And the Best Picture goes to....
1951
Arthur Freed, Producer
1 hour 54 minutes
Estimated Budget $2,723,903
Approved
The Other Nominated Films
Decision Before Dawn
A Place in the Sun
Quo Vadis
A Streetcar Named Desire
Directed by Vincente Minnelli Nominated, Best Director
CAST
Gene Kelly
Leslie Caron
Oscar Levant
Georges Guétary
Nina Foch
ALSO NOMINATED FOR
Alan Jay Lerner Winner, Best Writing
Alfred Gilks Winner, Best Cinematography, Color
John Alton
Cedric Gibbons Winner, Best Art Direction, Color
E. Preston Ames
Edwin B. Willis
F. Keogh Gleason
Orry-Kelly Winner, Best Costume Design, Color
Walter Plunkett
Irene Sharaff
Johnny Green Winner, Best Music Score
Saul Chaplin
Adrienne Fazan Nominated, Best Film Editing
LOGLINE:
A struggling American painter in Post WWII Paris unknowingly falls for the young French girl who happens to be engaged to his good friend.
REVIEW:
This is an MGM Technicolor musical, so it’s vibrant and visually stunning, even though it was filmed on a studio backlot rather than on location in the City of Lights. Gene Kelly was charming, and it was enjoyable to watch him interact with the children during his “Who Can Ask for Anything More” number. He is undoubtedly one of the best song and dance men to come out of Hollywood, and this film clearly demonstrates why, though it doesn’t quite compare to his more memorable performance in “Singing in the Rain.” From what I understand, he also directed parts of this film while Vincente Minnelli was going through his divorce from Judy Garland during production.
The plot of this film was lackluster, and I wasn’t particularly impressed with Leslie Caron’s appearance or performance, although her dancing was outstanding. This may have been her screen debut, but I simply didn’t see her appeal as the female romantic lead; it was lost on me. However, Nina Foch was a pleasant surprise as the American heiress trying to become Gene Kelly’s patroness. In fact, I felt that Gene Kelly shared more on-screen chemistry with her than with leading lady Caron. I found myself hoping he would come to his senses and fall for Foch’s character, allowing Caron to marry his buddy instead.
Naturally, a musical like this has a finale filled with plenty of razzle-dazzle. While the scene was well choreographed, it lasted about 17 minutes and could have easily been cut in half, as the ballet didn’t seem very relevant to the story. Following this number, the ending felt a bit too simplistic, as Caron unexpectedly returns to the ball, and our couple strolls off into the Paris night hand in hand.
Ultimately, “An American in Paris” is enjoyable to watch if you like musicals and appreciate dance sequences. However, don’t expect a deeply engaging plot. While it’s not a bad film, I found myself feeling a bit indifferent rather than inspired. If you’re looking for a light and colorful experience, you might find it enjoyable, but it may not leave a lasting impression.