Moment #7. Everything that can be said about An American in Paris has probably been said already. With On The Town and Singin’ In The Rain it represents the apogee of the American musical, and in particular of the work of Arthur Freed’s unit at MGM. It pushed the Hollywood dance sequence to new limits1–the 17-minute “American in Paris” ballet sequence, created by Gene Kelly, cost almost half a million dollars to make, in 1951 money–and the film won a hatful of Oscars.
I watched the film on DVD again at home in a back-to-back American in Paris multi-format experience immediately after going to see the latest stage version in London, which is a trumphant reimagining of the film.
The moment: the sequence early in the film when Henri Baurel, played by Georges Guétary, describes to the musician Adam Cook (Oscar Levant) the delights of Lise, (Leslie Caron), the young woman he’s in love with, and we see Caron perform a series of balletic routines. I’ve chosen this because it’s doing several things all at the same time.
It’s introducing the 19-year old Leslie Caron, spotted by Gene Kelly dancing in a French ballet company, to the Hollywood audience for the first time.
It’s showing us that she’s a proper dancer, and doing so without her having to talk (at the time her English was only serviceable).
It shifts the film from the realism of the narrative, and the browns of that narrative palette, into the colours of the dance musical.
And I think it does one more thing as well. It maybe conveys to us, quite early in the film, that Henri Baurel is maybe in love with an idea of Lise, rather than the actual person, which helps explain (spoiler) why he’s willing to give her up right at the end.
Here’s the clip.
Arthur Freed had tried to buy only the rights to the American in Paris Suite from Ira Gershwin (George had died in 1937) but Ira shrewdly insisted that all the songs in the movie should be Gershwin songs. I think Freed got lucky here, since it gives the musical a coherence and quality that a patchwork of songs by several composers would not have provided. And Kelly’s dancing shimmers in this smart adaptation of ‘I Got Rhythm’.
1. Although, of course, Powell and Pressburger’s British film The Red Shoes, made three years earlier, also had a long ballet sequence in it. Kelly screened the film for MGM executives before An American in Paris was greenlighted, according to imdb.↩