Gene Kelly pesters a woman he just met to fall in love with him whilst singing and dancing and speaking French in an atrocious accent. One can't help but think it's a satire of musical films because the love story is actually that unrealistic, a la The Umbrellas of Cherbourg. Alas, I believe I am wrong. I do find the film thoroughly entertaining, Paris explodes in Americanised technicolour and plasticity.
8/10. Though Kelly's dance moves are second to none, I was left wishing that the film's familiar, paint-by-numbers romance felt engaging enough to provide entertainment between the dance numbers. Still, a must see for the production design with all its candy colors.
2-3. I think this movie could have been much better. Setting aside its vivid production values, its command over sentences such as the reconstitution of the torn, empty image of France (which is subsequently colored by the love of Lise) is impressive. But here, the musical interludes REALLY interrupt a plot that's too simple and weighed down by unfortunate implications. Great song and dance numbers, though.
I'm really trying to watch different kinds of cult movies, including musicals, but I fucking hate them. As much as I appreciate all the work behind them, here especially in the closing scene, I just can't bear the fact that all of this singing and dancing tries to hide the horrible plot.
Minnelli crafts a joyous musical that is full of a vibrant energy that almost can't be described. Minnelli makes Paris come to life like never before. The dance numbers are hauntingly beautiful, especially Kelly's 20 min ballet piece towards the end. However I didn't really connect to the characters or the story as much as I wanted to. I actually found the side characters to be much more interesting that the leads.
"You'll always be by my side," Gene Kelly says plaintively when Leslie Caron wishes him goodbye. And right behind me, a little kid asked his mom, "Is that because he's stalking her?" There is something kinda stalker-y about so many movie romances, which means they live or die by the charisma involved. Fortunately, Kelly had it. As for that little kid, when the lights came up, he said "That was a great movie!"
The Studio sheen of Minnelli's 'An American In Paris' is hard to see past first time, but the dark horse that is Gene Kelly - a true moderate socialist. Here is a man embracing a compassionate, emancipating ethos through populist cinema. Arguably, an extension of Capraesque redemptive narratives, this classic fails to disappoint.
Geçmiş hep güzel gözüküyor insana. Bu aslında film izlemek değil bir çeşit geçmişe zaman yolculuğu. Sanatsal gözle değerlendirebilmek çok zor bu yüzden bu kadar eski filmleri. İzlerken film dışında onlarca şey aklınızın ucunda. Tarih, yaşamın değişimi, sinemanın değişimi ve bir ton kişisel şey.