Alan Jay Lerner's script is effective and efficient. The only true problem with the film is the same thing that makes it famous and a classic. The seventeen minute fantasy ballet is over-praised and does not stand up to repeated viewing in the same way the rest of the film does. Gene Kelly was always a much better dancer than choreographer and it shows painfully in this sequence. The movie is still a great deal of fun and the romance between Kelly and Leslie Caron is not without its charm. A good movie that, perhaps, glows in the memory a little stronger than it does on the screen.
Rating: 
Summary: Arrogance in Paris
Review: Although not a fan of musicals I did enjoy Gene Kelly in "Singing in the Rain." This movie, however, is no "Singing in the Rain." Kelly abandons his friendly demeaner and blusters his way through the film as a brash, arrogant artist. A wealthy society dame who is interested in more than his art begins partonizing him, and he eagerly soaks this up. That is, until he spies an attractive young woman at a nightclub. Abandonning his patroness he walks up to her and pretends to know her as part of a plan to bully her into dancing with him. When she expresses little interest in him, he stalks her to her place of employment and badgers her to go out with him. Did I mention that the woman is already engaged to a friend of Kelly's? If you think that this isn't the perfect recipe for romance, you haven't seen too many musicals. The arrogance of Kelly's character is minimal, however, compared to the overall arrogance of the film. Oscar Levant, for example, plays an completely extraneous role as Kelly's buddy. His only job in this film appears to be to make wooden one-liners, until we are offered a dream sequence where Levant plays every instrument in an orchestra while simultaneously conducting it and admiring it in the audience. While this does highlight Levant's obsessive love for himself, it makes for disturbing visual fare. Finally, there is the 17 minute ballet, an overblown production that brims with pretentiousness, does nothing to advance the "plot" and highlights the fact that the entire film was just a lead-up to this. The rest of Kelly's films were much better that this one, and frankly I can recommend any of them over "An American in Paris."
|
