An American in Paris (1951)
An American in Paris (1951)
The 1950’s is known for the bright, colorful MGM musicals that would light up the screen and the faces of the audience. The most well-known is 1952’s Singin in the Rain. But a year earlier, there was a movie that started it all. That movie was An American in Paris. I consider this movie to be one of the most overrated Best Picture winners ever. In its own right, the film is fun and has some great musical numbers. The story, however, is flimsy at best. Is it truly better than A Place in the Sun or A Streetcar Named Desire?
The production design of the film is beyond a 10/10. Vincente Minnelli and his crew took extra care making the film look authentic as possible. The use of Technicolor also gave the film an incredible, dazzling look that I am sure blown away any audience member from that time period. Along with the look of the film, the film itself reach its height during the final 18 minutes- a rich, well-choreographed ballet sequence that has the charming French look and the smooth movement of the dance (with Gene Kelly and Leslie Caron). But is that why the film swept the Oscars in 1952? Hmmmmm….
The story itself, while it does have solid performances, is problematic. Gene Kelly’s character is sought after by a predatory blonde and her character is very cruel, ugly, and unjust. Nothing against Nina Foch, but it was hard to watch her character bedevil her way into Kelly’s grace. Some contemporary critics even went far ahead to call the story a support of “rape culture.” So, take that for what you will.
After his service in the war, Jerry Mulligan (Gene Kelly) stayed behind to focus on his artwork. He works on the sidewalk and is struggling to sell his paintings. When he catches the eye of the wealthy Milo Roberts (Nina Foch), he uses the opportunity to better his career. She even sets up an exhibition for him and of course has plans for him, which Jerry is unaware of. Jerry also happens to fall in love with a young French woman he sees in the nightclub, Lise (Leslie Caron). Little he knows that his French singer friend, Henri Baurel (Georges Guetary) is also in love with her. She loves them both, but she does needs to make a decision soon.
The performances are solid through and through. This is my introduction to Gene Kelly and my gosh, he can dance! I was very enthralled throughout the musical numbers watching him sing and dance. Leslie Caron, in her film debut, also manages to make a good impression. She is a very lovely dancer herself and held her own with Gene Kelly. I also liked the sad charm of Kelly’s other friend, Adam who was played by Oscar Levant. He is such a Debbie-downer, but his sadness is meant to be funny. I chuckled during the sequence when he figures out both friends are in love with the same woman. That sequence is a bit obvious, but you’ll know what I mean when you see it.
Sadly, I did not love An American in Paris. I thought it was fun, but the story needed more oomph to it. Thankfully, the movie is saved by the musical numbers from famed lyricist George Gerswhin and his brother Ira, the colorful production design, and the final 18-minute ballet sequence. “I Got Rhythm” is one of my favorite songs from the film. I will say the film did give me a nice look at French culture, so that is always good! If you like musicals, check this film out but it may not be as strong as other musicals from the era.
My Grade: B-
The 1950’s is known for the bright, colorful MGM musicals that would light up the screen and the faces of the audience. The most well-known is 1952’s Singin in the Rain. But a year earlier, there was a movie that started it all. That movie was An American in Paris. I consider this movie to be one of the most overrated Best Picture winners ever. In its own right, the film is fun and has some great musical numbers. The story, however, is flimsy at best. Is it truly better than A Place in the Sun or A Streetcar Named Desire?
The production design of the film is beyond a 10/10. Vincente Minnelli and his crew took extra care making the film look authentic as possible. The use of Technicolor also gave the film an incredible, dazzling look that I am sure blown away any audience member from that time period. Along with the look of the film, the film itself reach its height during the final 18 minutes- a rich, well-choreographed ballet sequence that has the charming French look and the smooth movement of the dance (with Gene Kelly and Leslie Caron). But is that why the film swept the Oscars in 1952? Hmmmmm….
The story itself, while it does have solid performances, is problematic. Gene Kelly’s character is sought after by a predatory blonde and her character is very cruel, ugly, and unjust. Nothing against Nina Foch, but it was hard to watch her character bedevil her way into Kelly’s grace. Some contemporary critics even went far ahead to call the story a support of “rape culture.” So, take that for what you will.
After his service in the war, Jerry Mulligan (Gene Kelly) stayed behind to focus on his artwork. He works on the sidewalk and is struggling to sell his paintings. When he catches the eye of the wealthy Milo Roberts (Nina Foch), he uses the opportunity to better his career. She even sets up an exhibition for him and of course has plans for him, which Jerry is unaware of. Jerry also happens to fall in love with a young French woman he sees in the nightclub, Lise (Leslie Caron). Little he knows that his French singer friend, Henri Baurel (Georges Guetary) is also in love with her. She loves them both, but she does needs to make a decision soon.
The performances are solid through and through. This is my introduction to Gene Kelly and my gosh, he can dance! I was very enthralled throughout the musical numbers watching him sing and dance. Leslie Caron, in her film debut, also manages to make a good impression. She is a very lovely dancer herself and held her own with Gene Kelly. I also liked the sad charm of Kelly’s other friend, Adam who was played by Oscar Levant. He is such a Debbie-downer, but his sadness is meant to be funny. I chuckled during the sequence when he figures out both friends are in love with the same woman. That sequence is a bit obvious, but you’ll know what I mean when you see it.
Sadly, I did not love An American in Paris. I thought it was fun, but the story needed more oomph to it. Thankfully, the movie is saved by the musical numbers from famed lyricist George Gerswhin and his brother Ira, the colorful production design, and the final 18-minute ballet sequence. “I Got Rhythm” is one of my favorite songs from the film. I will say the film did give me a nice look at French culture, so that is always good! If you like musicals, check this film out but it may not be as strong as other musicals from the era.
My Grade: B-
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