American in Paris Reviews

• Special Edition gets Ultra-Resolution Process

  
  By A8S11VP9Z36D6 on 2008-07-02
  Warner Brothers' proprietary Ultra-Resolution process has brought new life to such classics as "The Wizard of Oz," "Gone With the Wind," Errol Flynn's "Robin Hood," and "Singin' in the Rain." By going back to the original three-strip technicolor negatives and realigning them digitally, the color and detail blows away anything that customers have seen in the past with home video. "An American In Paris" has now undergone the same process. For those that have a blu-ray player, be sure to order this version, An American in Paris [Blu-ray]. Here is a list of extras that are the same on both versions:
  
  Disc 1:
  1.33:1 Full Screen with Original Mono audio * Tech Specs for Blu-ray version: Video is 1080P 1.33:1 * Audio is English, French, Spanish (Both Castilian and Latin), German and Italian DD1.0 * Subtitles (Main Feature): English, French, Spanish, Danish, Dutch, Finnish, German, Italian, Japanese, Norwegian, Portuguese, Swedish * Subtitles (on Select Bonus Material): English, French, Spanish, Dutch, Italian, Japanese, Portuguese
  1938 MGM short: Paris on Parade
  1951 MGM cartoon: Symphony in Slang
  Theatrical trailer
  
  Disc 2:
  
  2002 American Masters Documentary: Gene Kelly: Anatomy of a Dancer (Gene Kelly - Anatomy of a Dancer)
  
  `S Wonderful: The Making of An American in Paris, an all new documentary, produced especially for this release. A dynamic history of the making of the film, which reveals how George and Ira Gershwin's classic songs, the dazzling art of the French impressionists and the ultimate teamwork of MGM's legendary "Freed Unit" came together to create a musical masterpiece. Featuring ten new interviews, including co-stars Leslie Caron, Nina Foch, and Kelly's widow. A very enlightening piece; Caron's memories are probably the most interesting, with Foch running a close 2nd. Caron's comments about co-star Georges Guétary being handsome but not too bright seem to be echoed by Kelly's widow, who says Gene spent more time trying to teach him how to gracefully walk down a set of steps than on anything else in the film. It is unfortunate that Maurice Chevalier could not have taken that role as originally intended. You also realize just how revolutionary this movie was (artistically), especially because of the 17-minute ballet tacked on at the end of the movie. Even Irving Berlin disapproved during an on-set visit, which didn't help the confidence of Vincente Minnelli at all.
  
  Outtakes:
  Georges Guetary performing Love Walked In (not missed in the movie at all!)
  
  Audio Outtakes: Alternate Main Title, But Not for Me (Guetary), But Not for Me (Levant Piano Solo), Gershwin Prelude #3, I've Got a Crush on You, Nice Work if You Can Get It, 'S Wonderful
  
  Radio Interviews: Johnny Green, Gene Kelly, Gene Kelly & Leslie Caron;
  Gene Kelly and Leslie Caron promotional radio interview with Dick Simmons
  
  Not all of the original musical recording stems have survived over the years, preventing a true stereo/5.1 restoration of the soundtrack; instead, a restored mono version is being made available.
  
  Most are familiar with the movie; storywise, it is a little creaky and hasn't necessarily survived well over the years: Kelly is an American artist living in Paris. He falls in love with a young girl (Leslie Caron) who is in a loveless relationship with one of his best friends (Guétary). Kelly is also in somewhat of a loveless relationship with his financial sponsor (Nina Foch). You can probably guess the rest.
  
  The glowing color, fantastic music by Gershwin (arrangements by the talented Conrad Salinger), and the amazing choreography of Gene Kelly will keep this one a classic for years to come despite a predictable plot. Just the ending ballet alone is a masterpiece; the art of Toulouse Lautrec and Utrillo comes to life with Gene Kelly & Leslie Caron dancing their hearts out to some of the most imaginative choreography (Kelly's) in years. The Freed Unit at MGM was at their peak when this movie was made, and this is one of the last great ones that it created.
  
  It is a real shame that with how fantastic the picture is (the colors literally leap off the screen, and it really adds to the appreciation of what an artistically beautiful visual feast this movie is) that the sound cannot match. Although it is clear and free of problems, the Gershwin music just begs for a 5.1 or 7.1 surround track; unfortunately, due to the age and availability of the original elements, this is not possible.
  
  

• S'Wonderful

  
  By A1A535W556ROBQ on 2004-03-20
  A glorious movie that showcases Gene Kelly's breathtaking talent. Forget the silly story and just watch him dance and dance and dance. He does more with a turn of a shoulder than most dancers can do with their whole body. This movie also introduced the lithe and lovely Leslie Caron as the object of Kelly's affection. The film builds to its dramatic hallucinatory conclusion as Kelly dances his way across a Paris dreamscape, that brings all the elements of modern dance together in a tour-de-force that was unprecedented in musicals of that time. You can't help getting swept away in the feel-good spirit of this movie. It was another time and place.
  
