▼▼▼▼▼▼▼▼▼▼▼▼▼▼▼▼▼▼ . DOWNLOAD - STREAM https://onwatchly.com/video-9844.html?utm_source=form_run ♥♥♥♥♥♥♥♥♥♥♥♥♥♥♥♥♥♥ About The Author: Terry Teachout https://twitter.com/TerryTeachout1 Bio: Critic, blogger, biographer, playwright, director, podcaster, recovering musician, ardent philosemite, Mrs. T's lucky spouse. "May I show an affirming flame." brief American ex-G.I., Jerry Milligan decided to stay in Paris where he'd been stationed during the war to pursue his dream of becoming a painter, He becomes charmed by the charms of Lise Bouvier, but, his paintings - which have come to the attention of Milo Roberts, a rich heiress, who's interested in more than just art Georges Guétary user ratings 7,6 of 10 star Genres Drama, Musical Alan Jay Lerner, Alan Jay Lerner An american in paris full movie. An american in paris nyt review. An american in paris san diego. I like how this theme never gets old throughout the entire piece. While the recording is still under copyright, the composition itself is now in the public domain as of January 1, 2020. Please update the description to accomodate this. An american in paris apartment scene. An american in paris i got rhythm. In the year of distribution (1951) of An American in Paris, I had just been married. My husband and I saw the film, and laughed and cried over it. We enjoyed the spectacular dancing, the vibrant colors of clothes and sets, and the marvelous Gershwin music. We both swore that someday we would get to Paris. Sadly, it was not to be for us, as my husband, Thanos, died 24 years later, having been sick for many years. The following year an old friend invited me to visit him while he was on sabbatical from school. He had spent many years in Paris, teaching English there, and rented a little house in Neuilly. I said no, but all my friends said "GO! It's the opportunity of a lifetime. So I did, and fell in love with that glorious old city. I cried because Thanos was not with me, and yet I felt he knew I had come here for both of us, and was glad for me. I have since visited the City of Light 5 times, and love it so very much. I am now too old and too disabled to do any more world traveling, but that city of romance is something that will always remind me of Thanos. That's why I still love to see the youthful Gene Kelly and Leslie Caron falling in love as WE were once young and in love - and the glorious city of Paris - the most beautiful place in the world. Amazing, love this performance, I have always loved this music, it is so wonderful to watch the young people get into the music, the trumpet solo, the violinist with the curly hair and so many others. Thank you. Just watching him lifts my spirits. Here was a man who truly, truly loved, was energetic, and who got into his craft. He also captured the grittiness, racial tension and anxiety that prevailed in NYC, through the soundtrack. As a child I remember where they filmed, which is now Lincoln Center. His music will live forever. An American in paris. An american in paris songs and lyrics. An american in paris - the musical 2018. Zarathustra, Zarathustra or Zoroaster was an Iranian prophet  and the founder of Zoroastrianism, a religion that today finds its supporters mainly among the Parsis in India. According to legends, the prophet was a shepherd and lived in the countryside. Around the age of twenty, Zarathustra experienced a crisis and wandered around. After ten years he was seated on the banks of the Oxus (the Amu Darja) a vision of the god Ahura Mazda. An american in paris broadway. An american in paris spokane. Patrimonio dell'umanità! Tutti devono gioire, tutti. An American in Paris Introduction Release Year: 1951 Genre: Drama, Musical, Romance Director: Vincente Minnelli Writer: Alan Jay Lerner Stars: Gene Kelly, Leslie Caron, Oscar Levant A seventeen-minute tripped-out ballet sequence? A comic, one-man-band, Agent Smith-style dream set to a classical concerto? An American in Paris ain't your grandma's musical. Sure, its characters have a habit of bursting into song at a moment's notice, and the soundtrack features the old-fashioned pop hits of the legendary Gershwin brothers, but nobody's trying to put on a show in a barn or save an orphanage. Instead, the plot of An American in Paris hinges on a love triangle more twisted than a pretzel. Très French, no? Shot with a budget of $2. 7 million, An American in Paris danced into theaters on November 11, 1951. Critics praised its artistry and went gaga over its vibrant colors. That may sound like kind of a silly thing to get excited about, but back in 1951, color films were still the minority. An American in Paris wasn't just in color, it was in Technicolor. Paris practically popped off the screen and into moviegoers' popcorn buckets. An American in Paris went on to rake in a cool $8 million and clean up on Oscar night. It was nominated for eight Academy Awards and took home six: Best Music, Best Costume Design, Best Art Direction, Best Cinematography, Best Writing, and the granddaddy of them all, Best Picture. It's also #9 on AFI's list of Greatest Movie Musical of All Time. (Gene Kelly's masterwork Singin' in the Rain, tops the list, which…come on…that's just not a fair fight. ) Kelly, the film's star and choreographer, was also given an Oscar for his special achievements in movie choreography. The award wasn't technically for his work on An American in