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An American in Paris

An American in Paris

Music · Romance · Comedy · 1951

Jerry Mulligan is an exuberant American expatriate in Paris trying to make a reputation as a painter. His friend Adam is a struggling concert pianist who's a long time associate of a famous French singer, Henri Baurel. A lonely society woman, Milo Roberts, takes Jerry under her wing and supports him, but is interested in more than his art.

Movie details

An American in Paris

“What a joy! It's M-G-M's Technicolor musical!”

1951 Music · Romance · Comedy 1h 53m

Critical arithmetic

One number, for now.

TMDB

7.0 / 10

Community rating

Jerry Mulligan is an exuberant American expatriate in Paris trying to make a reputation as a painter. His friend Adam is a struggling concert pianist who's a long time associate of a famous French singer, Henri Baurel. A lonely society woman, Milo Roberts, takes Jerry under her wing and supports him, but is interested in more than his art.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over An American in Paris?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Vincente Minnelli

Written by

Alan Jay Lerner

Gene Kelly

Gene Kelly

Jerry Mulligan

Leslie Caron

Leslie Caron

Lise Bouvier

Oscar Levant

Oscar Levant

Adam Cook

Georges Guétary

Georges Guétary

Henri Baurel

Nina Foch

Nina Foch

Milo Roberts

R

Robert Ames

Ballet Dancer (uncredited)

J

Joan Anderson

Child in Ballet (uncredited)

Court is in session

Put An American in Paris on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.