  

• Familiar Gershwin Tunes and Masterful Finale of Color and Dance Still the Main Attractions Here

  
  By A13E0ARAXI6KJW on 2006-01-07
  The dazzling seventeen-minute dance sequence of George Gershwin's 1928 orchestral piece, "An American in Paris", is an indisputable masterwork. Choreographed with precision and unparalleled flair by Gene Kelly, the vibrant combination of color, music and dance is still eye-poppingly startling as the piece is broken down into scenes inspired by selected master artists - Dufy in the opening Place de la Concorde piece, Manet in the flower market, Utrillo in a Paris street, Rousseau at the fair, Vincent Van Gogh in the spectacular Place de l'Opera piece, and Toulouse-Lautrec for the Moulin Rouge where Kelly wears his famous white bodysuit. The 97 minutes that precede this finale are not as exciting, not by a long shot, but there are certain charms to be had in viewing the entire 1951 Oscar-winning musical.
  
  Director Vincente Minnelli and screenwriter Alan Jay Lerner have fashioned a surprisingly sophisticated if rather slight romantic story focused on Jerry Mulligan, a former G.I. who has remained in Paris after the end of WWII trying to make a living as a painter. With his braggadocio manner and athletic dancing style, Gene Kelly can be concurrently ingratiating and irritating as a screen personality, but he seems to find his oeuvre as the carefree Jerry. The love-triangle plot is focused on Jerry's involvement with Milo Roberts, a self-proclaimed art patron but a sexual predator when it comes to young artists. On their first date in a crowded Montmartre nightclub, Jerry unapologetically falls for Lise, a young woman who turns out to be the fiancee of Henri, a professional entertainer and friend of Jerry's pal, Adam, an out-of-work concert pianist. Romantic complications ensue until the inevitable ending but not before several classic Gershwin songs are performed.
  
  The best of these is the most imitated - a swooningly romantic song and dance to "Our Love Is Here to Stay" along a faux-Seine River in a blue hazy mist with yellow fog lights. The way Kelly and Leslie Caron circle each other is transcendent as they approach each other tentatively at first and then synchronize beautifully to the music leading to the final clinch. Few films have so elegantly and succinctly shown two people falling in love. "I Got Rhythm" and "S'Wonderful" spotlight Kelly's nimble tap-dancing and agreeable singing, while "Embraceable You" is danced impressively by Caron in a five-scene montage of Henri's all-over-the-map description of Lise to Adam. Designed to show off Caron's dancing versatility, the sequence is similar to the one in "On the Town" where Vera-Ellen showed off her considerable dancing skills when Kelly's sailor character described his multi-faceted vision of Miss Turnstiles.
  
  As Lise, the nineteen year-old Caron (in her first film) dances superbly throughout and handles her role with unformed charm with her acting talent not to bloom for several years. Looking quite glamorous, Nina Foch plays older as the manipulative Milo and manages to be likeable enough for us to care about her fate, while Oscar Levant is just his sardonic self as Adam. Performing an elegant "I'll Build a Stairway to Paradise", George Guetary plays Henri so agreeably that you feel bad that he does lose the girl at the end. This is not the best all-around MGM musical, but there is certainly enough movie magic to make this quite worthwhile. The 2000 DVD contains a fairly pristine print but little else in terms of extras.
  
  

• It's Very Clear This Movie's Here to Stay

  
  By A19N3GRTJ0S8J8 on 2002-08-13
  1951 was a tense year in America. Julius and Ethel Rosenberg were convicted of selling U.S. nuclear secrets to the Soviet Union. In North Korea, truce negotiations failed. McCarthyism reigned and Hollywood suffered as many of its key players were blacklisted. It is no wonder, then, that the movie-going public sought lighter fare. With its simple script, lush color, and innovative choreography, An American in Paris was just the ticket.

  An American in Paris is the story of boy meets girl, boy gets girl-with not much in between. Gene Kelly plays Jerry, an ex-GI trying to make a go of it as an artist in the city of artist's garrets and cheap cheese. When he spots Lise (Leslie Caron) he knows instantly that she's the gal for him, and he sets about wooing and winning her, ignorant of the fact that she's dating Henri (Georges Guetary). Complicating things (but not much) is his wealthy patroness Milo (Nina Fochs). Another ex-patriot, Adam (Oscar Levant), plays the fifth wheel, adding comic relief to a script that doesn't need it. But people don't really watch this movie for the script, they watch it for the beautiful cinematography and the singing and dancing.

  The set design is gorgeously colorful, making Paris dangerously magnetic to anyone who might be making travel plans. This is the Paris of sweet children seeking bubble-gum, kind elderly Parisian ladies who break into dance in cafes, a happy nightclub scene on clean stone streets, and of course lavish flowers, safe riverbanks, and Parisian churches. It's a perfect setting for the score, which includes such songs as "Our Love is Here to Stay," "I Got Rhythm" (sung by Kelly with a team of little urchins), and "'S Wonderful". And the dancing is. Quite wonderful, culminating in a 17-minute ballet (choreographed by Kelly) at the climax. That things resolve just a little too quickly and easily thereafter will bother no dance fan-and all the moviewatchers who have a low tolerance for song-and-dance will have been flushed out of the room long before then.

  An American in Paris was Leslie Caron's first American film, shot when she was a just-turned 18. Her inexperience with movie making shows on the screen as kind of a gamine innocence and plays well with Kelly's confident American mien. The chemistry of all cast members (or should I say "the troupe") coalesces to make this musical a don't-miss. 4 stars for the average movie watcher; 5 if you're a big fan of dance.
  