Paris, but the fact that the Academy gave it to him on the same night his movie was gobbling up little gold men is hard to ignore. Somehow, it would be the only Oscar Kelly ever won. An American in Paris cemented Kelly's place as a Hollywood icon and innovator, and it made a star out of his young co-star Leslie Caron, whom Kelly handpicked for the movie after seeing her dance on a Paris stage. What's more, the movie's artistry also forced film critics to finally show the musical genre some R-E-S-P-E-C-T. An American in Paris is a decidedly "grown-up" musical, with adult themes that helped make the European art world interesting for the average Joe and Jane moviegoer. Don't get us wrong: there's no shortage of razzle-dazzle in An American in Paris, but its characters can get frustrated, they can be selfish, and, at times, they can be downright manipulative. In short, An American in Paris proves that music and melodrama aren't mutually exclusive. Just because a character can carry a tune doesn't mean they can't break hearts and take names. So no, not your grandma's typical musical. Good chance it's her favorite, though. What is An American in Paris About and Why Should I Care? We're going to give it to you straight: An American in Paris, which took home the 1951 Academy Award for Best Picture, is a thoroughly weird Best Picture winner. For starters, it's one of just a handful of Best Picture winners that didn't get any acting noms alongside it. Think about that for a second: if precisely zero of the film's performances were good enough to even get a nomination on Oscar night, what's the Academy actually rewarding? Simply put, many critics have deemed the film's victory on Oscar night controversial. Check out the other films it was up against:  Decision Before Dawn A Place in the Sun Quo Vadis A Streetcar Named Desire Talk about stiff competition. And that's not even including the other knock-out movies released the same year— Alice in Wonderland, The African Queen, Strangers on a Train, Ace in the Hole riously, we could go on. But let's get back to the controversy. Some think it was rewarded not for its substance, but for its decidedly European style and fancy musical pedigree. Others think the film won its Oscar solely for the dreamlike ballet sequence at the end. Film critic James Berardinelli straight-up calls it a flimsy pick: It falls into the category of a weak Oscar winner. The movie is enjoyable enough to watch, but it represents a poor choice as the standard-bearer of the 1951 roster. ( Source) But here's the legacy of An American in Paris: it exposed a whole new audience to ballet, thanks to an athletic, movie-star dancer who integrated ballet with more modern stuff and challenged audience's stereotypes of male dancers. Whatever critics thought of the rest of the movie, the ballet sequence was considered a masterpiece. Here's what Eric Snider of had to say: But if anyone could bring [ballet] to the masses, it was Gene Kelly, who'd spent the 1940s establishing himself as one of the most likable, hard-working, and creative dancers in Hollywood. […] Between this and the next year's Singin' in the Rain, Gene Kelly's status as a screen icon was assured. Moreover, his efforts here helped establish ballet as a viable art form (and a masculine one at that) for mainstream movie audiences. He did it by mixing the classical style of dancing with modern forms like tap. He made ballet look cool. Musicals would fade in popularity over the next decade and a half, but the dance-heavy ones that flourished benefited from Kelly and An American in Paris. The dancing gang members in West Side Story (1961) would have seemed more peculiar if this film hadn't helped audiences get used to the idea. In recent years, we've seen films like Save the Last Dance and Step Up that have successfully combined classical techniques with modern, popular styles. ( Source). Critic Emanuel Levy wrote that, after 1951, "the ballet became a standard staple in the genre. No prestigious musical could do without a dance" ( source). That's some legacy. So if you've ever obsessively watched West Side Story or cried at Billy Elliott, you've got An American in Paris to thank for that. Its director gambled that audiences would sit through and even enjoy a 17-minute ballet sequence if it was fresh, energetic, and gorgeous. And it starred Gene Kelly. We'd say that gamble paid off big time. Trivia Gene Kelly discovered Leslie Caron dancing ballet while he was on vacation in Paris. Caron spoke very little English when she made the movie. Fortunately, as IMDb puts it, she was fluent in dance. ( Source) If you were alive in 1988 and had a spare $15, 000 lying around, you could've bought the Oscar that An American in Paris won for Best Picture. That's how much it sold for at auction. ( Source) Nina Fochs (Milo) came down with chicken pox during the filming of the movie. When she came back to work, makeup artists had their work cut out for them, as they struggled to cover her pockmarks. ( Source) The dance sequence cost about $450, 000 and took one month to make in 1950. That's almost five million bucks in today's money. Still one month, though. ( Source) An American in Paris Resources Websites Greatest Films: An American in Paris AMC's Tim Dirks provides an in-depth look at the 1951 Best Picture winner. Turner Classic Movies: An American in Paris Jonesin' for