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Gene Kelly, Leslie Caron, Oscar Levant, Georges Guétary, Nina Foch ... see more see more... , Eugene Borden , Martha Bamattre , Mary Young , Madge Blake , Nan Boardman , Ann Codee , John Eldredge , Mary Jones , Jeanne Lafayette , Paul Maxey , Greg McClure , Noel Neill , Anna Q. Nilsson , Hayden Rorke , Dick Wessel , Alex Romero , Don Quinn , Andre Charisse , Art Dupuis , Alfred Paix , George Davis

Gene Kelly does his patented Pal Joey bit as Jerry Mulligan, an opportunistic American painter living in Paris' "starving artists" colony. He is discovered by wealthy Milo Roberts (Nina Foch), who bec... read more read more...omes Jerry's patroness in more ways than one. Meanwhile, Jerry plays hookey on this setup by romancing waif-like Lise Bouvier (Leslie Caron) -- who, unbeknownst to him, is the object of the affections of his close friend Henri (Georges Guetary), a popular nightclub performer. (The film was supposed to make Guetary into "the New Chevalier." It didn't.) The thinnish plot is held together by the superlative production numbers and by the recycling of several vintage George Gershwin tunes, including "I Got Rhythm," "'S Wonderful," and "Our Love Is Here to Stay." Highlights include Guetary's rendition of "Stairway to Paradise"; Oscar Levant's fantasy of conducting and performing Gershwin's "Concerto in F" (Levant also appears as every member of the orchestra); and the closing 17-minute "American in Paris" ballet, in which Kelly and Caron dance before lavish backgrounds based on the works of famed French artists. ~ Hal Erickson, Rovi

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76% liked it

25,261 ratings

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98% liked it

54 critics

G, 1 hr. 55 min.

Directed by: Vincente Minnelli

Release Date: October 4, 1951

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DVD Release Date: April 27, 1999

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Flixster Reviews (1,342)

  • cosmo313
    March 8, 2012
    cosmo313
    Using the music of George Gershwin as a foundation, Vincente Minnelli directs this Oscar winner about an American G.I. named Jerry living as an expat in Paris who, while trying to make a living as a painter, not only falls in love with Paris, but also with a young perfume shop cl... read moreerk named Lise. Unfortunately, Lise is engaged, unbeknownst to Jerry. Not only that, but he's also unaware that a woman who has taken an interest in his work is actually more interested in him than his paintings.

    Okay, so the story isn't all that impressive, and neither are the characters, but the film is still a success, if only because of the whole style over substance thing (in one of the cases where this is ultimately good instead of bad). With Gene Kelly in the lead, you know there's gonna be some great song and dance numbers, and this film doesn't disappoint. The crowining achievement here is the 17 minute ballet that makes up the film's climax: a real shostopper of a number set to the Gershwin piece the film is named after. In this one sequence alone, the audience is treated to a excellent narrative told through dance and music (but no words) that features soem excellent Impressionst style costumes and sets. It's a great moment, and the whole film could have been excellent had it all been like this.

    It's not though, but I still kinda like it. The characters are likeable, even though not much is done to really develop them substantially or make you care about them immensenly. The perforamnces are at least decent. Kelly is of course terrific, and Leslie Caron does a good job in her film debut as Lise. Nina Foch is also good, but I could have used more of her.

    All in all, a decent musical, but nothing tremednously special. It sure could have been, but it's not. I do like it though, and think that if you have an interest in any of the cast, the director, musicals, or Gershwin, then you'd do well to give it a watch...just don't expect it to be the Oscar masteriece it was hailed as being though.
  • fb1341085175
    October 4, 2011
    fb1341085175
    Vincente Minnelli pode ser considerado um dos principais responsáveis por elevar o gênero de filme musical ao status de arte. Ainda que não seja a melhor de suas obras (estas são Agora Seremos Felizes e Gigi), Sinfonia de Paris impressionou o bastante na época a ponto de levar se... read moreis estatuetas na noite do Oscar, incluindo a de Melhor Filme.

