I don't understand it, myself. Since "Singin' in the Rain" is the greatest musical of all time, how come "An American in Paris", made just the year prior, and also featuring Gene Kelly, is not nearly as good? How can a film that has received so much acclaim over the years be such a letdown?
I have often criticized films that have too much action and not enough content. The same criticism can sometimes be applied to art films; in this case, too much ballet and not enough content.
"An American in Paris" does have a plot. It is a
love story that thinly winds its way through
numerous lengthy production numbers. An ex-GI
painter (Gene Kelly) is living (and struggling)
in Paris. A wealthy socialite (Nina Foch)
promotes his career, but seems more interested in
his body. Kelly falls for chipmunk-cheeked Leslie
Caron, who is engaged to stage performer Georges
Guetary. Unemployed pianist Oscar Levant is the
laconic mutual friend of Kelly and Guetary.
Undoubtedly, Kelly was an outstanding actor,
dancer, and choreographer. But perhaps the
envelope was pushed too far in "An American in
Paris". Comparing with two Kelly vehicles that I
admire, "Singin' in the Rain" and "Take Me Out to
the Ball Game", both had better storylines, and
better supporting casts.
It is possible that since I don't have knowledge
of European culture, that I can't appreciate
songs about German composers, and lacking an
understanding of ballet, I can't appreciate
eighteen minute ballet sequences. But I enjoyed
the production numbers from the aforementioned
Kelly vehicles. The magic doesn't work here,
perhaps because the numbers fill up most of the
movie, perhaps because Caron's character is only
perfunctory, or perhaps Donald O'Connor and even
Frank Sinatra are missed. Perhaps because Guetary
sings like Al Jolson, while Levant appears about
to fall asleep.
In any event, "An American in Paris" received
more Oscars than any other Kelly vehicle. Awards
were won for Best Picture, Best Art Direction,
Best Cinematography, Best Costume Design, Best
Music and somehow even Best Writing. There were
no nominations for acting, but Vincente Minnelli
was up for Best Director. (59/100)
One of the greatest of 1950s screen musicals is a happy collaboration between the grace and athleticism of Gene Kelly and the colorful palette of dire...More at Family Video
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