An American in Paris (film)

An American in Paris is a 1951 American film music by Vincente Minnelli, starring Gene Kelly and Leslie Caron.

The scenario for the film by Alan Jay Lerner is inspired by the composition An American In Paris from 1928 by George Gershwin, lyrics by Ira Gershwin.

An American in Paris was a great success in cinemas with sales of more than $ 8 million (worldwide). The film won six Oscars. In addition, in the same year, an extra Gene Kelly won Oscar for his entire work. In 1993, An American in Paris because of the cultural, aesthetic and historical interest for conservation in the U.s. National Film Registry of the Library of Congress.



Content
[hide] *1 Story  ==Story[ Edit] == Read warning: text below contains details about the content and/or the end of the story.The former soldier Jerry Mulligan, a Second World War veteran trying to build a career as a painter in Paris. He can regularly be found at his friends, concert pianist Adam, who also is busy with his career and the French singer Henri Baurel (Georges Guétary). The three have a lot of talent but little money and Jerry is financially supported by Milo Roberts, a lonely lady from the better circles. Milo gives more to Jerry than for its art, but Jerry is only interested in her money, especially when he falls in love with touches on the young Frenchwoman Lise Bouvier. Although she has a relationship with Henri Baurel (Georges Guétary) Lise is also in love with Jerry. But she feels guilty about this because the war has helped her by Henri. She tells Jerry therefore initially nothing about her relationship with Henri. Until the last decision with Lise to marry and Jerry hears that the girl just loves him. Desperate invites Jerry Milo for the masquerade ball where Henri and Lise will come. At the ball, Adam hears Milo that Jerry nothing to see that Jerry gives her while Henri and Lise each other goodbye kiss. As Henri takes his bride in the car, daydreaming Jerry about a dance by Paris on the music of George Gershwin. But a car horn makes him wake up, it is that Henri Lise brings back.Moments later, Jerry and Lise embrace each other. ==Division Of Roles[ Edit] == ==For History[ Edit] == ===The dream of Freed<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">In 1948 was the ballet film The Red Shoes an unexpected box office success. For producer Arthur Freed reason to again to look into the idea that he had about a musical film with a long ballet finale. During a performance of the suite "An American in Paris" by George Gershwin had he gotten inspiration for a musical Paris around this composition. A "An American in Paris" is actually a musical poem and Freed found title and music beautifully. The piece was premiered in on 13 december 1928 in Carnegie Hall in New York and was a classic. In Freeds thoughts he built the suite into a musical full of songs and compositions of Gershwin. ===The hesitation at MGM<span class="mw-editsection" len="354" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Freed contacted the brother of George Gershwin, Ira, to buy the film rights of the composition. Ira had interest, but asked a large sum of money, after which Freed the idea submitted to MGM for permission first. He described his idea to his bosses and took out "The Red Shoes" there at to explain that the long ballet phase on the end was important for the film. The managers of MGM hesitated. In itself the idea of long, extravagant dance numbers was not new to the musical (Yolanda and the Thief (1945) and in 1946 Ziegfeld show Follies were recent examples, but those were dance numbers, An American in Paris was classical music, and the dance would be a modern ballet. Also the length of the ballet number was exceptional, 17 minutes, that was unprecedented. Also the cost was not wrong, only $ 500,000 for the ballet. It was the head of the studio Louis b. Mayer that the bullet and gave the green light. ===Film Rights<span class="mw-editsection" len="345" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Equal thereupon began negotiations with Ira Gershwin, Freed the members of the Gershwinerfenis and two different music publishers. During the weekly game of pool between Freed and Ira Gershwin was sealed the deal. The film rights from "An American in Paris-A Tone Poem for Orchestra" by George Gershwin were purchased by MGM on 1 June 1949 for 158.750 dollars. Ira received a bonus of 56250 dollars for his services as a consultant and to write new lyrics for the songs. Screenwriter Alan Jay Lerner got in december 1949 the command to write the screenplay. He worked in periods of 12 hours on 9 March 1950 to until he was finished, an evening for his marriage to actress Nancy Olson. Then he worked still until June to the last detail. On June 12, was the first version to Freed presented. There were some revisions but in the end, the film was made according to the first version. ==Actors<span class="mw-editsection" len="341" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] == ===Jerry Mulligan<span class="mw-editsection" len="348" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">The film would be worn by an actor who could dance as well as sing. Freed could choose from two top dancers from the stables of MGM, Fred Astaire and Gene Kelly. Both dancers had a different style. Astaire belonged more to the style of ballroom dancing and Kelly was strong as a dancer in narrative ballets. He had had great success with its main role in On the Town and was at the height of his fame. Freed gave him the role of Jerry Mulligan. Kelly went evenly interfere with the auditions and later also with the Director. ===Lise Bouvier<span class="mw-editsection" len="346" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">For the role of Lise Bouvier, the co-star of Kelly, were the necessary candidates. As with the male lead had to play, the actress, who also went to Lise dancing and singing. Freed was considering Vera-Ellenin On the Town, which was linked to Kelly, but she fell off, just as Cyd Charisse who turned out to be pregnant. Itself was Freed very charmed by dancer Marge Champion, but they wanted her dance-act with her husbandGower Champion did not give up. Sally Forrest suggested for MGM, one of the actresses from the own stable. But the auditions with her fell against. It was Gene Kelly who came up with the suggestion to Française to hire. He himself thought of the young Leslie Caron that he had seen in Paris dancing. Freed saw more something in an experienced actress and dancer and considered the French actresses Odile VersoisandJeanine Charrat . Kelly, however, remained at Caron, he felt that the film needed ' fresh blood ' and was awarded support of Director Vincente Minnelli. Gene Kelly Leslie Caron had in 1948 in Paris see dancing at the Ballets des Champs Elysees and the then 15-year-old ballerina had made a great impression on him. Freed went on 29 May 1950 signed Caron tack and a contract with MGM. ===Henri Baurel (Georges Guétary)<span class="mw-editsection" len="347" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">The role of the French competitor of Henri Baurel (Georges Guétary), Jerry Muligan, would be completed by a French actor. Vincente Minnelli wanted the legendary French singer/actor Maurice Chevalier hiring.Chevalier had, however, no American film more made since 1934 and MGM was little taken with the accusations of collaboration with the German occupiers of Chevalier in the Second World War. Chevalier was in any case not being hired for the role, as the official reason given was that he was not available. After Chevalier was fallen by the wayside, was Yves Montand as candidate, but the left-wing sympathies of the actor/singer urged not with the political choices of Louis b. Mayer, the boss of MGM. After Carl Brisson also was not chosen, Georges Guétary got the role. It would remain his only American film. ===Milo Roberts and Adam Cook<span class="mw-editsection" len="360" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">After Sarah Churchill was fallen off did the actresses Celeste Holm and Nina Foch audition for the role of Milo Roberts. Vincente Minnelli was impressed by the way Foch her and gave her the role text las. PianistOscar Levant was actually not an actor, but took over the role of Adam Cook because he is a personal friend of George Gershwin had been. ==Production<span class="mw-editsection" len="344" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] == Read warning: text below contains details about the content and/or the end of the story.