  

• An excellent film

  
  By on 2001-09-14
  "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.
  
  
• A display of breathtaking colors dizzyingly romantic...
  By AGZVS6M8XJGN6 on 2006-12-16
  Vincente Minnelli directed some of the most celebrated entertainments in cinema history... He was among the first Hollywood directors to show that a profound love of color, motion and music might produce intelligent entertainment... His 'American in Paris' is a display of breathtaking colors dizzyingly romantic...
  
  'American in Paris' is the story of an ex-GI who remains in France after the war to study and paint... He falls in love with a graceful dancer... Their romantic love affair sparkles as brightly as the City of lights itself... The whole movie brings a touch of French elegance where technique, artistic style and music all come together in perfect synchronism...
  
  The first musical sequence introduces the exciting personality of Leslie Caron in her screen debut... She is like a diamond, a touch of class... George Guetary describes his fiancée ambiguous grace in a montage of different dance styles, sweet and shy, vivacious and modern, graceful and awesome... The number leads to an unpretentious bistro, where Kelly and his very good friends in Paris share a gentle parody of Viennese waltzes... Later Kelly celebrates a popular tap dancing with a crowd of enthusiastic children singing with him 'I Got Rhythm,' and at the massive jazz nightclub Kelly spots the girl of his dreams... He is instantly hit by her sparkling sapphire blue eyes, and only one clear thing is in his mind, to pull Lize onto the dance floor and sing to her: "It's very clear, Our love is here to stay."
  
  To the joyful 'Tra-La-La,' Kelly provides humor, wit and talent all around Oscar Levant's room ,and even on the top of his brown piano...
  
  When he meets his pretty Cinderella along the Seine river, Kelly is swept away by his happy meeting with Caron... He expresses all his emotions with 'Our Love Is Here to Stay.' The piece had a definite nighttime feel as the two lovers were bathed in soft, blue smoky light... They start an enchanting dance-duet juxtaposing differing elements... Caron dances with her head on his shoulder, then tries to run away in a fluid way... They move backward, away from each other, then pause to rush toward each other, for a little kiss, and a warm hug...
  
  The film's weakest numbers were those that bear little relation to the story... In one, Georges Guetary performs an entertaining stage show with showgirls in giant ornaments floating down to the stage... In another, Oscar Levant imagines himself conducting a concert, and playing not only a piano recital, but the other instruments as well... He even applauds to himself as members of the audience...
  
  The extravagant climactic super ballet of the film is quite an adventure, a breakthrough in taste, direction and design... It is a blaze of love, fury and vividness... It is Kelly's major fantasy of his lost love and of his feeling about Paris as viewed through the huge backdrops of some of France's most Impressionist painters...
  
  The number starts at the Beaux Arts Ball after Kelly finds himself separated from Lise, and begins a sketch with a black crayon... It gathers the important parts of the film's story through a constantly changing locations, all in the style of the painters who have influenced Jerry... The tour, richly attractive and superbly atmospheric, includes the Place De la Concorde Fountain, the Madeleine flower market, the Place De l'Opéra, to his Rendez-Vous at Montmartre, with the cancan dancers in a representation of Lautrec's Moulin Rouge...
  
  Kelly seems to defy the boundaries of his physical self... Caron seems to dominate her space and sweeps you away to another time and place...
  
  Nina Foch appeared very attractive and elegant in her one-shouldered white gown... In one of the film's most famous lines, Kelly asks her: 'That's quite a dress you almost have on. What holds it up?" Nina, cleverly replies, "modesty!"
  
  'An American in Paris' garnered six Oscars, including an honorary award to Gene Kelly... The film gave us a wealth of memories to take home...
  
  
  
