An American in Paris (1951)

I love the glitz and excess of "The Musical" as it as been mythologized in the public consciousness and especially in the movies. However, with an industry wide shift in the 70's toward realism ,"the Musical" became less popular as a film genre to the point where musicals really only exist in the modern industry as gritty dark awards bait films like Les Miserables. It seems they can only exist if their song and dance is balanced out with a realistic narrative, characters, and visual style. An American in Paris is very much not that.


An American in Paris is an old hollywood musical in the most classic of styles. Elaborate sets, long single shot dance sequences, Gene Kelly, and absolutely no concern for a dramatic or compelling narrative. It is two hours of incredibly talented performers showing off their talents in visually engaging locations strung together by only the loosest narrative justifications. And these dance sequences are well worth it. Gene Kelly is an incredibly talented guy and An American in Paris is a fantastic showcase of his talents from singing to dance to tap; the long takes that showcase the man's art are beautiful and to this day stunningly jaw dropping to watch. However if I had to pick a favorite musical sequence I would probably have to go for the more cinematically impressive achievement of Oscar Levant's Adam Cook being an entire orchestra in a fantasy sequence. Not only does it take plenty of time to showcase Oscar Levant's visually impressive piano skills but also shows him composited in multiple places throughout the frame playing different instruments and even cheering for himself from the audience. This sequence which lasts almost five minutes has no connection with the broader narrative of the movie but nonetheless is a joy to watch.

Those who have seen the movie may have guessed by now that I told a tiny little lie. The aformentioned fantasy sequence can't be my favorite musical sequence cause there is a sequence so legendary that is single handedly makes An American in Paris far more important and interesting. The final sequence of this film is fantasy ballet that lasts a full 17 minutes a whopping 14% of the movie. That may not sound like a lot but it is a long time to spend on a single dance sequence. Normally this would kill the audience's attention. Especially since, like most of the other musical sequences, it doesn't really advance the narrative. However, An American in Paris, did a lot to keep itself interesting throughout. First off the sets and costumes are sumptuously colorful. The sequence is framed as a fantasy being had by Gene Kelly's Jerry Mulligan who is a painter. This is reflected in the surrealistic painterly costumes and sets that span a variety of artistic styles as the sequence shifts and evolves through its own narrative. It's own narrative does a lot to hold the audience's attention as well. Using dance and setting for context the sequence expresses it's narrative beautifully and viscerally. you really feel the emotions in the movement and colors as the sequence continues and evolves.

Kinda a shame about the narrative though. An American in Paris is absolutely a beautiful spectacle and showcase of talent, but kinda a shame about that narrative though. I've seen the movie before so I knew what I was getting into I wasn't expecting a good story or compelling characters, but the resulting experience did leave me kind of bored. The dance sequences were still engrossing, but unfortunately nothing else was. This is the failing of musicals of the time and An American in Paris in particular, and perhaps part of the reason the industry shifted toward realistic and intricate narratives. But really when it comes down to it An American in Paris's story and characters aren't bad they're out of date. It's a really bland predictable love quadrangle: Character A and B are engaged, but character B and C are in love, but character D is also in love with C. Of course after an hour and a half of deliberation and discovery C decides to stick with D, and let A and B get married, but then B breaks off the engagement and runs off with C. It's a really cliche story and plays into the fantasy we've seen a billion times of the hapless nice guy who's getting fawned over by every woman he meets and he just can't decide which sexy lady to marry. It's incredibly dull but there's nothing really wrong with it (teaching young men they are entitled to a sexy lady aside). Some of the dialogue is even pretty fun and snappy, but its hardly enough to reawaken a sleeping interest.

So in the spirit of encouraging people to see more fantastic musicals here's my personal guide to a modern audience member on how to watch An American in Paris for the first time. Begin the movie right as Jerry Mulligan and Milo Roberts are leaving for a party. Yes, that's right near the end of the movie and you're skipping a lot of fantastic dance sequences but you're gonna see the important one so sit tight. Pay close attention a lot of the plot details are exposeted in the party scene but they may be hard to catch on one viewing, also deeply consider the legendary fantasy dance sequence. The emotional arcs of the characters are echoed amazingly well in the visuals, choreography, and music. It really serves as a microcosm of the movie as a whole, and in some cases the story is better told here. By the time the sequence is over, you'll have not only seen the best part of the movie but also have at least a basic understanding of the movie's plot and characters. If you still need more after seeing that go on ahead and watch the movie, but don't hesitate to hammer that fast-forward button if you get bored you probably won't miss much. Just make sure you really soak in the sumptuous display of talent woven throughout the film.

So that was An American in Paris. A day late cause I was awfully busy with some dental problems (Also why I didn't post last Thursday). Tomorrow, another movie that I've not heard of A Place in the Sun (1951).