As far-fetched, silly and light-headed a movie as they come with virtually penniless artist Gene Kelly trying to scratch a living (but somehow still looking all neat and dandy and residing in a decent 1000 Euro-a-night room bang in the centre of Paris) even though his forte is singing and dancing.... so, he would have ditched the 'painting thing' long ago. Rich American heiress Nina Foch tries her best to seduce Kelly whilst pretending she likes his paintings and sets him up with his own studio AND even some paint and brushes. Errrr?? So how did he manage to paint beforehand? Kelly's moaning pianist American bezzie, Oscar Levant, who looks as if he's sucking a lemon throughout the movie, is virtually drowning in self-pity because no one will employ him, so he sponges off a conveyor belt of university grants whilst scrounging money off his rich and irritating friend, Georges Guetary, who so happens to be Leslie Caron's squeeze and also likes to suddenly break out into song to tell everyone how happy and talented he is. But oh no! It can't be? Yes, it is! As predictable as not walking further than 10 metres in Paris before stumbling across yet another pavement cafe, Kelly meets Caron and they fall in love...with each other, of course. Luckily, the clever sets are big enough to accommodate the couple's dance routines while Kelly's distinctive voice booms out, song after song. I admit, I don't like musicals as a rule, but I love films such as The Sound of Music and Chitty Chitty Bang Bang because they have pathos, drama, emotion, and a real, stick-on, plausible plot. AAIP is just a silly fantasy candy-floss-of-a-movie with an equally silly and ridiculous ending to match as Guetary (who mercifully has stopped singing by now) happily drives the woman he wanted to marry (Caron) to where Gene Kelly is waiting for her by a lamp-post by the River Seine, where of course they rush into each other's arms, madly in love but probably soon wondering where the next French Franc is going to come from. I admit that Gene Kelly was a highly talented dancer and singer (who can ever forget his iconic performance and THAT title song in Singin' in the Rain??) But this movie is like trying to fit a luxury size 11 shoe onto a size 6 foot.

Thin plot? The thinnest--which leaves extra room for the wonderful cast, individually and together, to win you over in a way--ask yourself--maybe no other movie ever has. Oscar Levant alone (as more or less himself--look it up) would steal the show, if stealing this show were possible.

An American in Paris is a typical mid-century musical about love, misunderstandings and dancing. No one will deny that Gene Kelly was the best dancer of his generation. However, his character in AAP was absolutely unrelatable with his obnoxious attitude and air of self-importance. The supporting characters were either one-dimension or just as annoying as the lead. Gene Kelly never should have gotten the girl. What he should have gotten is a good kick in the behind and a lesson in manners. The paper thin plot and writing did not do this musical any favors. Not recommended

SOO BORING! did not even finish. Rotten Tomatoes 🍅 wtf were u thinking??!!

Gene Kelly in great form and fine performance by Leslie Caron, but no match for Singing in the Rain.

Great musical score and some of the dance numbers, but ranks miles behind The Band Wagon and Chicago.

Although plotless and under 50s standards, the dancing sequences are magical. Very talented dancers and creative choreographies.

A classic well deserving its accolades. Worth watching again.

It's Gene Kelly at what he goes best and a fantastic final dance sequence make it a classic musical

Loads of singing and dancing you have to fast forward through including an endless dance sequence which fits no purpose at the end of the film for filler. The plot is woefully flimsy to the point there barely is a plot. Unclear what the art and rich benefactor added to the script. An absolute waste of time of a film.

One of the greatest musicals ever, "An American in Paris" is Vincente Minnelli's magnum opus.

An American in Paris is a movie that's feather-light on story, but classical in all the right ways. The story centers around Jerry, a war veteran (Gene Kelly) who wants to make a career as a painter in the City of Lights. Also roped in are an heiress (Nina Foch) who wants to sell his paintings, Adam (Oscar Levant) who wants to become a pianist, and Lise (Leslie Caron) who Jerry falls in love with. Being a jukebox musical with cinema's greatest dancer and choreographer, it's incredibly clear that story isn't its strength. Instead, much like Going My Way, the film is tailor made to show off Mr. Kelly's talent. However, what makes An American in Paris stand out is the vibrant mise en scene by Vincente Minnelli. I especially love the 17-minute climax near the end, where Jerry and Lise dance romantically around colorful cardboard sets and change from one wardrobe to another. The high kinetic energy and outrageous chemistry between the two makes the scene more believable and lures you to celebrate their merriment. With that said, An American in Paris is my favorite Gene Kelly movie, granted I've only seen three of his films. I love the music, the atmosphere, the sets, the costumes, and also how far it goes just for a simple story. (4 ½ Jerry Mulligan Paintings out of 5)

There isn't enough to the story to overcome the boring elements.