some behind the scenes info about An American in Paris? This is the place. All Gene, All the Time Here's a fan site for all you Kellyphiles. Book or TV Adaptations An American in Paris on Broadway Jerry Mulligan's story never hit TV or your local library, but it did hit Broadway. Articles and Interviews The New York Daily News Film Review (October 5, 1951) Way back in 1951, Kate Cameron thought the movie was "a joy to the eye, ear, and imagination of the beholder. " No word on what it does for your elbows, though. The New York Times Film Review (October 5, 1951) Bosley Crowther's opening night review of the film. C'mon, his name is Bosley Crowther— you know you want to read this dude's opinion. Roger Ebert's Review America's most beloved film critic takes another look at An American in Paris just in time for its 1992 re-release in theaters and on laser disc. Yes, laser disc. Emanuel Levy's Profile of An American in Paris (July 16, 2006) Levy's article provides a wealth of information about how the movie went from page to stage. Worst Best Picture? The Nerdist's Witney Seibold turns her critical eye on one of the Academy Awards' most controversial Best Picture winners as part of her series examining every Best Picture winner ever. Video The An American in Paris Trailer The film's preview promises to bring a lot of shiny new stuff to the silver screen: enchantment, thrills, beauty, you name it. Kelly on Kelly Gene Kelly talks about his career and how even he got too old to dance. He Got Rhythm Jerry schools some French kids in Gershwin. "I'll Build a Stairway to Paradise" Maybe it's the accent—or the glowing staircase—but Henri's one charming dude. "Our Love is Here to Stay" That Jerry really knows how to woo a gal. Gershwin's "Concerto in F" Adam plays a mean piano…and violin…and gong. Images An American in Paris Movie Poster "What a joy to see M-G-M's Technicolor musical"…in poster form. An American in Paris Lobby Card Either Milo doesn't like Jerry's painting, or she's thinking about her grocery list. A Still from the An American in Paris Ballet Our toes hurt just looking at this. The Director and His Leading Man They're really impressed by that viewfinder. Gene Kelly and Leslie Caron On Set It only looks like he's picking nits out of her hair like a chimpanzee. An american in paris palace theater. | Roger Ebert October 2, 1992 "An American in Paris" swept the Academy Awards for 1951, with Oscars for best picture and the major technical categories: screenplay, score, cinematography, art direction, set design, and even a special Oscar for the choreography of its 18-minute closing ballet extravaganza. "Singin' in the Rain, " released in 1952 and continuing the remarkable golden age of MGM musicals, didn't do nearly as well on its initial release. But by the 1960s, "Singin' " was routinely considered the greatest of all Hollywood musicals, and "An American in Paris" was remembered with more respect than enthusiasm. Advertisement Now that the film has been restored for a national theatrical release and an eventual re-launch on tapes and laserdiscs, it's easy to see why "Singin' " passed it in the popularity sweepstakes. Its story of two Americans in Montparnasse - a struggling painter ( Gene Kelly) and a perennial piano student ( Oscar Levant) - is essentially a clothesline on which to hang recycled Gershwin songs ("I Got Rhythm, " "S'Wonderful") and a corny story of love won, lost, and won again. Compared to "Singin's" tart satire of Hollywood at the birth of the talkies, it's pretty tame stuff. And yet "American" has many qualities of its own, not least its famous ballet production number, with Kelly and Leslie Caron symbolizing the entire story of their courtship in dance. And there are other production numbers, set in everyday Parisian settings, that are endlessly inventive in their use of props and locations. The stories of the two movies are curiously similar. In both of them, Kelly must break his romance of convenience with a predatory older blonde ( Nina Foch in "American, " Jean Hagen in "Singin' ") in order to follow his heart to a younger, more innocent brunette (Leslie Caron and Debbie Reynolds). In both, he is counseled by a best friend (Oscar Levant and Donald O'Connor). And in both there is a dramatic moment when all seems lost, just when it is about to be gained. " is the more realistic picture, which is perhaps why it holds up better today. "American" has scenes that are inexplicable, including the one where Levant joins Kelly and their French friend Henri (Georges Guetary) at a cafe. When he realizes they are both in love with the same women, Levant starts lighting a handful of cigarettes while simultaneously trying to drink coffee. Maybe it seemed funny at the time. There's also a contrast between the Nina Foch character - a possessive rich woman who hopes to buy Kelly's affections - and Jean Hagen's brassy blonde, a silent star whose shrieking voice is not suited to the sound era. Foch's blonde is just plain sour and unpleasant. Hagen's blonde is funny and fun. And, for that matter, there's no comparing the ingenues, either: Caron, still unformed, a great dancer but a so-so actress, and Reynolds, already a pro in her film debut, perky and bright-eyed. version now being released is a "true" restoration, according to the experts at Turner Entertainment, who say the job they did on "American" compares