===Recording Periods<span class="mw-editsection" len="349" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">The film was shot in three recording blocks. The first period was between 1 August-1 november 1950 and the second between 9 January-2 april 1951. Between these recordings were the rehearsals and recordings for the famous ballet scene. Between 2 november-5 december 1950 was rehearsed, while between 6 december 1950-8 January 1951 the recordings took place. Vincente Minnelli was officially the only Director, but he had marital problems. His marriage to actress Judy Garland was about to jump and the Director had to sometimes attend. Gene Kelly then took for him where. So directed Kelly the scene around the song "Embraceable You" all alone. When Kelly intensively rehearsed for the great final ballet (between 2 november-5 december 1950) could find time to even the film Minnelli father's Little Dividend to directing withElizabeth Taylor . The budget for the film finally ended up at $ 2.723.903. ===Sex and chickenpox<span class="mw-editsection" len="354" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">The recordings were not free of problems. The film adaptation of the introduction scene of Leslie Caron for example delivered equal problems with the censorship. With the song "Embraceable You" in the background directed Gene Kelly the French actress who ran a suggestive dance with a Chair. The skirt she was wearing also left little to the imagination. All according to the Breen Office to suggestive, the Office of chief censor Joseph Breen, that like a hawk watched over the Hays Code, Hollywood's own self-censorship. According to the female censor who was present during the shooting, could it all unacceptable. But fortunately for the film, the woman quickly came under the influence of the charm of Kelly, who had to defend his recordings. The scene was eventually, with small adjustments, approved. The still very young Caron was not aware of all this talk about suggestiveness. She could hardly keep up with the pace of Kelly. As a result of malnutrition suffered during the Second World War she was easily tired and could not dance every day. Kelly was concerned about her health and took care of steady rest breaks and days off. Another problem was Nina Foch. During the shooting, she suffered from chicken pox. She was quickly restored but a team of beauticians was busy for hours to eliminate the scars in her face. ===Cinematographic notes<span class="mw-editsection" len="366" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">In preparation for the names, and in particular for the dance scenes, early Gene Kelly to MGM to the screening of two films. According to a memo from the MGM archives it went to the French film L'Orange Eté and the French cartoon La Joie de Vivre from 1934. Both films contain extensive dance scenes. Kelly worked closely with Director Minnelli and cinematographer Alfred Gilks and Elle Hextall for the coordination and development of the dance numbers. According to Gilks and Elle Hextall was the song "Our Love Is Here to Stay" in its entirety included in the MGM studio. The scene In the film takes place on the Quays of the Seine near Notre Dame. Gilks and Elle Hextall used a camera that worked according to the principle, a camera setup around horizon that could record a circular panorama of thirty metres. Another scene, in which Caron and Kelly the steps of the Sacre Couer oprennen, was created in collaboration with the special effectsafdeling. Gilks and Elle Hextall left the stairs partly reverse engineer in the studio and filmed the racing actors. In the post processing was added the background with the Church. ===Famous scenes<span class="mw-editsection" len="350" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">In addition to the unique ballet scene are more scenes become famous. For example, the song "Dance in the Mirror" to be found in virtually every documentary about musicals. The number shows Leslie Caron as Lise that always comes up in new costumes and different dance styles l see. Also the "I Got Rhythm" scene is much acclaimed. In the scene we see Gene Kelly as the painter Jerry who teaches the children of Paris English. "Stairway to Paradise" became famous because of the lighting effects. If a play's stairs jump over again descends Guétary lights on, deaf from and go back on. Pianist Oscar Levant could enjoy themselves in the dream scene around the "Concerto in F". He dreams that he performs the classic song in a large concert hall. Levant plays all the instruments and it shows up as the conductor. Eventually he plays even his own public that "more" and "bravo" calls. Levant was a personal friend of Gershwin and is still seen as one of the best performers of his work. ===From the mounting cut scenes<span class="mw-editsection" len="365" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Some scenes disappeared from the movie, such as "Love Walked In" sung by Guétary. Sung by Gene Kelly danced in pajamas and a scene around the song "I've Got a Crush on You" reached the end Assembly does not. More important was the removal of a scene between Oscar Levant and Nina Foch. In this scene, a number of important details revealed which threw more light on the plot development. The scene would originally come after the climax of the ballet scene. During Assembly found Kelly and Minnelli that the scene as too late in the day came and took too much time, after which the material ended up on the floor of the editing room. ===Locations and decors<span class="mw-editsection" len="353" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Kelly and Minnelli were keen to record the entire movie, but stuck in Paris MGM a stop to it. So there were 44 sets built in the MGM studio in Culver City, California. However, only recordings of Paris created by a Second Unit. One filmed from 2 september 1950 in the city of lights, but had to interrupt the recordings almost equal because of the persistent rain. After fixing up the weather still filmed to 22 september. Ended up using the editor in the Assembly only recordings of monuments from Paris, atmosphere recordings of the streets and a shot of Milo's car drive to the hotel. Gene Kelly was in no to see the shots. The paintings that his character, the painter Jerry, show, were made by artist Gene Grant. ==The ballet scene<span class="mw-editsection" len="349" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] == Read warning: text below contains details about the content and/or the end of the story.===Background<span class="mw-editsection" len="346" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">On 2 november 1950 began Kelly with the rehearsals of the ballet scene at the end of the movie. On 6 december started the recordings were completed on 8 January 1951. The whole ballet sequence in the film 17 minutes and would eventually cost $ 500,000. Minnelli and Kelly worked closely to choreography, music and story into line with one another. Although Minnelli claims in his autobiography that the idea for the ballet and the elaboration of him, evidenced by the MGM archives that Kelly has contributed the same amount. On 6 september 1950 Arthur got Freed of Kelly and Minnelli an explanation and gave his approval. Although Minnelli had wanted to include the entire scene in Paris, he had to settle for the studio. Negotiations with the owners of La Moulin de la Galette in Paris over the use of the building for Interior and exterior shots were broken off. ===Decors<span class="mw-editsection" len="341" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">For six weeks to build the set designers toiled sets. Designer Irene Sharaff designed a different style for each of the sets for the ballet. Each set reflected the style of a French Impressionist painter:
 * 2 Cast
 * 3 history
 * 3.1 the dream of Freed
 * 3.2 the hesitation at MGM
 * 3.3 Film rights
 * 4 Actors
 * 4.1 Jerry Mulligan
 * 4.2 Lise Bouvier
 * 4.3 Henri Baurel (Georges Guétary)
 * 4.4 Milo Roberts and Adam Cook
 * 5 Production
 * 5.1 Recording periods
 * 5.2 Sex and chickenpox
 * 5.3 Cinematographic notes
 * 5.4 Famous scenes
 * 5.5 cut from the montage scenes
 * 5.6 locations and decors
 * The ballet scene 6
 * 6.1 Background
 * 6.2 Decors
 * 6.3 Story
 * 6.4 Criticism
 * 7 Music
 * 7.1 Songs
 * 7.2 background music
 * Background 8
 * 9 awards and nominations
 * 9.1 Academy Awards
 * 9.2 Golden Globes
 * 10 Sources
 * 11 external links
 * Gene Kelly: Jerry Mulligan
 * Leslie Caron: Lise Bouvier
 * Oscar Levant: Adam Cook
 * Georges Guétary: Henri "Hank" Baurel (Georges Guétary)
 * Nina Foch: Milo Roberts