  
• Minnelli and M~G~M at their best
  By A35J4XGRWXVZ00 on 2000-09-17
  With all due respect to devotees of "Singin' in the Rain", I think "An American in Paris" is the best musical ever made. Stanley Donen was an innovative director, but Vincente Minnelli was a genius in his field, and "An American in Paris" was his masterpiece. I choose "An American in Paris" over the others for various reasons. (One example: "Meet Me in St Louis" is charming Americana, but it's spoiled by that melodramatic episode in the middle with Tootie's cut lip and the Boy Next Door being blamed; it's so contrived it might have dropped out of another picture.) "An American in Paris' is a completely successful musical with Gershwin songs culled from their stage shows of a previous generation (for instance, "S Wonderful" is from the 1927 "Funny Face" and "I Got Rhythm" is from 1930's "Girl Crazy"), a trim script by Alan Jay Lerner, and perfect casting. Gene Kelly at 38 was in his prime. And here let me say that Jerry Mulligan, Kelly's character in the film, is the brash, can-do kind of guy who was vastly admired in America by both men and women in the years following World War II. His aggressive attitude towards life represented qualities that had won the war. If today he seems a little chauvinistic (in every sense of the word) ... well, times change. The fact remains that Jerry is an ex-G.I. who has mastered the French language and venerates French culture. Hardly the Ugly American. On the flip side is his New World naïveté. In one scene he and his French girl friend Lise (Leslie Caron) meet shyly outside a sidewalk café and take a table. But Lise immediately becomes aware that an old roué nearby is checking her out (assuming she's just been picked up). Embarrassed, Lise asks to leave the café. But Jerry? The poor dope has no idea what's happened. Similarly, the whole movie has a sharp edge unusual for light entertainment. It's evident in the rich American Milo Roberts (Nina Foch) with her soignée chilliness and her somewhat S & M relationship with Jerry. And it's evident in the curmudgeon wit of Adam Cook (Oscar Levant), "the world's oldest child prodigy". His fantasy of playing Gershwin's Concerto for Piano and Orchestra single-handed is every musician's dream/nightmare. The Old World is represented by Henri Baurel, a music hall star, performed by Georges Guetary, who was (I suspect) basically playing himself. (His rendition of "I'll Build a Stairway to Paradise" is the film's only traditional cabaret number.) Throughout the story, his boulevardier suavity,not to mention the savoir faire of the minor characters, indicates the Gallic easygoing attitude towards sex, which was about 20 years ahead of the U.S.'s. (Incidently, look close in the Beaux Arts ball sequence and you'll spot a young gay couple passing Kelly on the staircase.) Despite its glossiness, the picture has a refreshing spontaneity. Notice in the "By Strauss" number that Kelly's cap gets knocked off his head by the florist's skirt. At first he grabs for it, but then it's like "Ah, t' hell with it" and he keeps on going. Appropriately, all the acting is natural and subdued. But not the climatic ballet! It has to be the most lavish experience in all of film entertainment, before or since. It's been said that this ballet is "too much", but i think mehitabel in paris would have said theres no such thing as too toujours gai. With its 3-strip Technicolor, its numerous sets, its hundreds of costumes, Kelly's superb choreography, and of course gorgeous Gershwin, the "An American in Paris" ballet is, like the movie itself, le spectacle ne plus ultra. Savourez!
  
  
• An MGM masterpiece of the best quality
  By A2SX6VNPSJPGP7 on 2000-08-15
  This colorful, fanciful film added a splash of zestful excitement and entertainment to audiences of 1951, in the year of "A Streetcar Named Desire" and "A Place In The Sun". The MGM musicals don't get any better than this one because it's got everything: romance, excitement, music, song, dance, and thrills. Vincente Minnelli's expert direction and cinematography captures some of the most enchanting sights of post-WWII Paris, as seen through the eyes of a light-hearted painter (Gene Kelly, whose indescribably brilliant choreography for this film won him a special Oscar). Accidentally meeting up with a young French girl (Leslie Caron, in her film debut), he is immediately smitten and courts her... though she is secretly engaged to another man (Georges Guetary). Kelly also manages to get himself tangled with a wealthy heiress (Nina Foch) who tries to bring his work to the attention of Paris' art critics. In the background, Oscar Levant's acid wit shines as Kelly's pianist friend. Any scene in the film is worth seeing the whole film: Kelly's charming take on "I Got Rhythm", teaching the song to a group of French youngsters, Kelly's achingly romantic wooing of Caron "Our Love Is Here To Stay" by the Seine, or best of all, the incredible 17-minute dream sequence ballet. This marvelous piece of cinematic achievement combines George Gershwin's "American In Paris" symphony along with the great works of Paris's greatest artists as backgrounds, sparking the most innovative dance number of all time, and perhaps best represents the MGM musical. This masterpiece should be enjoyed by every generation.
  
  
• GENE KELLY AT HIS BEST - WONDERFUL MUSICAL
  By A3O0IREZ8YUP67 on 2004-11-29
  This film has eveything going for it: great Gerswhin music, great visuals, the beauty of Paris (despite being filmed on a backlot), a fine script, the lovely Leslie Caron, the humorous Oscar Levant, the amazing talent of Gene Kelly, a still-breathtaking 17 minute ballet, choreographed by Kelly, at the film's climax, and ROMANCE! This is one of my favorite musicals of all-time!
  
  
• An American in Paris Movie Review from The Massie Twins
  By A2MYUI8IT6UBUU on 2008-09-26
  An American In Paris is a simple love story at heart, embellished with lavish sets, baronial dance sequences, comedic interludes and grandiose music. It is one of the finest musicals ever made, featuring the marvelous talent of Gene Kelly and newcomer Leslie Caron, along with the voice of Georges Guetary and the piano skills of Oscar Levant.
  
  Heartrending romance is illustrated through elaborate musical sequences that top nearly everything that came before it, and although considered an upset, An American in Paris won the Best Picture Oscar for 1951. Even more incredulous is that the following year Singin' in the Rain was released, and failed to even receive a Best Picture nomination.
  In Paris in 1945, ex-G.I. Jerry Mulligan (Gene Kelly) stays on to live out his dream of being a painter. His apartment consists of entirely collapsible furniture, and although he rarely sells his works, and is therefore constantly broke, he knows everyone on the block and can always find time to rejoice. His good friend Adam Cook (Oscar Levant), a concert pianist, frequently joins him in the nearby café for some hearty song and dance, and Henri Baurel (Georges Guetary), a well-to-do nightclub singer, stops by to partake in the festivities.
  
  While Adam wiles away the days dreaming about monumental concert performances, Henri prepares for a trip to New York with his fiancée, Lise (Leslie Caron, introduced with an impressive collage of risqué ballet routines). Jerry is spotted by a wealthy sponser (Nina Foch), who is interested in more than just promoting his artwork and setting up his first exhibition, but he is infatuated with a young shop girl who he noticed at a restaurant. The catch is that the girl is the very same Lise who is engaged to Henri!
  
