Best Pictures #02: An American in Paris

The next film to watch turned out to be 'An American in Paris,' a Technicolor musical from the early 1950's, starring Gene Kelly. Before watching, the only things I could remember hearing about this film were something about an extensive final number and really creative sets. Since I was a teenager, I have loved Kelly's 'Singin' in the Rain,' so I was actually looking forward to this one. As a whole, I enjoyed it about as much as I thought I would, though that's more due to my likes and dislikes balancing each other out for the most part.

The plot centers around Jerry Mulligan, played by Kelly, an American living in post-war Paris as a painter, and his life as he falls for Lise, played by Leslie Caron. His romances are complicated by a Miss Milo Roberts, a wealthy American residing in Paris who takes a liking to both Mulligan and his art. The film is based musically off of the ballet of the same name, written by George Gershwin in the late 1920's. The story however is entirely original, and this film actually holds the distinction of being the only musical to have ever won the Original Screenplay Oscar!

Now, for the aspects I liked. I really enjoyed the choreography of all the musical numbers. Of course, Gene Kelly being Gene Kelly, it was bound to be good at the very minimum, but each number was choregraphed well and in a unique way, so that the dancing and blocking didn't feel repetitive, which some musicals definitely fall into the trap of. The cinematography is also such a visual treat. I know why Technicolor stopped being used, but man am I glad it existed if only to give us films like this. The colors pop right off of the screen, and they make me really wish more films would just go all in on the colorful aesthetic nearly as much as this film does. As mentioned above, the set design is top notch. Our protagonist is an artist residing in Paris, and the final musical number is designed to look like he's in his own sketches and drawings, which is a fascinating idea for a musical number, and works out stunningly. The costumes are also fun and expressive and help give life to this film from start to finish. Lastly, the music is just outstanding. I am a huge nerd when it comes to music and the movies, and the overture to this film is one piece I have been unable to get out of my head for days.

Now, for my dislikes with this film. As many others have pointed out, the relationship between Mulligan and Lise has not aged particularly well. In their first several interactions, Lise very firmly tells him she is not interested in him, and furthermore that she is already in a committed relationship (with none other than Jerry's close friend, though it takes them a while to put 2 and 2 together), both of which are completely ignored by Mulligan. However, because he's our protagonist, of course she ends up going out with him and they fall in love. Because of course they do. Even if you were to completely ignore all this, because after all, movies are products of their time, and very few movies age perfectly, there are still other drawbacks to this film. The story itself is about as simple as they come, which, while not a crime in and of itself, ensures that the plot is little more than a stage for the choreography (luckily the choreography is out of this world so the movie is far from a total loss). Lastly, I felt Mulligan's two friends, who are presented as being very close to him, weren't quite fleshed out enough. I enjoyed both of their presences whenever they were on screen, and would have liked to see more of them.

So, to wrap up, I think this is a perfectly fine film, and while the story isn't anything to write home about, Gene Kelly's choreography is legitimately some of the best ever put on screen. And as stated previously, the cinematography is scrumptious, and honestly some of my favorite of the 1950's. Now, as this relates to the Oscars, did this movie deserve the prizes it won? Well for 1951, the film's main competition was 'A Place in the Sun,' which essentially won a mirrored slate of awards. Where this film won for Original Screenplay, Cinematography and Costume Design (color) and Picture, 'A Place in the Sun' won Adapted Screenplay, Cinematography and Costume Design (black and white) and Director. Personally I think if any film of 1951 should have won Best Picture it should have been 'A Streetcar Named Desire,' but I also can't begrudge this film winning. It's a delightful experience and one I will happily revisit someday.

Rating: 7/10

Did it deserve Best Picture?: No, there were better films that year.