Spoonatects Am i the only one who thinks........Average?

Sexyloutak Absolutely the worst movie.

ActuallyGlimmer The best films of this genre always show a path and provide a takeaway for being a better person.

Griff Lees Very good movie overall, highly recommended. Most of the negative reviews don't have any merit and are all pollitically based. Give this movie a chance at least, and it might give you a different perspective.

JohnHowardReid Producer: Arthur Freed. Copyright 5 September 1951 by Loew's Inc. A Metro-Goldwyn-Mayer picture. New York opening at the Radio City Music Hall: 4 October 1951 (ran 7 weeks). U.S. release: 9 November 1951. U.K. release: 24 December 1951. Australian release: 2 April 1952. 10,204 feet. 113 minutes.NOTES: M-G-M production number: 1501. Negative cost: $2,723,903. Total worldwide rentals gross to 1975: $8,050,000. Initial domestic rentals gross: $4 million, which gave it the number 5 position at the U.S./Canadian box-office for 1952. When the film was being edited for release, some musical numbers were deleted and minor cuts were made to tighten the picture. Kelly was extremely sorry to see his favorite number eliminated. "I've Got a Crush on You" was a solo number to which he had given particular thought and attention. "Love Walked In" and "But Not for Me," both Guetary solos, were also taken out of the film. The former held up the tempo in the early part of the picture and the latter didn't play in the surrounding whirl of the Beaux Arts ball.Shooting from 1 August 1950 to 8 January 1951, with one day of re- takes on 2 April 1951.While Kelly was rehearsing the final ballet, Minnelli directed a sequel to his "Father of the Bride". On 6 December, when Minnelli came back to shoot the ballet, he brought with him John Alton, his cameraman on that sequel, namely "Father's Little Dividend". "I regretted that I hadn't had him for the whole film," Minnelli later stated. "I think he is one of the greatest cameramen that I have ever worked with. Alton is very flexible; he doesn't have a set mind like Gilks had, and he is capable of modifying his lights according to the director's preferences." This was Alton's first Technicolor assignment. But even so, he had very definite ideas as to how to bring about certain color effects. Many of Alton's fellow cameramen believed that it was impossible to shoot the ballet the way he did: shooting directly into a light, or using less than the minimum of light deemed necessary for a good negative. There was also a row with the electricians, who strongly objected to Alton's procedures. Instead of flooding the set with sixty lights, Alton would use only three or four. COMMENT: Unlike every other movie studio in the entire world, M-G-M really hated newspaper critics. Give an M-G-M movie a bad review and they'd suspend your press privileges for a week, a month or even a year. They black-balled me on any number of occasions. I was never permitted to review this film, for example, so I am forced to rely on the excellent Warner DVD. All the same I do remember very distinctly how disappointed I felt when I finally saw the film.Admittedly, the film was handicapped for me by the presence of Gene Kelly himself. I concede that he is a brilliant (if extremely flashy) choreographer, an amazingly adroit dancer and an equally imaginative director, but as a singer he is weak and as an actor he often displays many of the least likable aspects of the American character: his brash, aggressive manner, his supreme self- confidence, his boastfulness and perhaps above all, his ingrained belief that the world owes him deference simply because he is an American. Unfortunately, these traits are in great evidence in "An American In Paris". Lacking sympathy for the central character, it is easy to see why the film failed to fully engage my attention when I finally caught up with it in 1971. I was not happy with the supporting characters either. As a singer, Georges Guetary belongs to the florid school, and as a personality, he did not come across at all. And I much preferred glamorous Nina Foch (who is supposed to be the unsympathetic character) to gamin Leslie Caron (who is supposed to be the heroine). At least Oscar Levant is his usual amusing screen self.The plot is slight and all-too-familiar but some of the songs are very catchy. On the other hand, I have never cared for the music of "An American in Paris," which seems to me to be strident, forced, lacking in harmony and melody. What impressed me most about the film in 1971 was its glittering color photography, its sumptuous sets and its dazzling costumes. I have no doubt that "An American In Paris" fully deserved the Hollywood awards it won in these departments.

rodrig58 If you're an idiot and you like films like Batman v Superman: Dawn of Justice (2016) or Suicide Squad (2016), you will not like this movie. You must be sensitive, artistic, to like music, dance, painting, arts in general and, in particular, to have been suffered in life, in love. Then you will understand this masterpiece, this little gem of film. Gene Kelly, Oscar Levant, Georges Guétary, Nina Foch are all very good. Unfortunately, they all are in another dimension where I do not know if they can make movies anymore... The only one who is still alive, is Leslie Caron, the least talented one. Overall, the film is very good, because of those first five performances. To be watched at any time. Watch all Vincente Minnelli's movies, he was a great film director.

