A Monster in Paris (Blu-ray/DVD Combo) Reviews

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A Monster In Paris (Un Monstre à Paris) is a 2011 French animated film by former DreamWorks animator Bibo Bergeron (director of Road to El Dorado, and more embarrassingly, SharkTale). Yes, that's right, 2011. The film first released theatrically in France in October 2011, and then in the United Kingdom with the English dub in January 2012.

In April of 2013, OVER 16 MONTHS LATER, the United States is just now receiving an official release.

Which is utterly baffling, considering that even before the film's French release, A Monster In Paris went viral and gathered a cult following on the internet, with a large percentage of these fans American (myself included), due to the film's beautiful animation and music.

The music in this film is by Matthieu Chedid, better known by his stage name -M-. I became a fan of -Mand his music through A Monster In Paris. I now own three of -M-'s albums, having imported the CDs from France.

So you can imagine my disappointment when after over a year of waiting, I finally receive my official American release of A Monster In Paris on Blu-Ray/DVD, only to discover the original French language track is not included.

While I have nothing against the English dub, in fact the English versions of the songs are quite well done, the English songs swap out -Mfor Sean Lennon.

Again, nothing against Sean Lennon, he does a fine job with performing the songs in English, but having become a fan of -M-'s music through this film I want to watch the version with -Mperforming.

I ideally hoped to be able to watch this film in its original French with English subtitles, which I expect is how many others will want to view the film as well. Yet even though including the French language track in addition to the English dub and English subtitles seems like a no-brainer, Shout! Factory's failure to include such a simple but incredibly important feature is not only disappointing, but after a 16 month wait, is also unbelievably frustrating. I will without a doubt be sending in a complaint to Shout! Factory regarding the absence of the French language track, and I advise if you were also expecting to be able to watch the film in its original French with English subtitles, you do the same.

I love A Monster In Paris. It is an absolutely wonderful film that I highly recommend to anyone who loves animation, but because of Shout! Factory's negligence, I can only advise purchasing the American release of the film if you are fine with only the English dub (hence the 3-star rating). While the English dub is alright, I personally believe the ideal experience of this film should be in its original French with English subtitles. Unfortunately, the only way of doing this appears to be through importing the French Blu-Ray/DVD and then downloading English subtitles online, as the French Blu-Ray/DVD does not include English subtitles. Keep in mind however that due to region coding, the French Blu-Ray/DVD WILL NOT PLAY on most American Blu-Ray/DVD players. It will only play on a region free Blu-Ray/DVD player or a computer with region decoding software.

UPDATE: I've been informed that the Canadian DVD is multilingual, containing both the French and English tracks with English subtitles. Since Canadian DVDs are also Region 1, they WILL PLAY on most American DVD players. So importing a Canadian DVD would be a more simple, viable option for those who want to watch the film in its original French with English subtitles. Sadly for those of us who like our animation in high definition, there is no Canadian Blu-Ray, only a DVD. Importing the French Blu-Ray, finding a method of bypassing the region coding and then downloading subtitles still seems to be the only way of watching the film on Blu-Ray in French with subtitles.

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When I first saw clips of this movie on YouTube, including the by-now-famous song "La Siene," I was so impressed that I immediately began scouring the Internet for a US release date for the movie. When I learned there were no plans for a US release, I was rather disappointed, but I wouldn't let that deter me from seeing this movie. In the end, I splurged and purchased two copies of the DVD (one for myself, one for our local library) from Amazon's Canadian store.

Now seeing that there's an upcoming US DVD release, I'm kicking myself for not being more patient, but I don't regret having purchased this. It's a beautiful movie, and while maybe not quite Pixar quality it's adorable and charming in its own right.

"A Monster In Paris" takes place in 1910 Paris, during the flooding of the Siene river, and focuses on a short, shy theater worker named Emile and his eccentric, bombastic friend Raoul, a delivery man who fancies himself an inventor. While dropping off a package at a scientist's home, the two break into his laboratory and accidentally create the titular monster -a seven-foot-tall, anthromorphic flea who can only communicate via singing. Said "monster" is taken in by Lucille, a nightclub singer who names him Francoer and disguises him as a musician, and soon it falls on her, Emile, and Raoul to protect him from a ruthless comissioner who will stop at nothing to rid Paris of the creature.