<p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">At the presentation of the plans for the ballet got to hear Arthur Freed, that the setting would be the most important part of the ballet film adaptation. The ballet reflected the point of view of the different painters, with sets and costumes their style views. ===Story<span class="mw-editsection" len="342" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">The wafer-thin story only serves as coat rack for the connection of the different sets. The main character, painter Jerry, dances with Lise through the streets of Paris, which constitutes the background another painter. A quick sketch by a gate, ends in a painting by Dufy from the Place de la Concorde, which turns into scenes around Montmartre, based on work of Utrillo. We see Kelly as the black dancer from the painting "Chocolat dance dans un bar" of Toulouse Lautrec with Caron as the dancer from the Moulin Rouge, Jane Avril. This runs all through until the climax of the ballet at the fountain, all figures come from the various sets back together. Each scene got own decor, costumes and was shot in another light setting. The music is the only constant, the almost twenty-minute suite: "An American in Paris". ===Criticism<span class="mw-editsection" len="342" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">It had difficulty to keep the ballet scene in the movie. MGM had hesitated and it was mainly due to studio boss Louis b. Mayer that the green light was given. But the days of Mayer were numbered. After the production of An American in Paris he would leave. The other studio bosses started more and more to doubt the ballet and calls, in order to remove the scene from the film. But Dore Schary went over budget, held that Freed the hand above the head. The film should come out with the ballet. After the release of the film also came criticism of professional critics. It denounced the length of the ballet scene, the vague symbolism of the red flower from the opening shot back towards the end and the emerging characters at the fountain scene. ==Music<span class="mw-editsection" len="341" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] == ===Numbers<span class="mw-editsection" len="342" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p lang="en" len="49" style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">The following compositions and songs are told:
 * Raoul Dufy (1877-1953)-Place de la Concorde
 * Pierre Auguste Renoir (1841-1919)
 * Edouard Manet (1832-1883)-the flower market,
 * Maurice Utrillo (1883-1955)-a street in Paris (Montmartre)
 * Henri Rousseau (1844-1910)-the market
 * Vincent van Gogh (1853-1890)-Place de l ' Opéra
 * Henri de Toulouse-Lautrec (1864-1901)-the Moulin Rouge.