Lee Eisenberg It's ironic that "An American in Paris" features US citizens speaking glowingly of France. Half a century later Donald Rumsfeld called it Old Europe when Jacques Chirac refused to help the US invade Iraq. Of course, France wasn't without its own misdeeds. Anyone who's studied a little history knows that the French were merciless to the Algerians, and tortured Algerian prisoners during Algeria's war for independence.But anyway, the movie is unpleasant to watch, knowing that Gene Kelly was twice Leslie Caron's age. Seriously, their relationship comes across as statutory rape. If you've read my reviews of musicals, then you probably know that I watch them for the purpose of heckling them like Mike, Servo and Crow do to the crummy movies that Dr. Forrester and TV's Frank send them on "Mystery Science Theater 3000". Most of my comments during "AAiP" are not ones that I'll be allowed to repeat in this review. I will, however, say that the 16-minute dance sequence at the end looks like something that they came up with after eating too much sugar. A lot of people would probably call it an acid trip.One thing that I noticed was the appearance of Hayden Rorke, best known as Dr. Bellows on "I Dream of Jeannie". My satirical explanation of his appearance here is that Jeannie accidentally blinked him to Paris, and so he calls his wife and says "Amanda, Maj. Nelson has somehow sent me to Paris! There's bound to be a conspiracy at work here!", causing mass hysteria in Coco Beach, leading to an accidental launch of a rocket. Oh Jeannie, will you ever learn? Long story short, this is not a movie that I can take seriously, and it didn't deserve Best Picture in a year that gave us "A Streetcar Named Desire".

Kingkitsch Everyone seems to love, love, love "An American in Paris". For this viewer, I've never been able to sit through the entire movie in one sitting, so assembling the pieces in my head usually sends me running for a bottle of aspirine.MGM made a number of classic musicals, but AAIP isn't one of them, despite the best picture Oscar it garnered. One wonders if the award was really aimed at the post-war expatriate Americans who stayed behind to live the Bohemian lifestyle of the fabled "starving artist". Gene Kelly's artiste seems to be well fed and well shod (with his trademark loafers) as he lives a life of artistic abandon in the slums of Paris. He taps, twirls, and gives his usual athletic spin on the male dance while hobnobbing with the poor people of Paris. He can't paint very well, but hey! let's sing a Gershwin tune and all the Parisians who wanted to knock him out for mispronouncing everything are suddenly his musical bon amis.Kelly's unrelenting guy from the States becomes annoying in the first half hour, and goes from there. Leslie Caron is pretty, but wooden in the extreme. Oscar Levant does his "talented piano bum" for the 1000th time, spreading seedy charm over absolutely nothing. Only Nina Foch, as a horny and predatory rich bitch with connections to the upper echelon of the 50s art world escapes with some dignity. All she really wanted was to get laid, which Kelly charmingly tapdances his way out of in his dogged pursuit of Caron.AAIP drags on for about two weeks, giving you terrible matte paintings and backlot versions of the City of Lights. These sets were used hundreds of times in the MGM pantheon of "foreign" settings and it shows.The climatic 17 minute "ballet" around an ugly fountain is nearly impossible to sit through, unless you think that Kelly's terpsichorean prowess is from the Ballet Des Artes. He's one note away from boogie-woogie and all his smarmy charm can't convince. He's only good in one sequence here, his tra-la-la-la duet with Levant. He's surprisingly hunky in his wife beater T and open shirt, acting like he's about to give Levant some afternoon delight for a few francs.AAIP is pretty threadbare at this point in time, and does nothing to really celebrate the travails of the artists who chose to stay behind in Paris to pursue a career in the arts. Jambon beurre is French for "ham and butter sandwich", a treat sold in the streets of Paris. AAIP has no butter to smooth the rough edges, but plenty of ham to spare.