While the animation of "A Monster In Paris" isn't quite Pixar quality, I would put it on par with a Dreamworks movie, and it's certainly a cut above the animation of "Ice Age" and "Despicable Me." The scenery shots of early 20th century Paris are gorgeous, and I never once saw a lapse in animation quality that was significant enough to jar me out of the story. And the characters, with the exception of the appropriately villainous commissioner, are likable and quirky, with Francoer himself stealing the show -who knew a giant flea could be so adorable? The story of a group of people hiding a not-so-threatening monster from the authorities might not be the most original one in the world, but it doesn't seem old and tired here -the new setting and the characters kept it from feeling stale.

By far the best feature in this movie is the music. I LOVE the music. Renowned French singers Vanessa Paradis and M provide the vocals, and do a magnificent job. It was a song that led me to find and fall in love with this movie, and the music that remains the best part for me.

I watched this movie in the original French, with English subtitles (I always prefer to watch a movie in its original language), so I can't comment on the English dub. I'll leave that for another reviewer. UPDATE AS OF 1/28/13: I recently re-watched this movie, this time in English. The English dub is passable, but I highly prefer the French version. The French voices sound more natural, and M makes a better voice for the monster than Sean Lennon.

Wonderful movie, with gorgeous music and little to no adult humor or innuendo. I would recommend it for children 5 and older (due to some scary scenes) and anyone who loves musicals, animated films, or even lighthearted monster movies.

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I am a French teacher and I can't wait to use this movie as a culmination of our study of Paris (I teach younger children). Vanessa Paradis has an angelic quality to her singing that fits this role perfectly. I appreciate the innocent storyline, there are no adult references or innuendo as there are in so many Disney movies.

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The story is good, the animation is good but the Music will melt your heart.

This little movie will make the big studios very jealous. Who knew that the story about a giant singing , guitar playing FLEA would be good. Its not perfect, but by the end of the movie you will be satisfied.

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Why don't more people know about this movie?!? I didn't know what to expect when I first heard about it. A movie about a singing giant flea in Paris? Not exactly a crowd bringer that's for sure. But if Pixar has thought me anything, it's to not underestimate a seemingly ridiculous concept. Plus I love animation and fell in love with the design of the female lead ♥Lucille♥, so I gave it a shot.

The movie is fun to watch and an absolute joy to listen to. The music is phenomenal, mixing both the english and french languages. The animation is on par with anything from Dreamworks or Pixar and the characters, specifically ♥Lucille♥ and Francoeur (the flea) are cute and at times mesmerizing.

If you're hunting for a new animated movie that's very easy on the eyes (and ears), give this one a go.

Reviews of Is Paris Burning? (1968)

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Who would have thought that Paris would be saved by the German general that Hitler sent to burn it to the ground? This gem of a film from the 1960's tells the story.

The film was a colossal failure in its initial realease; it is often called a 'turkey'. I'd have to disagree pretty strongly with that assessment. Its biggest problem, at least for American audiences, is that it is--well, so French. Even though the screenplay was written by Gore Vidal and Francis Ford Coppola, the cast is nearly all French--some of the biggest French stars of the 1960s. Americans are relegated to cameo roles.

Americans also disliked the film because it claims that the French, not the Americans, liberated Paris. That notion has never gone down well on this side of the pond. But if you read the book (and just about any other account of the incident), it's clear that the Americans and British wanted to bypass Paris. They had good reason for doing so--Patton argued that he would save enough gasoline to make the Rhine by the end of August and end the war by Christmas.

The Parisian insurrection in mid-August made those plans pretty questionable, but it was DeGaulle's threat to withdraw his forces and march on Paris, together with horror at the destruction of Warsaw (which Stalin was 'bypassing' at the same time), that changed things. Even so, the Allies let French Gen. LeClerc take the city, because they still had hopes of maintaining the momentum of their main thrust toward the Rhine.

If you are a Freedom-Fry lover, you probably won't like this film. If you are interested in this period of history, read the book first, but definitely watch the movie. Some reviews criticize this movie for dubbing it's French actors (many of whom dubbed their own lines into English). I certainly would have preferred the movie that way, and I dearly wish someone would restore it with French dialog. But, had that been done, about 85% of the movie would have been in French. That's a hard sell in America, whether the year is 1966 or 2006.