    Escrito por Alan Jay Lerner (mais tarde responsável por Gigi e My Fair Lady), o roteiro de Sinfonia de Paris não escapa do arquétipo padrão de musicais da Metro: como perfeitamente descrito por Frank Sinatra em Isto Era Hollywood, "garoto conhece garota, garoto perde garota, garoto canta e consegue a garota." Neste caso, o garoto é Jerry Mulligan (Gene Kelly), ex-soldado que agora se dedica à pintura na cidade das luzes. A garota é uma estreante Leslie Caron que, apesar de ter alcançado grande sucesso em outros filmes, aqui claramente demonstra não ter total consciência do que fazer quando não está dançando. O lado subversivo do romance é que, ao mesmo tempo em que vivem um affair, ambos vão para a cama de pessoas diferentes (ou assim subentende-se): ela para a de um cantor amigo de Jerry (Georges Guétary) e ele para a de uma mulher mais velha que patrocina sua arte (Nina Foch). Esta ruptura de caráter que faz do personagem de Kelly um semi-gigolô o torna mais interessante do que o tradicional "sujeito boa praça" interpretado pelo ator durante toda sua filmografia (e a decisão de vestir o bailarino em collants revela mais sobre o Minnelli do que pode ficar explícito na tela).

    A história é, no entanto, apenas um pretexto para a apresentação de clássicas canções do vasto repertório de George Gershwin (incluindo "I Got Rhythm" e "S' Wonderful"). Os números musicais possuem uma série de predicados próprios, embaladas pela sempre criativa coreografia de Kelly e pelo fantástico tato na direção de arte de Minnelli. De fato, torna-se tão fácil se deixar seduzir pelo seu "cinema dos sonhos" (como definiram os críticos da Cahiers du Cinema) e acabar suprimindo as falhas narrativas do filme. Mas o que fez Sinfonia de Paris realmente conquistar seu lugar na história do cinema foram os frenéticos dezoito minutos finais: uma sequência única de balé onde o casal revive sua história de amor utilizando pinturas de consagrados artistas impressionistas franceses como cenário. É neste momento em que o perfeito casamento da arte de Kelly e de Minnelli criam algumas das mais belas imagens já capturadas em película. Se a cena final é apressada e obviamente calculada é porque o diretor sabia que nada conseguiria superar aqueles momentos. Melhor mesmo é se retirar enquanto se está no topo.
  • ajv2688
    October 28, 2010
    ajv2688
    The story wasn't all that bad until they decided to add silly song and dance numbers, which last over 10 minutes long. I was so annoyed with this movie.
  • flixsterman
    July 18, 2010
    flixsterman
    Make no mistake about it, An American in Paris is all about the dance. Sure there are vocals and instrumentals and even a bit of a story, but it's all to support the high-stepping promenade. A real technicolor extravaganza.
  • smith44
    April 6, 2010
    smith44
    Best Picture Academy Award-winning film, with the unbelievably great dancer and signer Gene Kelly. A perfect showcase for dazzling scenes built around Gershwin's great score. With the great song 'I Got Rhythm'. Visually beautiful love story and the great ballet sequence, filmed i... read moren the style of Impressionist paintings, is legendary. Songs include "I Got Rhythm," "Embraceable You," "S'Wonderful," and the title song are the best.
  • bottcorecords1
    March 26, 2010
    bottcorecords1
    As far as musicals go, "An American in Paris" is a fairly enjoyable one, even if the long ballet sequence at the end feels tacked on. Leslie Caron is quite a stunningly attractive girl. It's a conventional plot involving a beautiful girl who falls in love with a dancing painter... read more, but has committed herself to the older singing gentleman who helped her out during the war. Likewise, the dancing painter has been ensnared by an art-loving sponsor who seems just as interested in his body as she does in his body of work. Did I mention Leslie Caron is a knockout? Gene Kelly is his typically graceful and talented self as well and Gene Kelly fans should be very pleased with the film. But the movie pushes it's nearly 2 hour running time to the limit and could've used some judicious editing. I enjoyed the "french" atmosphere, but I can't recall any of the songs (a problem I don't have with director vincente Minnelli's later film, "Gigi"). Personally, I found Kelly's performance as a tortured artist to be less convincing than some of his other roles. This film won the academy award for best picture.
  • sanjurosamurai
    September 27, 2009
    sanjurosamurai
    without question one of my favorite musicals of all time. kelly is the greatest musical actor and despite the greatness of singin in the rain i think this is his best movie. laslie caron is one of the most beautiful women ive ever seen on screen and the music, acting, locations... read more, and story are all perfect. the only thing holding this entire film back from perfection is an ending that misses the more romantic climax for the sake of being "neat", but overall this is a classic and must see for fans of film.
  • jjnxn
    August 18, 2009
    jjnxn
    The final ballet is indeed impressive, Oscar Levant lends his trademark goofy charm and Leslie Caron exudes gamine charm but the base story is trite and its somewhat difficult to see why this is so revered.
  • webalina
    June 23, 2009
    webalina
    A musical for people who don't like musicals. My problem with musicals is how I hate for people to just burst out in song for no reason. What I like about this film is that every musical break relates to the plot of the film. It doesn't necessarily advance the story, but at least... read more it makes sense. Gene Kelly is tremendous as always, but Leslie Caron shines in her first movie role.
  • jennifxu
    August 13, 2007
    jennifxu
    This is grrreat! Leslie Caron proves to be the only person able to keep up with Gene Kelly's MAD dancing.