===Background Music<span class="mw-editsection" len="352" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p lang="en" len="63" style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">The following numbers are only as background music to hear:
 * "Embraceable You" (George Gershwin/Ira Gershwin)-performed by Leslie Caron
 * "Nice Work If You Can Get It" (George Gershwin/Ira Gershwin)-performed by Georges Guétary
 * "By Strauss" (George Gershwin/Ira Gershwin)-performed by Gene Kelly and Oscar Levant, Georges Guétary (sung by Mack MacLean)
 * "I Got Rhythm" (George Gershwin/Ira Gershwin)-performed by Gene Kelly
 * "Tra-la-la (This Time it's Really Love)" (George Gershwin/Ira Gershwin)-performed by Gene Kelly and Oscar Levant
 * "Our Love Is Here to Stay" (George Gershwin/Ira Gershwin)-performed by Gene Kelly and Leslie Caron
 * "I'll Build a Stairway to Paradise" (George Gershwin/Ira Gershwin/Buddy g. DeSylva)-performed by Georges Guétary
 * "Third Movement from ' Concerto in F for Piano and Orchestra" (performed by Oscar Levant and The MGM Symphony Orchestra)
 * "'S Wonderful" (George Gershwin/Ira Gershwin)-performed by Gene Kelly and Georges Guétary)
 * "An American in Paris Ballet" (George Gershwin-package Conrad Salinger-performed by Gene Kelly, Leslie Caron, ensemble and the MGM Symphony Orchestra