to the salvage work on "Gone With the Wind" and "Lawrence of Arabia. " Because two reels of the original negative were destroyed by fire, painstaking lab work was necessary to match those reels to the rest of the film. The result is a bright and fresh-looking print, in which the colors are (probably deliberately) not as saturated or bold as in the classic Technicolor process. ads say the movie is now in stereo. This is not quite true. Only the 18-minute ballet has been reprocessed into a sort of reconstructed stereo, and if a theater plays the whole film in stereo the result may be the kind of raw-edged sound I heard at a press screening, before the projectionist gave up and switched to mono. The best choice would probably be to start in mono and physically switch to stereo when the ballet starts - although why so much labor is expended on quasi-stereo effects is beyond me. 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 charm of Oscar Levant. Reveal Comments comments powered by. Wow! great piece, great performance! fantastic. An American in paris france. An american in paris song lyrics. My grandfather is in this sequence. 0:10 Hes the one in the right wearing the red striped sack. His name was Theodore Duncan. He was a violinist and also a tap dancer. My grandmother, now passed away, would always tell me the greatest honor he had was to dance with Gene Kelly during this scene in An American in Paris that we had in VHS. My mother told me she was 6 years when they shot this scene. He was really nervous because he though he wasnt good enough. But as he started talking to the other dancers he noticed that everyone was nervous about it too, so he finally did it. He was 29, so young. Now hes long gone and Im 40. Im proud of him. An american in paris play. An american in paris tour. An american in paris london cast. An american in paris soundtrack. An american in paris 1951. An american in paris. A dancer is a thing of beauty, and there is beaucoup beauty in director-choreographer Christopher Wheeldon’s ravishing production of “ An American in Paris, ” smartly but not slavishly adapted by Craig Lucas from the 1951 MGM movie. This stageworthy vehicle casts ballet stars Robert Fairchild (a New York City Ballet principal dancer) as an American soldier who lingers in Paris after WWII and Leanne Cope (of London’s Royal Ballet) as the unattainable French girl he falls in love with. Gene Kelly and Leslie Caron played these roles in the film, and comparisons would not be out of line. It’s hard to breathe during the dreamy, 14-minute ballet that brings the show to a close with the lovers locked at last in each other’s arms — not only because the love story is so romantic, but because we rarely see this kind of dancing on Broadway and it’s hard to let it go. Fairchild and Cope are trained ballet dancers, so every move they execute in this pas de deux is poised, eloquent and technically flawless. But these stars prove equally credible as all-around Broadway performers who can sing and act on a professional level, too. Throughout their last dance, American G. I. Jerry Mulligan (Fairchild) and his beloved Lise Dassin (Cope) hold each other’s gaze as closely as they hold each other’s body, oblivious to the rest of the world. Main man Wheeldon (associate choreographer with the Royal Ballet, but making a triumphant Broadway debut as a director-choreographer here) has been equally meticulous about casting the rest of the versatile company. This is one of the most ballet-centric dance shows ever seen on Broadway. The character of Lise has been reimagined as a professional ballerina, so she and the sizable ensemble have a rationale for being in pointe shoes for much of the show — except when they’re in jazz or tap shoes. That alone puts heavy demands on the company, but their proficiency as actors and singers is what defines them as triple-threat Broadway dancers and worth their weight in gold. The dominant dance isn’t all that’s new about this vintage musical. Some of the touchstones of the original Gershwin score for the movie, like “Embraceable You” and “Our Love Is Here to Stay, ” didn’t make the cut, and a novelty number like “Fidgety Feet” adds dubious value. But no one’s going to pick a fight over “The Man I Love” and “They Can’t Take That Away from Me” — especially with a full orchestra in the pit of the Palace. What really makes the show feel fresh is the context in which Lucas has reconceived it, keeping in mind that reworking any beloved musical or movie can land you in a sandtrap. The writer (“The Light in the Piazza”) aged this show backwards, deepening and darkening the material so it now seems genuinely relevant for our own war-torn age. There’s still plenty of light and laughter in the story of a G. who helped liberate Paris and then fell in love with the city and its colorful artistic community. But this isn’t Vincente Minnelli’s Technicolor vision, which was set in the postwar 1950s when Parisians weren’t quite so shell-shocked from the German Occupation. Adam Hochberg (Brandon Uranowitz, sweetly cynical), the American ex-pat and gifted composer who befriends Jerry and introduces him to all the fun folks, is still at the piano playing Gershwin’s “Concerto in F. ” But our guide has a visible war wound, and when he shows visitors around Paris, the haunting setpieces by Bob Crowley and visuals from 59 Projections reveal the city as it was in 1945, when people were just coming out from the shadows (layers and layers of shadows, in Natasha Katz’s lighting design) of four years of living under military occupation. The sweeping skirts and frothy petticoats of the 1950s make a pretty if premature show of themselves in the gorgeous frocks worn by Milo Davenport (Jill Paice, perfect as a cool dame with heart), the rich American art patron who has her eye on Jerry, a promising painter in the new avant-garde style of De Stijl.  