Finally the movie is in black and white, except, oddly enough, for the end credits. Many assume that's because of the amount of archive footage incorporated into the movie. But the real reason is that the French government refused to allow the Nazi flag to fly over any Parisian buildings for the exterior shots. A compromise was worked out where limited display of the swastika was permitted, but only on a gray flag (rather than a red one). During filming, one elderly Parisian stumbled across a couple of extras in German uniforms and ran off screaming "They're back!"

But in 1966. the era of black and white was over, and the use of B&W was the third strike against this film for American audiences. It's a shame, because this film really does a great job of showing how German Gen. Von Choltitz saved the city, at considerable risk to himself and, ultimately, his family. His reason? He concluded that Hitler was insane, and that the destruction of Paris would do nothing to improve the German military position. "If I thought that destroying Paris would aid our war effort," he said, "then I would not hesitate to burn it to the ground. But that is not the case."

Recommended for WW II buffs and those who love Paris.

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The dreadful question "Is Paris burning?" was put by Hitler himself to the German commander of Paris and closes the film story.

It anticipated the mad politic he will follow in the last year of WWII: burn it all, destroy it all (enemy or German alike).

The fate Paris eluded occurred to Warsaw, when the Soviet "liberators" decided to stop their march towards Germany, allowing the Nazis to destroy the City and annihilate the pro western resistance.

The film is based on the book of the same title written by Collins and Lapierre and is a very good visual transcription.

The late French director Réne Clément has signed other remarkable movies on the WWII subject as "La Battaille du Rail" (1946 The Battle of the Rails) and the poetic story "Jeux Interdits" (1952 Forbidden Games), but in my opinion the present film is his best ever.

Structured similarly to "The Longest Day" or "A Bridge to Far" it collects many short anecdotes performed by well known actresses & actors. From the cast we may point out as outstanding in their characterizations: Jean-Paul Belmondo as Yvess Morandat, Gert Fröebe as General von Choltitz , Orson Welles as Consul Nordling, Leslie Caron as Françoise Labé, selected from a very good collection of acting work.

The black and white photography, from Marcel Grignon, enhances the story; it makes you feel more "there". Some images are paradigmatic: the long line of German soldiers going up the stairs at the side of the Seine River; the crossing of the "no-man-lands" by the Resistance emissary; the young French students being massacred by the Gestapo; the Resistance members attacking the Panzer almost bare handed and so on. The list is longer as the film gives no respite until the end.

Last but not least the original music from Maurice Jarre, specially the "leitmotiv", is bonus to the whole movie.

I think a broad audience may enjoy this film.

Reviewed by Max Yofre.

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I fail to understand why a film company would go through the process of cleaning up a negative for DVD and not bother trying to source the original soundtrack for the same DVD. There must exist, somewhere, the original language soundtrack to "Is Paris Burning?" as least in some form. Even an original mono soundtrack included as a bonus would have done the trick.

As it stands, what we get looks like the version that was done a few years ago for the NTSC video release.

The film itself looks clean and clear and it's a nice enough anamorphic transfer. The dubbed soundtrack, for what it's worth is clear, but nothing spectacular. But after all it is a 1966 film. The major problem technically, is that it quickly becomes very irritating seeing all these actors performances reduced to a level of stupidity because their words don't match their mouth movements. Dubbing has never sat right on foreign films and this is no exception. It was and always will be a bad solution for idiots who cannot / will not read subtitles. It's never a good alternative. At least the Region 1 DVD has a French soundtrack. But then EVERYONE will speak French. The Region 2 version I watched didn't. Bizarrely, only Spanish and Italian were included!

The story itself concerns the German attempts to prepare to hold Paris in the face of overwhelming odds. As well as the advancing Allied armies, the Germans also have to deal with the various resistance groups that are building up in the City itself. The films portrayal of the Nationalist and Communist groups however is confused and disjointed. It looks like a deliberate attempt though to make it look like the resistance groups were essentially fighting for the same things...which historically was not correct. I also suspect the producers wished to tone down the Communist element, who were the new "bad guys" in the 1960's, so that the film would do better box office in the States. There are hints are the inter-group rivalry, but the viewer is left unclear why they exist. Either way, it is far more defined in the book that the film is based on.