  There are no clear-cut villains in this light-hearted musical, but with the introduction of an occasionally hilarious and oftentimes tear-jerking love triangle, someone has to lose out. The problem is that each of the three main characters are clearly protagonists, so ultimately Lise feels like the malefactor, gaily leading Jerry on. To add to the promotion of three positive leads is that the film opens with a narration by each one separately.
  
  The story is used almost entirely to transition from one George Gershwin song to the next and while few are positively unforgettable, the dance sequences are absolutely spectacular. Atmospheric and colorful, the enormous end sequence for the film, which makes use of huge sets built to represent various French impressionist painters, showcases an entire movie's worth of love and romance. Beautifully choreographed by Kelly himself, all of the dancing is ambitious and powerful. Expressing a love story through music and dancing has never looked so agile and bold, and An American in Paris does it all with regal splendor.
  
  - Mike Massie
  
  
  
  
  
• A showcase for many great talents becomes a great movie
  By A2B8GXSCB1R05T on 2002-06-06
  What works best about "American in Paris" is so many great talents coming together. Gershwin, Kelly, Minelli and Levant are each giants in their fields at the top of their games.

  A musical with all Gershwin tunes can never go wrong, and this one brings together the best. "Our Love Is Here To Stay," "I Got Rhythm," "'S Wonderful," "Nice Work if You Can Get It." Quite a collection of hits! Oscar Levant provides sharp wit and musical talent, with "Concert in F for Piano and Orchestra" in a dream sequence where he plays every instrument.

  Gene Kelly is at his most cavalier best, playing the type of character he likes to play. He is a struggling penniless painter of the blue-collar variety. Leslie Caron is an impish match for Kelly, and holds her own in both banter and dancing. Nina Foch brings dignity to the somewhat absurd role of the wealthy woman pursuing Kelly. The final ballet sequence is justly famous, as Kelly dances through Paris as seen by several impressionist artists.

  The strength of this film lies in each of these parts coming together for a greater whole. Gershwin's music, although George Gershwin was dead by this time, is used to great strength as both lyrics and score. Kelly made a stand with his dancing, moving it beyond standard musical hoofing and into that abstract realm known as "art."

  All together, a great film, well-deserving of both the 1951 Best Picture Oscar and your time. Enjoy!
  
  

• s'mahvelous
  By A3EI97F7C43NIH on 2007-01-15
  I've been watching this movie since I was a little, and couldn't find it anywhere! Gene Kelly is once again wonderful, and his smile still gets me. Leslie Caron aparently made her debut in this and her delicate, beautiful dancing is a joy to watch. This movie does try to be a little more daring and modern in certain scenes than your average musical, but all in all it's great.
  
  
• Fantasy Love Story With Memorable Song and Dance
  By A3V16YW5UZ00EI on 2000-04-05
  American In Paris is considered foremost a leading song/dance movie with a love story. In reality, its appeal is the fantasy love story that it provided the middle class post World War 2. Still too poor to travel to exotic places like Paris and concerns over the economy reverting to a depression, almost every male and female wished they were living in a fantastic place like Paris without cares, and falling in love.

  Of course, the fantastic music "I Got Rythm" and "Our Love is Here to Stay" along with the dreamy dance scenes, especially by the river set just the right mood. Gene uses his feet to paint energetic yet graceful dance numbers.

  AAIP falls short in some areas, but they are forgiveable. Leslie Caron has little life and one wonders why a great looking guy like Gene Kelly, who could pick any girl, is smitten by her.(By the way, today Gene would be living with a girl, as a 6 years in Paris,a painter, no broken girl relationship....hm?) She brings little to the table other than a good dancing partner. Second, and this is going to be shocking and anti-femminist, Nina Foch plays the heavy, yet in today's age she would be considered as a more realistic women. Yes, she schemes her companions, but she has the looks, the gestures, and the plot to try to attract a man, even if she is later dumped. So what, she at least tries and exits gracefully. Caron is too much of a Zombie to fall into love. She perhaps represents the passive, obedient, under your thumb women of the 50s. Ouch!

  Enough philosophy, Oscar Levant adds the reality and jest and his dream of conducting an orchestra again represents the fanatasy dreams of aspiring in great places. By the late 50s this mood ended as the nation aspired to more cerebral levels, such as freedom of speech and equality for the sexes and races.

  Enjoy this fantasy masterpiece.
  
  

• Gorgeous Color! Dynamite Dance! Kelly at his Best!
  By on 1999-04-30
  Finally available in DVD, this stunning tribute to George Gershwin is as good as can be. Visually, it is a stunning display; the saturated bright reds and oranges just could not have been shown to advantage in any earlier home video format. The dancing is top notch, and of course the film finally emerges as a great tribute to George Gershwin and his versatility. Performances are top of the line also. Though I have occasional problems with Gene Kelly's performances in other films (he is a far better dancer than actor, and DOES incline towards sentimentality), here is is at his dynamic and youthful best. Leslie Caron is stunning, and Oscar Levant is a most happy surprise. Though the bulk of this film came from MGM's backlot, it is as Parisian as can be! Buy it, then watch and enjoy it!
  