There’s also a lavish scene with leggy showgirls in rhinestones and feathers when Henri Baurel (a very natty Max von Essen), another one of Jerry’s moneyed pals, fantasizes performing “I’ll Build a Stairway to Paradise” at Radio City — to the horror of his strict parents (smartly played by Veanne Cox and Scott Willis). And of course, Lise’s delicate dancing outfits look luscious on Cope. But for the most part, costumer Crowley faithfully references the muted color palette, tiny patterns, and shape-hugging silhouettes that defined the fashion in postwar Europe, when women were hungering for a little color. And instead of making the characters look drab, the authenticity of the period costuming makes us admire their survival spirit. The same might be said of this unorthodox transformation of a bright and cheerful All-American musical into an enchanting but more reflective and deeply moving experience. There’s highbrow, there’s lowbrow, and then there’s however you might classify Vampire Cowboys, the anarchic New York City theater company whose diverse productions. It’s radical, “good taste”-flouting counter-programming for the vast swaths of the population left unserved by high-dollar, stiff-collar theater options. Vampire Cowboys’ raucous new show, “Revenge Song, ” is unlike anything else that’s [... ] Director Jeremy Herrin’s extraordinary take on Friedrich Dürrenmatt’s 1956 play “The Visit” is less of a production and more of a show. A wordy one, to be sure, which is no surprise since it’s an adaptation by Tony Kushner that, including two intermissions, comes in at three-and-a-half hours. It’s never going to be described as [... ] For any Lin-Manuel Miranda fans whose hearts sank almost as quickly as they rose upon hearing that, yes, there’s a “Hamilton” movie, and no, it won’t be out for another 20 months, succor may be on the way in the form of a probably faster-arriving movie that features Miranda in almost as big a role, [... ] It takes guts to admit you were wrong — especially when you have been so right, so often. Take composer Andrew Lloyd Webber, whose successes with  “Joseph and the Amazing Technicolor Dreamcoat, ” “Jesus Christ Superstar, ” “Evita, ” “The Phantom of the Opera, ” “Sunset Boulevard, ” and “School of Rock” have made him a musical-theater uber-Lord. Early on during [... ] Aaron Loeb’s darkly comic one-act play “Ideation” will be turned into a movie, Variety has learned. The Off-Broadway production centers on a group of corporate consultants who work together on a mysterious and ethically ambiguous project for the government. It premiered in 2016, and went on to become a New York Times Critic’s Pick during [... ] “Leopoldstadt, ” the most slow-burn and personal work of 82-year-old Tom Stoppard’s long stage and screen career, is an intimate epic. It springs to astonishing dramatic life in a now bare, but once glorious apartment off Vienna’s Ringstrasse in 1955. The only problem is, for all the visceral emotional intensity of that scene, it forms less [... ] The singer-songwriter Duncan Sheik burst onto the musical theater scene with his raucous rock score for “Spring Awakening, ” which swept the Tonys back in 2007, and since then, he’s worked steadily on stage — but a lot of his newer projects, including the current “Bob & Carol & Ted & Alice, ” have a much quieter [... ]. An American in Paris Theatrical release poster Directed by Vincente Minnelli Produced by Arthur Freed Written by Alan Jay Lerner Starring Gene Kelly Leslie Caron Oscar Levant Georges Guétary Nina Foch Music by George Gershwin Lyrics: Ira Gershwin Musical direction: Johnny Green Saul Chaplin Cinematography Alfred Gilks Ballet: John Alton Edited by Adrienne Fazan Production company Metro-Goldwyn-Mayer Distributed by Loew's Inc. [1] Release date October 4, 1951 (New York) [2] January 11, 1952 (USA) Running time 113 minutes Country United States Language English Budget $2. 7 million [3] Box office $7 million [3] An American in Paris is a 1951 American musical comedy film inspired by the 1928 orchestral composition An American in Paris by George Gershwin. Starring Gene Kelly, Leslie Caron, Oscar Levant, Georges Guétary, and Nina Foch, the film is set in Paris, and was directed by Vincente Minnelli from a script by Alan Jay Lerner. The music is by George Gershwin, with lyrics by his brother Ira, with additional music by Saul Chaplin, the music director. The story of the film is interspersed with dance numbers choreographed by Gene Kelly and set to Gershwin's music. [4] MGM executive Arthur Freed bought the Gershwin musical catalog from George's brother Ira in the late 1940s, since George died in 1937. [4] Some of the tunes in this catalog were included in the movie, such as " I Got Rhythm " and " Love Is Here to Stay ". [4] Other songs in the movie include " I'll Build A Stairway to Paradise " and " 'S