Most of the performances are good and it's a joy to spot so many faces on the screen. Gert Frobe (ahem...Goldfinger) deserves special mention as General von Choltitz, the Paris Garrison commander. He has the dubious decision of choosing to carry out the Fuhrer's order to "destroy Paris" or to leave the City intact. Historically, of course, it would have been an absolute impossibility for the German's to destroy the city given the parameters involved, but the choice to obey or disobey still remained.

There are a number of cameos too from US stars, such as Anthony Perkins and Glenn Ford, but this really is a film about the French during the end of the Paris occupation.

As a whole it isn't a bad film, but isn't really a good film either. I felt somewhat empty at the end and disappointed too with some un-necessary bog standard "evil German" representations. In the main though, the German's are presented as human. The French are presented as nothing but heroic and noble, which is to be expected, I suppose, but I would have liked to have seen more of the intergroup rivalry that took place in reality. The "good guy/bad guy" polemic just doesn't cut it for a cynical post-Vietnam/Iraq audience anymore.

I can't really recommend "Is Paris Burning" in this format to be honest, but if you don't mind dubbing, sometimes confusing plot structure and a near 3 hour running time, then you may enjoy it. A version with the original French, German and English soundtrack would have been a winner, but the producers missed the boat on that one.

Bottom line is rent instead of buy.

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The DVD "Is Paris Burning?" deserves 10 stars. It is compelling history come alive. With an amazing musical score, an all star cast, and a fascinating story, this film is a total winner.

Whereas I enjoyed watching some of the great actors of American and France, such as Orson Wells, Jean-Paul Belmondo, Charles Boyer, Leslie Caron, Alain Delon, Kirk Douglas, Glenn Ford, Anthony Perkins, Robert Stack, Simone Signoret, Yves Montand, and Gert Froebe; the city of Paris entrapped in the march of history is the real star of this film.

Gert Froebe does a super job as General von Choltitz, the Nazi Commander of Paris. He is given direct orders from Adolf Hitler to burn Paris upon recieving an order directly from Hitler himself. The Swedish consul Nordling, played by Orson Wells, tries to convince him not to destroy Paris due to its significance to Western Civilization. In the end General von Choltitz decides not to destroy Paris primarily because it serves no rational purpose. The General is a military strategist and he recognizes that Germany has lost the war and the burning of Paris makes no strategic sense. Thus a sane man disobeys an insane man and the city is saved.

The film is almost documentary in style, shot in black and white with historic films integrated into the rest of movie. Francis Ford Coppola and Gore Vidal's screenplay uses characters to tell the story but the story does not center upon any one character. The city of Paris remains the star. This is the way of history. We are all swept up in historic time and whereas we feel we are the star of our own lives, we are cameo bit-part players in the drama of history. Coppola and Vidal captured this philosophical point perfectly.

The photography of Paris throughout the film is super. Extremely unique views of every famous landmark allow you to see Paris higlighted in a way that no other city has been highlighted in a film. The film was actually shot in front of all these major landmarks and they never looked better.

There are many wonder compelling scenes that stick in your mind after seeing this film. The Gestapo double cross of French students; the journey of one lone Resistance fighter across German lines to reach General Patton and General Bradley; and then the wonderful scenes of the liberation of the city. The scenes where the French and Americans invade the city, are joined by the French resistance as street fighters, fight the last of the German army resistance, and try to control the outpouring Parisian crowds, are wonderful.

This film is superb, you will not be disappointed.

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This all star international cast does an excellent job of portraying the events leading up to the liberation of Paris in August 1944. The film tells the story from the perspective of the German and French forces with some participation, it seems, from US forces.

This film is a good overview of general activities in the battle but to fully understand the events leading up to the revolt by the French Undergound against German occupation forces, one needs to read the book by the same name and other military history. Internal frictions within the underground is downplayed in the film. The treatment of the German occupation force is good and makes a clear distinction between the military occupation force and the Gestapo in their actions during the battle.

This film gives good treatment to a high point in French history and presents a balanced, thoughtful film.

The theme music is unforgetable and captures the spirit of Paris in August 1944. This should be in all historical film collections.

