An American in Paris - Movie Reviews - Rotten Tomatoes

An American in Paris Reviews

Page 2 of 63
August 1, 2015
Couldn't get through the first 20 minutes- every introduced themselves the exact same way (which got old after the second introduction). I had to turn it off after the one guy was describing his girl friend in the vaguest way possible, questioning to myself "Is there a point to this?" I hope if I ever get to see the stage adaptation that's recently been on Broadway, I hope it's much better
May 24, 2015
Beautiful film, loved it!
½ December 26, 2014
I just couldn't get into this musical. The storyline and much of the acting is ordinary, and there is little charisma. The one redeeming feature is Gene Kelly. His acting, dancing, singing and charm steal the show. AAW. 1001
½ May 15, 2015
With such disappointments as "The Broadway Melody" and "The Great Ziegfeld," it was about time the Academy awarded a worthy musical.
May 19, 2015
A joyful musical with a not surprisingly charming performance from Gene Kelly. Great costumes and music throughout ending with a magnificent finale with outstanding cinematography, art direction, and choreography
May 16, 2015
The setting, the art, the colors, and the choreography are gorgeous, culminating in an epic dance number at the end of the movie that will forever be a classic.

The problem is that all of this beauty exists in a movie that has disturbing things to say about women. This starts with the character Milo Roberts, played by Nina Foch. She is the villain of the movie, according to the men, but by modern sensibilities never comes across as villainous at all. The male characters take her to task for showing at patron's and romantic interest in the artist Jerry Mulligan, played by Gene Kelly. A particularly harsh verbal attack at a wild party that leads into the final dance number suggests she is a vile predator, despite her being age-appropriate for the late-30s Gene Kelly.

Contrast that appropriateness with Mulligan's pursuit of the 19-year old Lise Bouvier, played by Leslie Caron. He stalks her despite her discomfort and then her verbal requests for him to stop being inappropriate. Perhaps his character is supposed to be much younger than Gene Kelly was at the time, but the nearly 20-year difference between the two is obvious. The storyline parallels Kelly's real life discovery an patronage of Caron, and today it is shocking that this is considered just fine when it is an older man helping a young woman, but a scandal when it is an older woman helping a similarly-aged man.

The plot concerns a four-way triangle and ends with a disturbing scene that suggests Lise is an object to be handed between men at their digression. She is not the one who gets to make the choice.