Wonderful ". The climax of the film is "The American in Paris" ballet, a 17-minute dance featuring Kelly and Caron set to Gershwin's An American in Paris. [4] The ballet sequence cost almost half a million dollars to shoot. [4] It was filmed on 44 sets in MGM's back lot. [4] An American in Paris was an enormous success, garnering eight Academy Award nominations and winning six (including Best Picture), as well as earning other industry honors. In 1993, it was selected for preservation by the United States Library of Congress in the National Film Registry for being "culturally, historically, or aesthetically significant". [5] It is ranked #9 among AFI's Greatest Movie Musicals. Plot [ edit] American World War II veteran Jerry Mulligan ( Gene Kelly) is an exuberant expatriate in Paris trying to make a reputation as a painter. His friend and neighbor, Adam Cook ( Oscar Levant), is a struggling concert pianist and longtime associate of a French singer, Henri Baurel ( Georges Guétary). At the ground-floor bar, Henri tells Adam about his cultured girlfriend, Lise Bouvier ( Leslie Caron). Jerry joins them later, before going out to sell his art. A lonely society woman and heiress, Milo Roberts ( Nina Foch), finds Jerry displaying his paintings in Montmartre and takes an interest in him and his art. She brings him to her apartment to pay for his works, and invites him to a dinner party she is throwing later that night. After singing with French children on the way home (" I Got Rhythm "), Jerry goes up to Milo's apartment. He quickly finds out the "party" is actually a one-on-one date, and tells Milo he has no interest in being a paid escort. When he attempts to leave after giving her money back, she insists she is only interested in his art. They go to a crowded bar, and Milo offers to sponsor an art show for Jerry as a friendly gesture. Some of Milo's friends arrive, and while sitting with them, Jerry sees Lise seated with friends at the next table, and is instantly smitten. He ignores Milo and her acquaintances, and instead pretends to know Lise already and dances with her. She is standoffish and gives Jerry a wrong phone number, but is innocently corrected by someone at her table. Milo is upset by Jerry's behaviour and suddenly decides to go home. On their way home she tells Jerry he was very rude cavorting with a girl he does not know while in her presence; tired of Milo, Jerry gets out of the car and bids her farewell. The next day, Jerry calls Lise at her work, but she tells him to never call her again. Jerry and Milo meet at a cafe, and she informs him a collector is interested in his paintings and she arranged a showing later that day. Before going to the showing, he goes to the parfumerie where Lise works and she consents to a late dinner with him. She does not want to be seen eating with him in public, but they share a romantic song and dance on the banks of the Seine River in the shadows of Notre Dame. However, she quickly rushes off to meet Henri after his performance (" I'll Build a Stairway to Paradise "), where Henri tells her he has been asked to go on a tour of America and asks her to marry him. Later, Adam humorously daydreams he is performing Gershwin's Concerto in F for Piano and Orchestra for a gala audience in a concert hall. As the scene progresses, Adam is also revealed to be the conductor, other members of the orchestra, and even an enthusiastic audience member applauding himself at the end. Milo gets Jerry an art studio and tells him she has planned an exhibition of his work in three months. He initially refuses the studio because he does not have the money for it, but eventually accepts it under the condition he pay Milo back when his art proceeds allow him. Roughly a month later and after much courting, Lise abruptly runs off when she and Jerry arrive by taxi at his apartment. When Jerry complains to Adam, Adam is shocked to realize both Henri and Jerry are involved with the same woman. Henri and Jerry discuss the woman they each love ( " 'S Wonderful "), unaware she is the same woman. That night, Jerry and Lise reunite in the same place on the banks of the Seine close to Notre Dame. She informs him she is marrying Henri the next day and going to America. Lise feels a sense of duty to Henri, to whom she feels indebted for keeping her safe during World War II. She and Jerry proclaim their love for each other. Feeling slighted, Jerry invites Milo to the art students' masked ball and kisses her. At the raucous party, with everyone in black-and-white costumes, they meet Henri and Lise, and Jerry finally tells Milo about his feelings for Lise. Henri overhears Jerry and Lise saying goodbye to each other, and realizes the truth. As Henri and Lise drive away, Jerry daydreams about being with Lise all over Paris to the tune of the George Gershwin composition An American in Paris. His reverie is broken by a car horn, the sound of Henri bringing Lise back to him. They embrace as the Gershwin composition (and the film) ends. Cast [ edit] Gene Kelly as Jerry Mulligan Leslie Caron as Lise Bouvier Oscar Levant as Adam Cook Georges Guétary as Henri "Hank" Baurel Nina Foch as Milo Roberts Eugene Borden as Georges Mattieu John Eldredge as Jack Jansen (uncredited) Anna Q. Nilsson as Kay Jansen (uncredited) Hayden Rorke, best known for playing Dr. Alfred Bellows on the TV series I Dream of Jeannie (1965–1970), has