Best Picture Winner: 1951

An American in Paris (1951)

When Jerry Mulligan (Gene Kelly) left the army in 1945, he stayed in Paris to pursue being a successful painter because, “all my life, that’s what I wanted to do.” He’s caught the attention of Milo Roberts (Nina Foch), a wealthy American from Baltimore who resides in Paris and has much influence in the art world. But her interest in him is not strictly professional. One night while Jerry and Milo are out networking, Jerry spots Lise Bouvier (Leslie Caron), and falls instantly in love. But she is involved with one of Jerry’s friends, popular cantor Henri Baurel (Georges Guetary), and Henri plans to marry Lise and take her with him when he tours America.

You can probably already guess who ends with whom. The enjoyment of An American in Paris comes from the song and dance sequences featuring Kelly, Caron, Guetary, and/or the American in Paris Ballet. Kelly is as graceful as ever as he performs “Our Love is Here to Stay” and “S Wonderful.” The adorable staging of “I Got Rhythm” has Kelly teaching several French children how to say "I Got," and then have them come in on cue. Lise is introduced to the audience in an inventive dance montage whereby Henri describes Lise’s many traits and moods while Caron dances in various routines with changes in color, costumes, and dance styles. The finale lasts almost twenty minutes, as Jerry imagines himself and Lise together and apart, dancing through the streets of Paris. And Oscar Levant is on hand as an acerbic concert pianist, who’s never had a concert, to provide several laughs.

While it’s easy to enjoy the film today, the character of Jerry is a bit problematic. First, he’s a bit to self-satisfied and overly confident to the point of being a bit obnoxious. He is harsh and rude when dealing with Milo at times. And the way he uses Milo at the end, leading her on, is cruel. Maybe in 1951 this would have passed muster. But today Jerry isn’t a slam dunk in the likeability department. We’re supposed to be rooting for him and Lise to find happiness together. Jerry’s basically a good guy, but he needs to be taught some manners.

Still, An American in Paris it too genial a film to get to upset with old fashioned attitudes. The song and dance numbers work their magic and the film can still put a smile on the face and a spring in the step. But it’s Kelly’s next musical, Singin’ in the Rain (1952), that remains the best showcase for his talents.