The music and the dancing are, of course, absolutely wonderful and the only reason I give this three stars. Another highlight is Oscar Levant's orchestral fantasy, complete with him at every instrument. It is unclear, though, what purpose his character actually serves. He becomes aware of the various romantic entanglements, but doesn't do or say anything about it except condemn Roberts. By the end of the movie he has had no character arc and there are not hints about what will happen with him and his music. Like Roberts, his character is dropped before the final number, without resolution.
½ April 12, 2015
Both leads are wonderful and that final number is outstanding (if a little long). A beautiful score adds to it's charm.
April 6, 2015
Starring Gene Kelly, Leslie Caron and Oscar Levant. Beautiful and lively musical features Kelly as an American painter living in post-WWII Paris, whose carefree life is disrupted when he falls in love with Leslie Caron (in her breakout performance). The highlight is the long ballet sequence set to the title Gershwin piece. Levant is along for good measure as Kelly's hypochondriac piano-playing buddy. Directed by Vincente Minnelli.
½ March 24, 2015
Just pure delight to watch Gene Kelly shine in acting, singing and dancing. An artistic genius, and my new hero! :D
February 8, 2015
The musical is a genre that has seen its better days, honestly, but back in the glory days of Hollywood they could churn them out like nobody's business. AN AMERICAN IN PARIS, while not the best of them (or my favorite), certainly ranks up there as one of the all-time greats. The story is a bit on the ordinary/cliche side, but everything else that holds the film together is spectacular and quite a sight to see. There is amazing sets and production design, beautiful music, and of course some of the best choreographed dancing I've ever seen. Gene Kelly is the star of this movie and he makes it all seem so effortless. Of course, the supporting cast is no slouch either and more than pull their weight when it comes to the song and dance numbers. Another plus is the soundtrack and score, composed largely of tunes by George Gershwin (who also happens to be one of my favorite composers). Of course there is the title song which is played numerous times over the course of the film, but also other familiar songs like "'S Wonderful" and "I Got Rhythm," to name a couple. In a couple of instances, the appearance of certain tunes seem a little bit shoehorned, but it doesn't take very long for you to be swept up in the magic onscreen and forget about everything else. One of my favorite moments in the film actually didn't involve singing or dancing. It was a fantasy sequence in which Jerry's (Gene Kelly) friend and fellow artist, Adam (Oscar Levant) imagines himself giving a concert of Gershwin's Concerto in F...except that he's also the conductor, the orchestra, and the audience who gives himself applause at the end. As a pianist myself, this sequence was very entertaining and humorous. The only problem is that it doesn't really fit into the larger framework of the film, and messes up the pacing a bit. Directly after this sequence, the pacing goes by a little too quick to catch up with itself. The only other issue I have with the film is the ending: not the magnificent song and dance sequence set to "An American in Paris," but the very end. Without spoiling it, I kind of wish the ending had been kept a little more ambiguous instead of going for the usual, crowd-pleasing happy one. That being said, I absolutely enjoyed watching this. It was a like a Technicolor dream full of vivacious energy, vibrant color and soul-stirring music. In my opinion, it's not to be missed.
½ March 7, 2015
really a soft, cozy, and pleasing film
the plot doesn't have much focus and veers off at times but the musical numbers are expertly choreographed as well with the dancing
Gene Kelly and Leslie Caron are the ultimate stars of this musical romp
and I will say the finale without any dialogue wraps up the movie on a successful note
for anyone who loves classic MGM flicks this one's a sure-winner
½ February 25, 2015
At first, the musical numbers in An American in Paris are charming, but then they get annoying and by the end of the movie, they are a distraction. The dancing and the performing don't do anything to progress the story and they become, instead, a way to show off and prolong the running time. Gene Kelly and Nina Foch do a great job, but I still don't get the allure of Leslie Caron.
February 19, 2015
Absolutely perfect until the end when it falls on its face.
December 13, 2014
This film is not only a great musical but as well as a love story
½ November 8, 2014
If you enjoy Ballet, you'll love it. If not, don't bother.
½ February 22, 2013
The ballet sequences were beautiful. The rest of the movie was just... there.
November 26, 2007
"Un Americano en París" es un musical inmortal con una visión mágica y onírica de París y con un Gene Kelly que demuestra que bailar no va en sentido contrario con la masculinidad. Esto es cine de primer orden.
Cameron W. Johnson
Super Reviewer
½ August 19, 2014
Wait, I thought that she found love in Monaco, not Paris. I'm almost embarrassed to say that I sometimes mix up Gene Kelly's and Grace Kelly's names, and this film may have made it harder to distinguish the two, not just because this film is about that good ol' France romance, but because it shows me how much of a girly man Kelly was. Well, he at least seems like a wimp when I compare this film to my expectations, because, seriously, with all of this ballet and what have you, where is the blasted werewolf? ...Hm, maybe I should read even more into classic cinema, because I'm starting to sound about as crazy as the idea of turning some kind of an orchestral poem into a two-hour-long movie. Well, maybe this film isn't too ambitious with its padding out George Gershwin's subject matter, because the plot is about the length of a poem, and the rest of the film is the ballet number at the climax. Maybe that sequence isn't that long, but it's 16 minutes long, for goodness' sake, which makes the transformation sequence in "An American Werewolf in London" look like nothing, thus, it appears that it takes less time to transform into a werewolf than it does to transform from a sailor to a, "thailor"... you know, with a lisp. Mind you, Kelly's character is ex-Army, but he couldn't seem to wash the real-life Naval experience off of his clothes in this film, which isn't to say that that's the only questionable aspect of this fun little flick which stands to be more little.