  
• ONE GREAT AMERICAN MOVIE
  By A1246130RU4Q7Z on 1999-11-23
  Gene Kelly had been a Hollywood star for almost ten years when he made this film, but his best work was just starting. "An American in Paris" was a huge success upon initial release in 1951, winning six oscars, and a rating as one of the best musicals of all time. It is still every bit as delightful today. That chemistry between Kelly and Leslie Caron is still existant when they dance or act together, like in "Our Love is Here to Stay". The wit of Oscar Levent is still every bit as hysterical. The glory of George Gershwin's beautiful music still fills a true music lovers soul with joy, especially in the thrilling (though slightly overdone) 20 minute ballet at the film's conclusion. The breathtaking locales in Paris are simply stunning for the eye to behold. To top it off, where else are you going to go to see Kelly dance and converse with cute French kids to the music of "I've Got Rythem"? While this film can't compare to Kelly's massive triumph of the next year, "Singin' in the Rain",it's still amazing. Stop reading this: GO GET IT!
  
  
• One Of Gene Kelly's Best Performances!!!!
  By on 1999-10-04
  There is no way to describe the feelings of warmth and happiness whenever I watch one of Gene Kelly's movies. He was without a doubt the #1 dancer of his time. Not only can he dance, but he is also outstanding in his acting abilities. I only wish I had a chance to meet him. I someday want to own his entire collection of musicals to pass down to my two boys. They love to watch him as much as I do. The only musical that beats "An American in Paris" is "Singing in the Rain". I would watch either of these movies over and over again, given any rainy day weekend. If you haven't had the chance to watch it, I highly suggest that you do.
  
  
• A Classic Musical
  By A1PNNR3B9H8GTC on 2004-08-31
  Gene Kelly had been a Hollywood star for almost ten years when he starred in this film, but the most productive portion of his career was still ahead of him. "An American in Paris" was a huge success upon initial release in 1951, winning six oscars, and today stands as one of the most memorable, tuneful and charming musicals of all time. The chemistry between Kelly and Leslie Caron is still palpable and delightful in all of their marvelous dance numbers, particularly "Our Love is Here to Stay". The wit of Oscar Levent is still every bit as biting and hysterical. And the glory of George Gershwin's beautiful melodies still fills a true music lover's soul with joy, especially in the thrilling (though slightly overlong) 20 minute ballet at the film's conclusion. It is unfortunate that Vincent Minnelli was forbidden to shoot the movie in Paris for budgetary reasons, but the set designers compensated admirably: the MGM backlot is simply stunning for the eye to behold. To top it off, where else are you going to go to see Kelly covort and converse with cute French kids to the music of "I've Got Rythem"? Although this film doesn't quite measure up to Kelly's next massive triumph (1952 brought "Singin' in the Rain", maybe the greatest musical of all time) it's still an amazing achievement. Stop reading this: GO GET IT!
  
  
• S'WONDERFUL ROMANCE ON THE BANKS OF THE SEINE
  By A1M9DQDGE07Q0U on 2004-06-09
  "An American In Paris" is the charming Arthur Freed musical Oscar winner about a painter, Jerry Mulligan (Gene Kelly). An ex-G.I., Mulligan is a starving artist until a wealthy playgirl, Margo (Nina Foch) takes an interest in both him and his work. But Jerry, seemingly oblivious to Margo's romantic advances, begins to fall for young Parisian, Lise Bouvier (Leslie Caron). The wrinkle of the plot occurs when Jerry learns that Lise is engaged to marry his best friend, Henri Burell (George Guetary). The Gershwin score is among the finest produced for a musical with such indelible hits as "Embraceable You", "S'wonderful", "I Got Rhythm" and the immortal "American in Paris ballet."

  It was Gene Kelly who discovered Leslie Caron while on a vacation. She was performing in a Paris ballet. He brought her to America to star in this film. Apart from the opening sequence which sets up the film with vintage travelogue shots of Paris, the entire production was shot on a backlot at MGM. Reportedly, when Irving Berlin learned that Arthur Freed, Kelly and director, Vincente Minnelli were planning to end the film with a nearly 20 minute dance sequence and no dialogue, he curiously commented, "I guess you know what you're doing." Indeed they did. "An American In Paris" became the first musical to win Best Picture since "The Great Ziegfeld" made some twenty years before!

  Warner Brothers Home Video has presented this film on DVD in an adequate looking transfer that is a direct import from the MGM/UA initial release. Colors are well defined, nicely balanced and fully saturated. Occasionally there is a noticeable change in the color depending on the film stock. Age related artifacts are tempered. There are very few instances of digital anomalies for an image that is generally smooth throughout. The audio is mono but nicely balanced. Occasionally, dialogue sounds a bit strident and the music carries a slightly muffled characteristic. But these are expected shortcomings for a soundtrack of this vintage. There are NO extras.
  
  

• A True All Time Classic
  By A2GJ98824GGXGP on 2003-12-12
  The plot of the film is simple enough. Jerry Mulligan (played by Gene Kelly) is an American ex-GI trying to become an artist in Paris. He is an all around nice guy who seems to get by more on charm than talent. He meets up with a perfume girl named Lise (played by Leslie Caron) who steels his heart, but she is engaged to Henri (played by Georges Geutary), the man who protected her during World War II. The movie centers on how Jerry and Lise finally are able to get together. There is a colorful cast of supporting characters including piano player Adam Cook played by Oscar Levant, feminine tease/American debutante Milo Roberts played by Nina Foch, and the people who inhabit the streets of Paris.