an uncredited part as a friend of Milo. Noel Neill, who had already portrayed Lois Lane in the two Columbia Pictures forties Superman serials, and would later do so again on the TV series The Adventures of Superman, has a small role as an American art student who tries to criticize Jerry's paintings. Jazz musician Benny Carter plays the leader of a jazz ensemble performing in the club where Milo first takes Jerry. Madge Blake, best known for playing Bruce Wayne 's aunt Harriet Cooper on the TV series Batman (1966–1968), has an uncredited part as a customer in the perfume shop in which Lise works. Judy Landon, better known for her appearance in Kelly's next musical Singin' in the Rain (and as the wife of Brian Keith), and Sue Casey appear as dancers in the "Stairway to Paradise" sequence. Dudley Field Malone plays an uncredited Winston Churchill. Music and dance [ edit] " Embraceable You " – Lise " Nice Work If You Can Get It " – Hank " By Strauss " – Jerry, Hank, Adam " I Got Rhythm " – Jerry " Tra-la-la (This Time It's Really Love) " – Jerry, Adam " Love Is Here to Stay " – Jerry, Lise " I'll Build a Stairway to Paradise " – Hank Concerto in F for Piano and Orchestra – Adam, The MGM Symphony Orchestra "  'S Wonderful " – Jerry, Hank An American in Paris Ballet – Jerry, Lise, Ensemble The 17 minute ballet sequence, with sets and costumes referencing French painters including Raoul Dufy, Pierre-Auguste Renoir, Maurice Utrillo, Henri Rousseau, and Toulouse-Lautrec, [6] is the climax of the film, and cost the studio approximately $450, 000 to produce. [7] Some of the backdrops for this sequence measured 300 feet wide and 40 feet high. [8] Production on the film was halted on September 15, 1950. Minnelli left to direct another film, Father's Little Dividend. Upon completion of that film in late October, he returned to film the ballet sequence. [9] Reception [ edit] Bosley Crowther of The New York Times gave a mostly positive review largely on the strength of the closing dance number which he called "one of the finest ever put upon the screen", as well as Leslie Caron's performance, writing that the film "takes on its own glow of magic when Miss Caron is on the screen. When she isn't, it bumps along slowly as a patched-up, conventional music show. " [10] Variety called the film "one of the most imaginative musical confections turned out by Hollywood in years... Kelly is the picture's top star and rates every inch of his billing. His diversified dancing is great as ever and his thesping is standout. " [11] Harrison's Reports deemed it "an excellent entertainment, a delight to the eye and ear, presented in a way that will give all types of audiences extreme pleasure". [12] Richard L. Coe of The Washington Post called it "the best musical movie I've ever seen", praising its "spirit of crisp originality and sophistication rarely found in a screen musical". [13] John McCarten of The New Yorker called it "a thoroughly pleasant musical film... Never too tightly confined by its slender story, 'An American in Paris' skips from love in the moonlight to handsome ballets with the greatest of ease, and Mr. Kelly is always ready, willing, and able to execute a tap dance. " [14] The Monthly Film Bulletin called it "merely a good musical, far more attractive than most, but considerably less than the material seemed to promise. This is due in part to unimaginative use of the Paris settings—a very obvious tourist's view—and to the rather curious way in which the story, after building up interest in Jerry's painting and in his one-man show, simply shelves the whole issue. " [15] Reviewing the film in 2011, James Berardinelli wrote that it "falls into the category of a weak Oscar winner. The movie is enjoyable enough to watch, but it represents a poor choice as the standard-bearer of the 1951 roster... It's a fine, fun film with a lot of great songs and dancing but there's nothing about this production that causes it to stand out when compared to one of dozens of musicals from the era. " [16] Box office [ edit] According to MGM records, the film earned $3, 750, 000 in the U. S. and Canada and $3, 231, 000 in other countries during its initial theatrical release. This resulted in the studio making a $1, 346, 000 profit. [3] Awards and honors [ edit] Academy Awards [ edit] Wins Academy Award for Best Picture: Arthur Freed, producer Academy Award for Best Art – Set Decoration, Color: E. Preston Ames, Cedric Gibbons, F. Keogh Gleason, and Edwin B. Willis Academy Award for Best Cinematography, Color: John Alton and Alfred Gilks Academy Award for Best Costume Design, Color: Orry-Kelly, Walter Plunkett, and Irene Sharaff Academy Award for Best Music, Scoring of a Musical Picture: Saul Chaplin and Johnny Green Academy Award for Best Writing, Story and Screenplay: Alan Jay Lerner Nominations Academy Award for Best Director: Vincente Minnelli Academy Award for Best Film Editing: Adrienne Fazan Golden Globes [ edit] Golden Globe Award for Best Motion Picture – Musical or Comedy Golden Globe Award for Best Director – Motion Picture: Vincente Minnelli Golden Globe Award for Best Actor – Motion Picture Musical or Comedy: Gene Kelly Others [ edit] Kelly received an Academy Honorary Award that year for "his versatility as an actor, singer, director and dancer, and specifically for his brilliant achievements in the art of choreography on film". [17] It was his only Oscar. The film was entered into the 1952 Cannes Film Festival. [18] In 1993, An American in Paris was selected for preservation in the United States National Film Registry as being "culturally, historically, or aesthetically significant". American Film Institute recognition 1998: AFI's 100 Years... 