The film's namesake may derive from one particular American, but the film follows several leads and stories, and although each story is decent, a couple of them feel expendable, while the rest run too closely together in formula, resulting in a hint of convolution and a great deal of repetition, exacerbated by some overlong scene structuring. Of course, most of the excess is found within the musical aspects of this film, because even though each number is worth having to liven things up, from tunes which overemphasize a throwaway theme, to that blasted 16-minute-long ballet climax, plenty of numbers take away from the focus of the plot progression, while few have a place in the context of grounded storytelling to begin with. More numbers than expected fit into the focus of the film pretty organically, but more than a few just don't gel with the believability of a story which is already melodramatized by heavy-handed fluff that comes to characterize the narrative, yet would be easier to embrace if the script didn't exacerbate the cheesiness with some cornball humor and thin characterization. Plenty of the writing is clever, or at least colorful enough to compensate for its superficialities, but if laz elements to Alan Jay Lerner's script don't lead to conventions, they lead to an overly simple, safe approach to subject matter which doesn't exactly set a solid bar for powerful storytelling. The story concept is ultimately inconsequential, with no heavy conflicts or deep themes, just romantic fluff punctuated by lively musical aspects and artistry, and although that makes for a fun film, it isn't entirely Best Picture material, especially when depth is further superficialized by excess, cheese and even a degree of laziness to storytelling. When it comes to entertainment value, this film is very inspired, but when that inspiration buckles, there's no getting past the questionable structuring and lightheartedness which would have rendered the final product forgettable if it wasn't so historically important. Well, the memorability of the film is reinforced by the liveliness of the film, which is inconsequential, but terribly enjoyable on a visceral and, yes, even aesthetic level.

While not the major height in then-up-and-coming coloration technology that it could have been, Alfred Gilks' cinematographic efforts - taken over by John Alton during the ballet climax - is richly lush, particularly when it does justice to a Parisian setting that isn't explored especially thoroughly, but remains beautiful by its own right, as well as immersive and complimentary to themes on romance and artistry which France's capital is known for being the capital of in the world. These noble themes are the heart and soul of a hopelessly superficial, but colorful story, which messily juggles several branches dealing with life, love and art which are nonetheless enjoyable in concept, with an interpretation that is faithful to the liveliness, but largely focused on the musical aspects of this flick. The film is perhaps most recognized for its musical aspects, and understandably so, partly due to a versatility which encompasses elements of George Gershwin's masterful classicalism, as well as jazzy, showy and all around flashy musical numbers whose instrumentation is sweeping, and whose lyrics by Ira Gershwin are iconically snappy, tight and all around memorable. Like many musicals, this film forces in many numbers, but it's hard to wish away any of them, as they're all so well-written and orchestrated, and further brought to life by a cast full of spirited singers, and a few dynamite dancers, especially the infectiously tap-happy Gene Kelly. Of course, Kelly and his peers do more than just deliver on snappy tunes and moves, for just about every member of this arguably overblown cast - from the colorful Kelly and the charismatically subdued Oscar Levant, to the devilishly winning Georges Guétary and a beautiful, 19-year-old Leslie Caron - delivers on impeccable charm and chemistry which bring a lot of life to this celebration of life. The thespians' color is at least brought to light by the color within Vincente Minnelli's direction, which is among the least lazy aspects of this superficial film, as it makes sure that every single scene at least feels tight, with a perky air whose colorful heights are soaring in their technical proficiency, aesthetic sweep and overall entertainment value. I've said it time and again, but I must emphasize that this film is truly a lot of fun, and although it is hardly anything more than that, and therefore very underwhelming from a dramatic standpoint, the entertainment value ought to endear through and through, despite the natural shortcomings it comes with, and the consequential shortcomings which challenge it.

Once the routine has wrapped, the film takes too much time - largely with the help of somewhat forced musical numbers - to tell a cheesy, formulaic and ultimately superficial story, and doesn't stand a chance of transcending underwhelmingness, challenged respectably enough by the lush cinematography, immersive art direction, outstanding soundtrack and dance numbers, charming cast, and lively direction which secure "An American in Paris" as a classically fun, if inconsequential tribute to life, love and art in the most romantic city in the world.

2.5/5 - Fair
November 27, 2009
Typical stupid musical from the 50's
Page 2 of 63