An American in Paris (1951) Review: The Good, The Bad & How to Watch
American Film, Musical, Comedy, Romance
Cannes Film Festival, 1952- Official Selection
Academy Awards, 1952- 6 wins including: Best Picture
Academy Awards, 1952- 2 nominations including: Best Director
National Film Preservation Board, 1993- Winner: National Film Registry
One of the Best film of All Time
When we talk about the Golden Age of Hollywood, we often get bogged down in nostalgia, but An American in Paris (1951) isn't just a relic of the past—it’s a neon-soaked, jazz-infused fever dream that still feels incredibly alive. Directed by the visionary Vincente Minnelli and fueled by the athletic grace of Gene Kelly, this film didn't just win Best Picture; it redefined what a movie musical could actually be. More on Wikipedia or Mubi
S’Wonderful, S’Marvelous: Why An American in Paris Still Dances Circles Around Modern Cinema
The story itself is classic Americana exported to the Left Bank. We follow Jerry Mulligan, an ex-GI stayed behind in Paris to pursue life as a painter. He’s the quintessential American optimist: charming, a bit scrappy, and perpetually "broken" in the wallet but rich in spirit. When he falls for the enchanting Lise Bouvier, played by a then-unknown Leslie Caron, the film pivots from a witty romantic comedy into a profound exploration of art and longing.
What makes this film stand out in the 21st century is its unapologetic commitment to visual storytelling. There’s a certain "American" boldness in the way Minnelli uses color. This isn't the muted, gritty Paris we see in modern dramas; this is a Technicolor playground where every street corner looks like a post-impressionist masterpiece. The sets don't try to look "real"—they try to look like how Paris feels when you’re in love.
Of course, we have to talk about the music. George Gershwin’s compositions provide the heartbeat of the film. From the playful energy of "I Got Rhythm" to the romantic yearning of "Our Love Is Here to Stay," the soundtrack is a masterclass in sophisticated songwriting. These aren't just catchy tunes; they are the narrative engine that pushes the characters forward when words simply aren't enough.
The true "mic drop" moment of the film, however, is the legendary 17-minute ballet sequence at the end. At the time, it was a massive financial gamble—costing roughly half a million dollars, which was astronomical in 1951. It features no dialogue, just pure movement and set design inspired by painters like Raoul Dufy and Pierre-Auguste Renoir. It’s bold, it’s experimental, and it’s arguably the most ambitious sequence ever filmed in a mainstream Hollywood production.
In an era of CGI and green screens, there is something deeply grounding about watching Gene Kelly’s physical prowess. He doesn't just dance; he conquers the space around him with a mix of balletic precision and blue-collar toughness. He made art look like a contact sport, and in doing so, he created an image of the American artist that was both sophisticated and accessible.
An American in Paris remains a essential viewing because it captures a specific kind of postwar magic. It’s a tribute to the idea that art can heal, that cities can be canvases, and that sometimes, the best way to solve a problem is to dance it out through a beautifully painted set. If you haven't revisited this masterpiece lately, do yourself a favor and get lost in its rhythm. It’s still as marvelous as ever.
The Good: Why It’s an All-Time Great
The Athleticism of Gene Kelly
Unlike the ethereal, floating style of Fred Astaire, Gene Kelly brought a "powerhouse" energy to the screen. His dancing is incredibly physical and grounded. Watching him perform is like watching a world-class athlete and a high-end actor at the same time. He made dancing feel "cool" and masculine to a massive American audience.
The Gershwin Score
You simply cannot find a better foundation than the music of George and Ira Gershwin. The film is a sonic treasure trove. The way the movie integrates the "An American in Paris" symphonic poem into the narrative is seamless, proving that pop standards and "high art" classical music can live in the same house.
A Visual Feast
The film is a triumph of production design. The 17-minute climax is a revolutionary piece of cinema. It used different art styles (impressionism, cubism) to represent Jerry’s internal emotions. Even today, the vibrant Technicolor palette is so rich it makes modern movies look gray by comparison.
The Discovery of Leslie Caron
This was Caron's debut, and she brought a genuine French gamine charm that provided a perfect foil to Kelly’s American brashness. Her background as a professional ballerina meant she could actually keep up with Kelly, which wasn't always the case with his leading ladies.
The Bad: Where It Shows Its Age
A Thin Plot
If you strip away the dancing and the music, the story is incredibly simple—bordering on thin. It’s a standard "boy meets girl, girl is promised to another, boy wins girl" trope. Compared to the complex screenplays of today, the narrative can feel like it’s just a "clothesline" used to hang the musical numbers on.
The "Stalking" Rom-Com Trope
By modern standards, Jerry Mulligan’s pursuit of Lise can feel a bit aggressive. In the 1950s, a man relentlessly following a woman was seen as "romantic persistence," but today’s viewers might find his behavior in the early scenes a little overbearing or "cringe-worthy."
Pacing Issues
Because the film is so focused on the spectacle, the middle section can feel a bit slow. Some of the comedic subplots involving the side characters (like the cynical pianist Adam Cook) are funny but can feel like they are stalling for time before the next big dance number.
The Studio "Paris"
While the sets are beautiful, the entire movie was filmed on a backlot in Culver City, California. For purists who love the real streets of Paris, the film can feel a bit "plastic" or artificial. It’s a Hollywood dream of Paris, not the actual city, which might bother those looking for authenticity.
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.jpg "An American in Paris (1951)")
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