100 Movies – #68 2002: AFI's 100 Years... 100 Passions – #39 2004: AFI's 100 Years... 100 Songs – #32 " I Got Rhythm " 2006: AFI's Greatest Movie Musicals – #9 AFI also honored star Kelly as #15 of the top 25 American male screen legends. Digital restoration [ edit] In 2011, the film was digitally restored by Warner Bros. for its 60th anniversary. [19] [20] Stage adaptations [ edit] 2008 adaptation [ edit] A stage version of the musical was adapted by Ken Ludwig, and began previews at the Alley Theatre ( Houston) on April 29, 2008, officially opening on May 18 and running through June 22. The production, directed by Alley artistic director Gregory Boyd with choreography by Randy Skinner, starred Harry Groener and Kerry O'Malley. The musical had many of the film's original songs, and also incorporated other Gershwin songs, such as "They All Laughed", "Let's Call the Whole Thing Off", and "Love Walked In". [21] [22] 2014 adaptation [ edit] In 2014, a stage adaptation premiered in Paris at the Théâtre du Châtelet, with Robert Fairchild as Jerry Mulligan and Leanne Cope as Lise Bouvier (here renamed Lise Dassin and turned into an aspiring ballet dancer). The production, which ran from November to January 2015, was directed and choreographed by Christopher Wheeldon, written by Craig Lucas and designed by Bob Crowley. The musical then transferred to Broadway, with previews at Palace Theatre beginning on March 13, 2015, before officially opening there on April 12. [23] [24] [25] In popular culture [ edit] The epilogue of the 2016 musical film La La Land references the set design and costuming of An American in Paris, which director Damien Chazelle called "a movie that we just pillaged. " [26] References [ edit] ^ An American in Paris at the American Film Institute Catalog ^ "An American in Paris - Details". AFI Catalog of Feature Films. Retrieved June 20, 2018. ^ a b c The Eddie Mannix Ledger, Los Angeles: Margaret Herrick Library, Center for Motion Picture Study. ^ a b c d e f Mcgovern, Joe (February 2017). "The Musical That Changed movies". Entertainment Weekly (1451/1452): 82–87. ^ "National Film Registry". National Film Registry (National Film Preservation Board, Library of Congress). Retrieved May 24, 2018. ^ Koresky, Michael. "An American in Paris and Gigi". Retrieved December 28, 2016. ^ McGee, Scott. "An American in Paris: Articles". Turner Classic Movies. Retrieved December 28, 2015. ^ Marshall, Kelli (2015-05-19). "An American in Paris: Onstage and Onscreen". JSTOR Daily. Retrieved 2019-12-02. ^ "An American in Paris: Notes". Retrieved December 28, 2015. ^ Crowther, Bosley (October 5, 1951). "The Screen: Four New Movies Open". The New York Times: 38. ^ "An American in Paris". Variety: 6. August 29, 1951. ^ " ' An American in Paris' with Gene Kelly, Leslie Caron and Oscar Levant". September 1, 1951: 138. ^ Coe, Richard L. (November 7, 1951). " ' American in Paris' Has Many Virtues". The Washington Post: B9. ^ McCarten, John (October 6, 1951). "The Current Cinema". The New Yorker: 73. ^ "An American in Paris". The Monthly Film Bulletin. 18 (212): 323. September 1951. ^ Berardinelli, James (January 24, 2011). "An American in Paris". ReelViews. Retrieved June 20, 2018. ^ King, Susan (March 16, 2017). "Gene Kelly's widow recalls magic of the film 'An American in Paris' as the stage version comes to SoCal". Los Angeles Times. Retrieved September 17, 2018. ^ "An American in Paris". Festival de Cannes. Retrieved October 8, 2011. ^ Braxton, Greg (October 21, 2010). "Restored 'An American in Paris' to open TCM Classic Film Festival". LA Times. ^ "An American in Paris re-released after digital restoration". BBC. 2 November 2011. ^ "The Gershwins' An American in Paris Again Extends Houston Run". 2011-10-08. Archived from the original on 2009-01-26. Retrieved 2011-10-08. ^ "The Gershwins' An American in Paris: 2007-2008 Season". Alley Theatre. Retrieved October 8, 2011. ^ Gans, Andrew. " An American in Paris Will Open at Broadway's Palace in 2015" Archived July 25, 2014, at the Wayback Machine, July 17, 2014 ^ Beardsley, Eleanor (December 25, 2014). "The French Go Crazy For 'An American In Paris ' ". NPR. ^ Mackrell, Judith (December 8, 2014). "Return to rive gauche: how Christopher Wheedlon adapted An American in Paris". The Guardian. ^ Harris, Aisha (December 13, 2016). "La La Land's Many References to Classic Movies: A Guide". Slate. Retrieved May 13, 2017. External links [ edit] An American in Paris on IMDb An American in Paris at the TCM Movie Database An American in Paris at AllMovie An American in Paris at Rotten Tomatoes 's Greatest Films An American in Paris Combustible Celluloid's review of An American in Paris Production art from An American in Paris, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences. My name is Scheherazade ! C'est une merveille que d'écouter ce morceau ♡♡. An american in paris broadway reviews new york times. An american in paris leslie caron. Also sprach Zarathustra    00:00  -  Tod und Verklärung   34:30. An american in paris chatelet. SIMPLEMENTE MARAVILLOSOOO. ❤.