  The music and dancing truly make this film a magical spectacle. The songs that are used in the film are from the George and Ira Gershwin songbook and each is performed rather well. Probably the most notable musical performance in the film is Georges Geutary singing "Stairway to Paradise" staged in a manner that could only be done by MGM. Other great scenes include Gene Kelly dancing with a café matron and flower seller. The dance with the flower seller is particularly moving. She is much older than Kelly and when we watch this scene, we get a sense she is reliving a special moment in her life. Kelly's version of "I Got Rhythm" teams the great dancer with the neighborhood children who are only after one thing-Kelly's American bubble gum. We see some fancy footwork by Kelly as well as amusing interactions with children. The final dance number of the film, called "The American In Paris Ballet" is probably Hollywood's best dance scene. At least MGM thinks so since it ends MGM's historical documentary THAT'S ENTERTAINMENT!

  While it's true that renting AN AMERICAN IN PARIS in a video store is not all that difficult, this is a film that can give enjoyment over and over again, so why not add it to your collection?
  
  

• S'wonderful...and s'marvelous
  By A26JGAM6GZMM4V on 2003-07-20
  This is one of my favorite film musicals, together with Singin' in the Rain and Chicago. It received and richly deserved six Academy Awards in 1951, including one for best film. When you think about it, there are so many musicals which also offer delightful entertainment such as Meet Me in St. Louis, Seven Brides for Seven Brothers, The Wizard of Oz, Show Boat, West Side Story, Cabaret, South Pacific, The Sound of Music, Carousel, All That Jazz, and The King and I. It has been 50 years since An American in Paris was released and longer than that since the Gershwin brothers collaborated on the songs and George Gershwin composed Concerto in F and An American in Paris. How remarkable that the film has held up so well over the years. When I first saw it (in 1951), I immediately envied Jerry Mulligan's lifestyle (Kelly), especially after he met and fell in love with Lise Bouvier (Leslie Caron). He seems so at home in Paris, hanging out with his fellow American, friend, and neighbor Adam Cook (Levant) as well as with close friends among the Parisians such as Henri Burel (Georges Guetary). He also seems so popular with others within the area where he lives. The "I Got Rhythm" street scene number with his neighbors (especially the children) is thoroughly enchanting.

  As for the plot, it is relatively simple: Boy meets girl, doesn't know she's a friend's girl, falls in love with her and (we suspect) she with him. After a while, they agree not to hurt his friend and part but are eventually reunited. As I said, a relatively simple plot. What sets An American in Paris apart from most other musicals are its great music and dancing, of course, but also an especially thoughtful and witty script by Alan Jay Lerner. (His screenplay earned him an Academy Award.)I also enjoy the dream sequences, notably when Cook imagines himself performing the Concerto in F and then later when Mulligan brilliantly dances his way through the title symphony. The exteriors in Paris shot by cinematographers John Alton and Alfred Gilks are certainly charming. Their work earned them an Academy Award. Director Vincent Minnelli probably received substantial assistance from Kelly who was the film's choreographer. In all respects, this film had a superior cast and crew.

  Image and sound are certainly clearer in the DVD format. Regrettably, the "Features" which accompany this classic film are unworthy of it. Presumably their number and quality will soon be improved. With regard to this film's future, my guess (only a guess) is that this film will remain popular only so long as the Gershwins' music does. In other words, for a long time to come.
  
  

• One of Gene Kelly's Best Movies
  By A3K1RVYM3JQZZS on 2001-08-20
  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.
  
  
• Great movie/musical on flawed DVD.
  By on 1999-05-18
  Great movie for fans of George Gershwin, Oscar Levant, Gene Kelly. Also Noell Neill, who was TV's Lois Lane (Superman's girl), appears in one scene. But the DVD is flawed. First, it's not wide screen. Second, purple blotches appear from time to time in the upper right and other scenes have visible video noise. Third, the only place I could find the complete cast list was on Amazon.com. This is a MGM movie owned by Ted Turner. I wish Ted had spent some of his movie colorization budget on improving the colors in this one. I own over 500 DVDs and many of them are perfect, some unwatchable, and most like An American in Paris: There are scenes that are gorgeous and others that are faded and noisy. But I did love it!!
  
  
• An American in Paris
  By A10ODC971MDHV8 on 2005-09-05
  Set to an incomparable Gershwin score, this exquisite film still mesmerizes. Gorgeously photographed by John Alton, and invigorating from first song to last, "American" swept the 1951 Oscars, thanks to the winning talents of producer Arthur Freed, star Kelly, and director Minnelli. The climactic ballet sequence, performed to the title tune by Kelly and Caron, is one of the most dazzling musical set-pieces ever captured on celluloid.
  
