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." 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." 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". 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". 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." 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."
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Soundtrack
An American In Paris (Original Motion Picture Soundtrack)
Different stars
- 1 The MGM Studio Orchestra & Johnny GreenMain Title (An American In Paris / 'S Wonderful / I Got Rhythm) 1:37
- 2 Джин Келли, Georges Guétary, Mac MacLain, Grace Stark & Pete RobertsBy Strauss 3:44
- 3 Джин Келли & The MGM Children's ChorusI Got Rhythm 3:46
- 4 Джин Келли & Oscar LevantTra-La-La 3:45
- 5 Джин КеллиLove Is Here To Stay 3:47
- 6 Georges Guétary(I'll Build a) Stairway To Paradise 2:43
- 7 Oscar Levant & The MGM Studio OrchestraConcerto In F (3rd Movement) 4:36
- 8 Джин Келли & Georges Guétary'S Wonderful 2:48
- 9 The MGM Studio Orchestra & Johnny GreenAn American In Paris Ballet 16:41
- 10 The MGM Studio Orchestra & Johnny GreenFinale 1:20
An American in Paris
(1951)2
| Country | |
| Spoken Language | english, french, deutsch |
| Runtime | 1 hr 54 min |
| Budget | $2 723 903 |
| Premiere: World | $275 077 August 26, 1951 |
| Box Office – Budget | – $2 448 826 |
| Premiere: USA | $4 500 000 September 26, 1951 |
| first day | $182 606 |
| theaters | 651 |
| rollout | 346 days |
| Digital: World | August 15, 2008 |
| Production Companies | |
| Also Known As | Un americano en París United States |
Description
Three friends struggle to find work in Paris. Things become more complicated when two of them fall in love with the same woman.Сast and Crew
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FAQ
What is “An American in Paris” about?
It’s a musical drama about a young American painter living in postwar Paris, trying to make his way as an artist while navigating a romantic entanglement amid the city’s bohemian scene. The story builds toward an extended ballet finale that expresses the characters’ emotions through dance and music.
Why is the film considered a classic Hollywood musical?
It’s praised for blending romance, choreography, and a highly stylized look that turns Paris into a theatrical canvas. Under Vincente Minnelli’s direction, the musical often feels like moving artwork, with dance sequences advancing character and emotion rather than functioning as mere interludes.
How is the music important in “An American in Paris”?
The score isn’t just accompaniment—it drives tone, pacing, and emotional meaning. The extended finale is constructed like a single music-and-dance narrative, using recurring themes to express what characters can’t say outright.
Is there a “big ballet” sequence, and what is it for?
Yes. The finale is more than spectacle—it’s the film’s emotional resolution, transforming the protagonist’s inner conflict into movement, color, and musical storytelling.
Is the film more about romance or about art?
It balances both: romance supplies the dramatic tension, while the artistic ambition explains what’s at stake and why choices feel costly. The Paris art scene functions as a genuine source of conflict and inspiration rather than mere backdrop.
Is the film’s atmosphere realistic or fairy-tale-like?
More fairy-tale and theatrical than strictly realistic. Postwar life is there, but filtered through polished, stage-like stylization that embraces the musical’s heightened, dreamlike logic.
What themes does “An American in Paris” explore?
Artistic identity, the allure of patronage and success, freedom and responsibility in love, the cost of staying true to oneself, and Paris as a place where art and personal life constantly intersect.
Why is there so much dance, and what does it “tell”?
Dance functions as narrative language: it conveys personality, flirtation, doubt, and emotional peaks with a clarity that dialogue sometimes can’t. Several sequences play like conversations spoken through movement.
Does the film have notable comedic elements?
Yes, even though it’s fundamentally romantic and dramatic. Light comedy surfaces in friendship moments and bohemian social scenes, easing tension and adding warmth to the characters.
What stands out about the film’s visual style?
It’s defined by rich color, overt theatricality, and painterly framing. Paris is presented less as documentary location and more as an artistic idea—a city of inspiration where reality can slip into staged dream.
What elements might feel “dated” to modern viewers?
Some may find the studio-built Paris, the old-Hollywood romantic tone, and the length of certain set pieces (especially the finale) dated. Those qualities, however, are also central to the 1950s musical style.