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Critic Reviews

James Berardinelli
January 25, 2011
James Berardinelli, ReelViews

Gene Kelly remains one of the best and brightest of the Golden Era musical stars and An American in Paris shows him in fine form. Full Review

February 18, 2009
TIME Magazine

A grand show -- a brilliant combination of Hollywood's opulence and technical wizardry with the kind of taste and creativeness that most high-budgeted musicals notoriously lack. Full Review

Variety Staff
February 19, 2008
Variety Staff, Variety

One of the most imaginative musical confections turned out by Hollywood in years. Full Review

Don Druker
December 12, 2006
Don Druker, Chicago Reader

While not nearly the musical it's cracked up to be, this 1951 film is absolutely required viewing for anyone who wants to see the studio system (MGM style) at its gaudiest, most Byzantine height. Full Review

Geoff Andrew
June 24, 2006
Geoff Andrew, Time Out

A musical both ludicrously overpraised (especially in Hollywood) and underrated. Full Review

Bosley Crowther
May 20, 2003
Bosley Crowther, New York Times

...the picture takes on its glow of magic when Miss Caron is on the screen. When she isn't, it bumps along slowly as a patched-up, conventional musical show. Full Review

Roger Ebert
January 1, 2000
Roger Ebert, Chicago Sun-Times

The real reasons to see An American in Paris are for the Kelly dance sequences, the closing ballet, the Gershwin songs, the bright locations, and a few moments of the ineffable, always curiously sad c... Full Review

Philip French
October 30, 2011
Philip French, Observer [UK]

The Gershwin songs are magnificent, and the climactic ballet a tour de force that won the great Hungarian-born cameraman John Alton an Oscar. Full Review

James Mottram
October 28, 2011
James Mottram, Total Film

It's up there with the very best of Hollywood hoofers. Full Review

Geoffrey Macnab
October 28, 2011
Geoffrey Macnab, Independent

Fresher than ever. Full Review

Critic ratings and reviews powered by RottenTomatoes.com

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  • where does this quote come from?? Last night you were a small annoyance but today you are growing into a large nuisance. Now leave me alone and don't call me again ever.   Answer »
  • Gene Kelly played which character (name) in An American in Paris?  Answer »
  • The following movies were nominated for an Academy Award for Best Motion Picture in 1951. Which movie won the Oscar? HINT: this is what Carrie Bradshaw was in the final episodes of SEX AND THE CITY  Answer »
  • Which of these films, nominated in 1952, took home the Oscar for Best Picture?   Answer »
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