  
• A grand musical
  By A1EOLRV216BXJ9 on 2005-08-03
  The digitally remastered version shows the glory of the cinematography which fully deserves the Oscar it subsequently won. Paris provided a picturesque backdrop throughout the movie - the small room Gene Kelly lived, the café he frequented, the cobbled streets children danced on. Leslie Caron is at her best in her dancing sequences. Surprisingly, I find the first solo dance she had in the film the least appealing among all the dances she gave in the movie. However as the plot unfolds, the duet performance she and Gene Kelly gave is pleasing to the eyes and her ballet training lends a lightness in the moves she makes. It is a treat just to watch her dance, especially the one she danced with Gene Kelly under the bridge. Simple and yet captivating. She also gave a very convincing performance as a sweet young girl who is supposed to marry out of responsibility rather than love.
  
  The movie also demonstrates the luxury of meticulous artistic design, costumes, coloured sets, great dancing scenes, numerous dancers and musicians offered by MGM. Just to relive what the Hollywood musicals are in the old days.
  
  Nina Foch is poised and elegant as the rich lady who wants to sponsor Gene Kelly's paintings. I wished as the story ends, something can be said about Nina Roch, the singer Georges Gutery and the concert pianist Oscar Levant. It would then be able to complete the story where not only the leading couple can have a good ending.
  
  
  
  
• My Favorite Gene Kelly Musical
  By on 2003-08-25
  AN AMERICAN IN PARIS has everything: great music, a touching story, brilliant choreography, and lush sets and costumes. Gene Kelly, one of the finest screen dancers of all time (he also choreographed many of his own films, including this one), is always a joy to watch. He is especially well-cast here as Jerry Mulligan, a somewhat gauche would-be artist living in Paris. I find Kelly attractive because, even though the characters he generally plays are tough and even slightly boorish, Kelly himself projected a disarming charm and graciousness. Similarly, while his dancing style was athletic and masculine, his physical movements (even normal ones, like standing up and walking -- watch him in the first scene, when he gets up out of bed and moves about his room) were graceful, like a ballet dancer's. The "American in Paris Ballet" is an undoubted highlight of the movie and of Kelly's great career. Leslie Caron's dancing ability and lovely appearance, Georges Guetary's "legit" tenor voice, and Oscar Levant's acid wit and genuine musical talent all add to the film's value. And of course, there is that Gershwin score! All Gene Kelly fans should watch AN AMERICAN IN PARIS -- it's one of his best movies, along with SINGIN' IN THE RAIN and ON THE TOWN.
  
  
• The whole is a treat; the quiet moments are a triumph.
  By A396SBGKAOLTZE on 2002-08-21
  "An American In Paris?" "Singin' In The Rain?" Apples and pomegranetes. However, the dancing here is not to be believed- from Kelly's "I Got Rhythm" romp with the kids to the "Embraceable You" tableau of Leslie Caron in various styles and moods, to the much-discussed long ballet which ends the film. But for me, the quiet moments are what really make this a lovely, almost silky, film. After an awkward series of encounters (what musical dosen't have these?) Kelly and Caron's first date, which ends with the Seine River walk under the bridge, transforms into the gorgeous, deceptively simple song-and-dance, "Our Love Is Here To Stay." This sequence, with its after-hours lighting and fog-infused cinematography, is the 'brio' of romance. It is reminiscent of the 'Dancing In The Dark' pas-de-deux in "The Band Wagon," right down to the outdoor setting and Caron's swirling white dress. But the background colors- the muted blues and purples- give it a truly amorous sensation. And the choreography of small walking steps, sways, and lunges is not backbreaking and looks simple- as if anyone unrtained could do it. (Yeah, right.)
  
  
• HEAVEN
  By ABG4AVLV1HXGK on 2001-11-06
  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.
  
  
• excellent film transfer
  By A2IA01EP0HL6ZV on 2010-03-02
  This Blu-Ray disc features an excellent transfer of "An American in Paris". It should be pointed out that this movie was shot prior to the onset of widescreen and cinemascope, and is presented in the original academy format, 1.37:1 aspect ratio.
  
  
• Outstanding.
  By A1OHWM2WHXS005 on 2008-10-26
  Very enjoyable. My husband and I are seniors and found it refreshing to review such an outstanding program....and one without a lot of 4 letter words in it which seems to be standard in todays movies. The acting and story were great. The dancing was superb! We had both seen it when it first came out and it was a joyful experience to view it again. Highly recommended.
  
  
• One of the two best musicals of all times
  By A35NQ8A4NN870A on 2008-10-12
  I saw AN AMERICAN IN PARIS for the first time when I was ten years old, back in 1954, and I think it's the second best musical of all times only because SINGIN' IN THE RAIN is better. In both of them, the personality of Gene Kelly shines as actor, dancer, singer and choreographer. Not a coincidence. Here, director Vincente Minnelli deserves the credit as the real inspiration of the film, because his trade mark is absolutely clear in the sequence of the ballet, a glorious gem unsurpassed until now. No wander the Academy selected the film as the best production of 1951 with several Oscars, as a recognition of the efforts of the Arthur Freed Unity in the genre. A brilliant musical, a tribute to Paris and his painters, to the music of George Gershwin and the talent of Gene Kelly. I have seen this film over 50 times, and it's a joy to have it now in this optimal version, with the color and the sound shining as ever, plus the excellent documentary ANATOMY OF A DANCER. I expect the same treatment for INVITATION TO THE DANCE, not yet realeased on DVD. What are you waiting for?
  
  

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