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Warner Brothers' proprietary Ultra-Resolution process has brought new life to such classics as "The Wizard of Oz," "Gone With the Wind," Errol Flynn's "Robin Hood," and "Singin' in the Rain." By going back to the original three-strip technicolor negatives and realigning them digitally, the color and detail blows away anything that customers have seen in the past with home video. "An American In Paris" has now undergone the same process. For those that have a blu-ray player, be sure to order this version, An American in Paris [Blu-ray]. Here is a list of extras that are the same on both versions:

Disc 1:

1.33:1 Full Screen with Original Mono audio * Tech Specs for Blu-ray version: Video is 1080P 1.33:1 * Audio is English, French, Spanish (Both Castilian and Latin), German and Italian DD1.0 * Subtitles (Main Feature): English, French, Spanish, Danish, Dutch, Finnish, German, Italian, Japanese, Norwegian, Portuguese, Swedish * Subtitles (on Select Bonus Material): English, French, Spanish, Dutch, Italian, Japanese, Portuguese

1938 MGM short: Paris on Parade

1951 MGM cartoon: Symphony in Slang

Theatrical trailer

Disc 2:

2002 American Masters Documentary: Gene Kelly: Anatomy of a Dancer (Gene Kelly Anatomy of a Dancer)

`S Wonderful: The Making of An American in Paris, an all new documentary, produced especially for this release. A dynamic history of the making of the film, which reveals how George and Ira Gershwin's classic songs, the dazzling art of the French impressionists and the ultimate teamwork of MGM's legendary "Freed Unit" came together to create a musical masterpiece. Featuring ten new interviews, including co-stars Leslie Caron, Nina Foch, and Kelly's widow. A very enlightening piece; Caron's memories are probably the most interesting, with Foch running a close 2nd. Caron's comments about co-star Georges Guétary being handsome but not too bright seem to be echoed by Kelly's widow, who says Gene spent more time trying to teach him how to gracefully walk down a set of steps than on anything else in the film. It is unfortunate that Maurice Chevalier could not have taken that role as originally intended. You also realize just how revolutionary this movie was (artistically), especially because of the 17-minute ballet tacked on at the end of the movie. Even Irving Berlin disapproved during an on-set visit, which didn't help the confidence of Vincente Minnelli at all.

Outtakes:

Georges Guetary performing Love Walked In (not missed in the movie at all!)

Audio Outtakes: Alternate Main Title, But Not for Me (Guetary), But Not for Me (Levant Piano Solo), Gershwin Prelude #3, I've Got a Crush on You, Nice Work if You Can Get It, 'S Wonderful

Radio Interviews: Johnny Green, Gene Kelly, Gene Kelly & Leslie Caron;

Gene Kelly and Leslie Caron promotional radio interview with Dick Simmons

Not all of the original musical recording stems have survived over the years, preventing a true stereo/5.1 restoration of the soundtrack; instead, a restored mono version is being made available.

Most are familiar with the movie; storywise, it is a little creaky and hasn't necessarily survived well over the years: Kelly is an American artist living in Paris. He falls in love with a young girl (Leslie Caron) who is in a loveless relationship with one of his best friends (Guétary). Kelly is also in somewhat of a loveless relationship with his financial sponsor (Nina Foch). You can probably guess the rest.

The glowing color, fantastic music by Gershwin (arrangements by the talented Conrad Salinger), and the amazing choreography of Gene Kelly will keep this one a classic for years to come despite a predictable plot. Just the ending ballet alone is a masterpiece; the art of Toulouse Lautrec and Utrillo comes to life with Gene Kelly & Leslie Caron dancing their hearts out to some of the most imaginative choreography (Kelly's) in years. The Freed Unit at MGM was at their peak when this movie was made, and this is one of the last great ones that it created.

It is a real shame that with how fantastic the picture is (the colors literally leap off the screen, and it really adds to the appreciation of what an artistically beautiful visual feast this movie is) that the sound cannot match. Although it is clear and free of problems, the Gershwin music just begs for a 5.1 or 7.1 surround track; unfortunately, due to the age and availability of the original elements, this is not possible.

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A glorious movie that showcases Gene Kelly's breathtaking talent. Forget the silly story and just watch him dance and dance and dance. He does more with a turn of a shoulder than most dancers can do with their whole body. This movie also introduced the lithe and lovely Leslie Caron as the object of Kelly's affection. The film builds to its dramatic hallucinatory conclusion as Kelly dances his way across a Paris dreamscape, that brings all the elements of modern dance together in a tour-de-force that was unprecedented in musicals of that time. You can't help getting swept away in the feel-good spirit of this movie. It was another time and place.