Is it worth watching if you don’t usually like musicals?
Possibly—there’s a clear dramatic throughline and understandable emotional stakes. But you should expect the storytelling to frequently shift into song and dance, and for the ending to devote substantial time to ballet.
How should you watch it: for the plot or for the set pieces?
It works best as a whole: the plot provides structure, while the musical numbers reveal emotion and turn the film into a kind of cinematic performance where movement and imagery matter as much as dialogue.
Which creative forces feel most prominent in the film?
Most prominent are the film’s painterly direction and its commitment to dance as drama. The choreographic drive associated with Gene Kelly shapes the film’s energy, while a witty, music-forward thread is strongly carried by scenes featuring Oscar Levant. The romantic passages particularly benefit from the lightness and physical grace associated with Leslie Caron.
Is there a notable thread about patronage and the “price of success”?
Yes. A key dramatic tension comes from how support from a wealthy, influential figure can advance an artist’s career while complicating personal relationships. It adds a bittersweet edge about compromise and ambition.
Reception
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Vincente Minnelli — Top Rated Movies
Critique: 23
The finale ballet Is a masterpiece of ballet and tableaux. It flows out of a scene wherein Leslie, leaving to marry Gnetray, tells Gene that P...
It is a little sugary and theatrical and perhaps it has dated less well than other classic Hollywood musicals. But there is charm and a kind o...
The appeal of the film is its music; its dancing arid its carefree charm.
The story [is] not original, perhaps, but it serves to hold together some of the most dazzling ballet and musical scenes ever filmed.
An American in Paris is about a town which most Americans know only as tourists – and this film too looks like a tourist: a talented tour...
[An American in Paris] climaxes with a brilliant 17-minute ballet whose only movie competition is the ballet of The Red Shoes.
An American in Paris assures enjoyment for the public as few pictures have done thus far this season. It is original, gay and different. It has ple...
A grand show -- a brilliant combination of Hollywood’s opulence and technical wizardry with the kind of taste and creativeness that most...
A fluid, beautifully picturesque affair, this elaborate development of the boy-meets-girl theme is as lavish and handsome an offering as any entert...
Against the pretty-as-a-picture background of this fabulous dream city, then, the cast scampers through the motions of a plot that requires on...
An American in Paris offers wit, beauty, charm, smart dancing, happy music, melodious singing, and originality. There’s nostalgia, as well, f...
Gene Kelly remains one of the best and brightest of the Golden Era musical stars and An American in Paris shows him in fine form.
These are mainly opportunities for Mir. Kelly, Miss Caron, and Mr. Georges Guetary to sing and dance. The most effective are two elaborate dream se...
One of the most imaginative musical confections turned out by Hollywood in years.
While not nearly the musical it’s cracked up to be, this 1951 film is absolutely required viewing for anyone who wants to see the s...
Gene Kelly – star and choreographer – never lets the jig-time slacken. The picture runs up the stairs and dances down the street. It neve...
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&n...
This colorful mélange is held together, not so much by Allan Jay Lerner’s fragile, rambling script as by the buoyant, trenchant personality a...
Unlike the magical Singin' in the Rain, Gene Kelly’s An American in Paris doesn’t transcend the musical form; but it’s still one...
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Quotes
Back home everyone said I didn’t have any talent. They might be saying the same thing over here but it sounds better in French.
It’s not a pretty face, I grant you, but underneath its flabby exterior is an enormous lack of character.
I’m a painter, all right. I live upstairs. My name is Jerry Mulligan, and I’m an American in Paris.
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Watched
The story of a love polygon in bright Paris with a lot of dancing and a couple of songs. The film will later be referenced in La La Land in the ending. Gershwin’s music, it seems, later sounded in Tom and Jerry. I understand with my mind that the film is good, but it’s not at all catchy so it would be wow, that’s why only 7.
Watched
Watching another film from the list of "1000 films…before you die,” I feel like Marquez’s Amaranta preparing her funeral shroud. And the musical is good, professional, bright, long. Gutta-percha GG dances a lot, sometimes others do it too, in general, everything according to the genre.
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