==Background<span class="mw-editsection" len="346" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] == <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Gene Kelly made two famous movie musicals right behind each other. As such is the equation for the hand between An American in Paris with Singin' in the Rain, also a MGM musical (created in the following year), on the same kind of fim (Technicolor), with the same producer and the same main character. The story is similar in the sense that the male lead is chased by an adult woman, but of choice for a young girl. The male lead is backed by a peer and an older gentleman. One of the most notable differences is that a purely musical An American in Paris is also Singing in the Rain while a movie is, with a story. Another important difference is that in An American in Paris is a polar opposite the male peer, a melancholy and cynical pianist (Oscar Levant), which is not out of his chair to burn, while in Singin' in the Rain the male peer an energetic size is (Donald O'Connor), who did not want to sit in a chair but together with Gene Kelly dance number in dance number after deposit. An American in Paris is a film that is worn only by Gene Kelly, above all those that virtuoso does, with a wide range of songs, from a spontaneous-looking song-and-dance number with street children (on street) to a stylized ballet with a large dance company in exuberant colored costumes. The theme of An American in Paris is the painting: the protagonist puts a painter in Paris down, and many of the sets are inspired by French paintings. The music is that of Gershwin, with an extensive ballet based on his namesake, piece of music, An American In Paris. ==Awards and nominations<span class="mw-editsection" len="356" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] == ===Academy Awards<span class="mw-editsection" len="349" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p lang="en" len="11" style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Nominations:
 * "Strike Up the Band" (George Gershwin)
 * "But Not for Me" (George Gershwin)
 * "How Long Has This Been Going On?" (George Gershwin)
 * "Someone to Watch Over Me" (George Gershwin)
 * "Oh, Lady Be Good" (George Gershwin)
 * "I've Got a Crush on You, Sweetie Pie" (George Gershwin)
 * Best film (Arthur Freed)
 * Best set design (e. Preston Ames, Cedric Gibbons, f. Keogh Gleason, and Edwin b. Willis)
 * Best cinematography (John Alton and Alfred Gilks and Elle Hextall)
 * Best costumes (Orry-Kelly, Walter Plunkett, and Irene Sharaff)
 * Best film music (Saul Chaplin and Johnny Green)
 * Best Screenplay (Alan Jay Lerner)

===Golden Globes<span class="mw-editsection" len="348" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p lang="en" len="11" style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Nominations:
 * Best Director (Vincente Minnelli)
 * Best editing (Adrienne Fazan)
 * Best film (Arthur Freed)

==Sources<span class="mw-editsection" len="342" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] ==
 * Best Director (Vincente Minnelli)
 * Best actor (Gene Kelly)
 * Rick r. Altman, "The American Film musical", 1988
 * Steve Bingen and others "MGM: Hollywood's Greatest Backlot", 2011
 * Leslie Caron "Thank Heaven: A Memoir", 2009
 * Jane Feuer, "The Hollywood Musical" 1993
 * Hugh Fordin, "Mgm greatast musicals: the Arthur Freed Unit", 1996
 * Philip Furia, "Ira Gershwin: The Art of The Lyricist", 1996
 * Stanley Green, "Hollywood Musicals Year By Year", 1999
 * Sam Kashner and Nancy schoenberger, "A Talent For Genius: the Life and Times of Oscar Levant"
 * Gerald Mast, "Can't help singin', the American musical on stage and screen", 1987
 * Vincente Minnelli, (with Hector Arce) "I Remember It Well", 1974.
 * Naremore, James "The movies or Vincente Minnelli", 1993
 * Deena Ruth Rosenberg, "Fascinating Rhythm: The Collaboration of George and Ira Gershwin", 1991
 * Tony Thomas "The Films of Gene Kelly: Song & Dance Man", 1974.
 * Patricia Ward Kelly, "life's Too Short: A Story of Gene Kelly", 2002