American in Paris, An (1951)

The Veteran Qualities of Vincent Minnelli. Gene Kelly, and Leslie Caron
By the time Vincent Minnelli directed the musical, "An American in Paris," starring Gene Kelly as that American, and Leslie Caron, all three of them were at the top of leagues. Minnelli had directed the first all black characters & actors movie (and got away with it, thumbs up), he was likely the envy of a great many men being the husband of the legendary Judy Garland, and was a master in his field.

Gene Kelly was already a dancer's dancer. Paired with Leslie Caron the dancing and singing couple, under Minnelli's direction with acumen, was sensational.

"An American in Paris," is one of the most under-rated musicals in American film history. The plot is about a multi-cultural romance that is confounded by both class and ethnicity. Minnelli seems to have been drawn to stories that were controversial and dealt with social prejudices. But, Minnelli didn't bring the controversial aspects that forefront of the films he directed. He preferred to treat the public to fabulous performances that were so overwhelming the social issues were only part of the background. That's how Minnelli got away with doing what he did the best: he brought out the very best performances in numerous musicals and literally left the controversial social topics alone to tell their own stories.

Thus, while a Minnelli film was making a politically charged statement that was bold and brazen, the general public viewers were focused upon the song and dance routines that were over the top in excellence. This is what "An American in Paris" achieves.

We can't possibly take our eyes off of one move Gene Kelly makes with Leslie Caron as they grace the silver screen with their dances. Neither can we miss a note of romantic lyrics sung by them both to one another. The political message is practically subliminal. That's the trademark of a classic Minnelli movie. This is among his best works of art and over-shadowed politics.

That's why I call it a Minnelli movie rather than a Kelly one. Neither Kelly nor Caron were known for taking on debatable social topics in the movies they made.

Sum of the parts
Gene Kelly danced so effortlessly that he made me think I could do it too--and I can't dance at all. Oscar Levant was not much of an actor, but his piano number of a Gershwin piece was magnificent. Leslie Caron was--well, Leslie Caron, and I've been in love with her for at least 50 years. Nina Foch was pretty and quite competent. The color is great. The music and songs were excellent.

So why didn't I like this more? Because somehow all the nice parts don't quite fit together. The acting is second rate. The love story is lame, 1950s claptrap with a sugary ending that can put cavaties in your teeth. Gene Kelly seems to be wearing taps most of the time, except when he has a soft shoe number. Paris is too neat and clean and stylized. The artists ball makes no sense at all. The music erupts too easily at very odd places. The long ballet at the end, with changes of costume in mid dance, gets a little tedious. In short, the director and cast just didn't sell this to me as a single entity. Compare it with the musical "Chicago" or with "Gaby" or with "South Pacific," and "An American in Paris" just doesn't stand up. Nevertheless, I'd watch it again for the Oscar Levant number and, ahhhh, lest I forget, Leslie Caron.

Absolutely amazing, Gene Kelly is the best
This movie is more than a classic, it is a masterpiece. The dancing numbers are phenomenal, Gene Kelly is an amazing dancer and the number one reason to watch this movie. Yes, the relationships seem fickle and not fitting, but who cares?! This musical is absolutely excellent. The movie includes an 17ish minute ballet choreography featuring Leslie Caron and Gene Kelly. One of my favorite performances in this movie is by Nina Foch, who plays the rich heiress who is sponsoring Kelly's character (a painter). My favorite quotes happen between the characters of Milo (Foch) and Jerry Kelly).