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(2008 HOLIDAY TEAM)The dazzling seventeen-minute dance sequence of George Gershwin's 1928 orchestral piece, "An American in Paris", is an indisputable masterwork. Choreographed with precision and unparalleled flair by Gene Kelly, the vibrant combination of color, music and dance is still eye-poppingly startling as the piece is broken down into scenes inspired by selected master artists Dufy in the opening Place de la Concorde piece, Manet in the flower market, Utrillo in a Paris street, Rousseau at the fair, Vincent Van Gogh in the spectacular Place de l'Opera piece, and Toulouse-Lautrec for the Moulin Rouge where Kelly wears his famous white bodysuit. The 97 minutes that precede this finale are not as exciting, not by a long shot, but there are certain charms to be had in viewing the entire 1951 Oscar-winning musical.

Director Vincente Minnelli and screenwriter Alan Jay Lerner have fashioned a surprisingly sophisticated if rather slight romantic story focused on Jerry Mulligan, a former G.I. who has remained in Paris after the end of WWII trying to make a living as a painter. With his braggadocio manner and athletic dancing style, Gene Kelly can be concurrently ingratiating and irritating as a screen personality, but he seems to find his oeuvre as the carefree Jerry. The love-triangle plot is focused on Jerry's involvement with Milo Roberts, a self-proclaimed art patron but a sexual predator when it comes to young artists. On their first date in a crowded Montmartre nightclub, Jerry unapologetically falls for Lise, a young woman who turns out to be the fiancee of Henri, a professional entertainer and friend of Jerry's pal, Adam, an out-of-work concert pianist. Romantic complications ensue until the inevitable ending but not before several classic Gershwin songs are performed.

The best of these is the most imitated a swooningly romantic song and dance to "Our Love Is Here to Stay" along a faux-Seine River in a blue hazy mist with yellow fog lights. The way Kelly and Leslie Caron circle each other is transcendent as they approach each other tentatively at first and then synchronize beautifully to the music leading to the final clinch. Few films have so elegantly and succinctly shown two people falling in love. "I Got Rhythm" and "S'Wonderful" spotlight Kelly's nimble tap-dancing and agreeable singing, while "Embraceable You" is danced impressively by Caron in a five-scene montage of Henri's all-over-the-map description of Lise to Adam. Designed to show off Caron's dancing versatility, the sequence is similar to the one in "On the Town" where Vera-Ellen showed off her considerable dancing skills when Kelly's sailor character described his multi-faceted vision of Miss Turnstiles.

As Lise, the nineteen year-old Caron (in her first film) dances superbly throughout and handles her role with unformed charm with her acting talent not to bloom for several years. Looking quite glamorous, Nina Foch plays older as the manipulative Milo and manages to be likeable enough for us to care about her fate, while Oscar Levant is just his sardonic self as Adam. Performing an elegant "I'll Build a Stairway to Paradise", George Guetary plays Henri so agreeably that you feel bad that he does lose the girl at the end. This is not the best all-around MGM musical, but there is certainly enough movie magic to make this quite worthwhile. The 2000 DVD contains a fairly pristine print but little else in terms of extras.

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With all due respect to devotees of "Singin' in the Rain", I think "An American in Paris" is the best musical ever made. Stanley Donen was an innovative director, but Vincente Minnelli was a genius in his field, and "An American in Paris" was his masterpiece. I choose "An American in Paris" over the others for various reasons. (One example: "Meet Me in St Louis" is charming Americana, but it's spoiled by that melodramatic episode in the middle with Tootie's cut lip and the Boy Next Door being blamed; it's so contrived it might have dropped out of another picture.) "An American in Paris' is a completely successful musical with Gershwin songs culled from their stage shows of a previous generation (for instance, "S Wonderful" is from the 1927 "Funny Face" and "I Got Rhythm" is from 1930's "Girl Crazy"), a trim script by Alan Jay Lerner, and perfect casting. Gene Kelly at 38 was in his prime. And here let me say that Jerry Mulligan, Kelly's character in the film, is the brash, can-do kind of guy who was vastly admired in America by both men and women in the years following World War II. His aggressive attitude towards life represented qualities that had won the war. If today he seems a little chauvinistic (in every sense of the word) ... well, times change. The fact remains that Jerry is an ex-G.I. who has mastered the French language and venerates French culture. Hardly the Ugly American. On the flip side is his New World naïveté. In one scene he and his French girl friend Lise (Leslie Caron) meet shyly outside a sidewalk café and take a table. But Lise immediately becomes aware that an old roué nearby is checking her out (assuming she's just been picked up). Embarrassed, Lise asks to leave the café. But Jerry? The poor dope has no idea what's happened. Similarly, the whole movie has a sharp edge unusual for light entertainment. It's evident in the rich American Milo Roberts (Nina Foch) with her soignée chilliness and her somewhat S & M relationship with Jerry. And it's evident in the curmudgeon wit of Adam Cook (Oscar Levant), "the world's oldest child prodigy". His fantasy of playing Gershwin's Concerto for Piano and Orchestra single-handed is every musician's dream/nightmare. The Old World is represented by Henri Baurel, a music hall star, performed by Georges Guetary, who was (I suspect) basically playing himself. (His rendition of "I'll Build a Stairway to Paradise" is the film's only traditional cabaret number.) Throughout the story, his boulevardier suavity,not to mention the savoir faire of the minor characters, indicates the Gallic easygoing attitude towards sex, which was about 20 years ahead of the U.S.'s. (Incidently, look close in the Beaux Arts ball sequence and you'll spot a young gay couple passing Kelly on the staircase.) Despite its glossiness, the picture has a refreshing spontaneity. Notice in the "By Strauss" number that Kelly's cap gets knocked off his head by the florist's skirt. At first he grabs for it, but then it's like "Ah, t' hell with it" and he keeps on going. Appropriately, all the acting is natural and subdued. But not the climatic ballet! It has to be the most lavish experience in all of film entertainment, before or since. It's been said that this ballet is "too much", but i think mehitabel in paris would have said theres no such thing as too toujours gai. With its 3-strip Technicolor, its numerous sets, its hundreds of costumes, Kelly's superb choreography, and of course gorgeous Gershwin, the "An American in Paris" ballet is, like the movie itself, le spectacle ne plus ultra. Savourez!

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1951 was a tense year in America. Julius and Ethel Rosenberg were convicted of selling U.S. nuclear secrets to the Soviet Union. In North Korea, truce negotiations failed. McCarthyism reigned and Hollywood suffered as many of its key players were blacklisted. It is no wonder, then, that the movie-going public sought lighter fare. With its simple script, lush color, and innovative choreography, An American in Paris was just the ticket.

An American in Paris is the story of boy meets girl, boy gets girl-with not much in between. Gene Kelly plays Jerry, an ex-GI trying to make a go of it as an artist in the city of artist's garrets and cheap cheese. When he spots Lise (Leslie Caron) he knows instantly that she's the gal for him, and he sets about wooing and winning her, ignorant of the fact that she's dating Henri (Georges Guetary). Complicating things (but not much) is his wealthy patroness Milo (Nina Fochs). Another ex-patriot, Adam (Oscar Levant), plays the fifth wheel, adding comic relief to a script that doesn't need it. But people don't really watch this movie for the script, they watch it for the beautiful cinematography and the singing and dancing.

The set design is gorgeously colorful, making Paris dangerously magnetic to anyone who might be making travel plans. This is the Paris of sweet children seeking bubble-gum, kind elderly Parisian ladies who break into dance in cafes, a happy nightclub scene on clean stone streets, and of course lavish flowers, safe riverbanks, and Parisian churches. It's a perfect setting for the score, which includes such songs as "Our Love is Here to Stay," "I Got Rhythm" (sung by Kelly with a team of little urchins), and "'S Wonderful". And the dancing is. Quite wonderful, culminating in a 17-minute ballet (choreographed by Kelly) at the climax. That things resolve just a little too quickly and easily thereafter will bother no dance fan-and all the moviewatchers who have a low tolerance for song-and-dance will have been flushed out of the room long before then.

An American in Paris was Leslie Caron's first American film, shot when she was a just-turned 18. Her inexperience with movie making shows on the screen as kind of a gamine innocence and plays well with Kelly's confident American mien. The chemistry of all cast members (or should I say "the troupe") coalesces to make this musical a don't-miss. 4 stars for the average movie watcher; 5 if you're a big fan of dance.