AFI 100 Greatest Films - #68: The score, set/costume design, and especially dance numbers make a very sturdy frame for a plot that would have likely been mildly engaging. Kelly and Caron are beyond mesmerizing.

At the end plot is thrown aside in favor of colorful joyful ending. Gene Kelly charisma is undeniable what a talent. Music is good for the movie but not remarkable.

The mid-century obsession with predictable plots and one-dimensional characters is no better represented than in An American in Paris ... up to the last 20 or so minutes, which are such an entertaining, beautifully composed, and lively exhibition of music and dance that it almost makes up for the rest of the film hanging like a stone around its neck. Levant's dry wit provides some compensation for the shortcomings of the narrative segment, but it's not enough to bring the entire film up to par. (3.5/5)

An American in Paris won the Best Picture Oscar in 1952. Twelve years after Gone with the Wind, it would be the second color film to earn that award. And it wasted not a single moment showing off the fullest palette of color possible, with splendid results. The film is a musical that hearkens back to the days of the big old Hollywood Studio System. If you are looking for a deep plot forget it! In fact, the plot is so thin that the movie requires two lavish dream sequences in order to beef up the screen time for the viewer. In a nut shell, Gene Kelly, plays Jerry, an American living in Paris as a struggling painter. He is friends with Adam (Oscar Levant), a struggling musician. They are both friends with Henri, a night club performer. A rich woman named Nina takes an interest in Jerry's art, and in Jerry himself. However, Jerry takes interest in another woman named Lise (Leslie Caron). Jerry stalks Lise and ignores her requests to leave her alone (as men did in the 50's!), so she of course falls in love with him. The problem is that she is engaged to his friend Henri. Though Jerry is good friends with Henri, he somehow was never introduced to Lise, prior to meeting her in a nightclub. That's about it! I'm pretty sure I don't need to tell you who Lise will end up with in the end! This movie is all about the spectacle, dance, and musical numbers. And if those are things you enjoy, then you should thoroughly love this movie. I have to say that I found the use of imagery and split screen much more reminiscent of the late 50's or early 60's, so I think that is a testament to director Vincent Minelli being ahead of his time. The one dream sequence where Oscar Levant imagines himself not only directing an orchestra, but being every single orchestra member as well, was a particular stand out. This is a musical-lover's musical. The dancing is top notch (Kelly and Caron are a wonderful pair, and their final quarter-hour routine is a masterpiece) and the old George Gershwin numbers are reminders of wonderful days gone by. This was pure escapism at its very best. For those who are connoisseurs of iconic television, it's also nice to see small cameo appearances by Noel Neill (Lois Lane from the 1950's Adventures of Superman), Madge Blake (Aunt Harriett from the 1960's Batman) and Hayden Rorke (Major Bellows from the 1960's I Dream of Jeannie)!

It's a great looking film. The camera work through the city and the start as it moves up to Genes window is well done. From the sets, colours and terrific cinematography. The look of Paris is hard to fault, it's very vivid and plays well with Gene Kelly as an artist. You can understand it's technical Oscar and why it didn't win for acting. Leslie Caron impresses when she dances but is only ok when acting. They are some good songs and dance sequences with a a very thin plot with the love triangle and a rich girl who takes chances on Genes talent. There are better musicals out there and more deserving films that should have won best picture. Gene Kelly is as always likeable, though I found his pursuit of the young women a little cringy. I got rhythm is a nice number with the children and the constant top tapping does get a little tiresome throughout the film. The 17 minute dance sequence starting from pencil drawings through bright colours to a huge crescendo, is great if a little long. 6 for plot and acting, 8 for the production, songs and dances.

The Oscar for Best Picture? A debatable winner in a relatively weak field where the year's best film (Hitchcock's) wasn't even nominated. The Oscar for Gene Kelly? Utterly undeniable, like Kelly's talent itself. Oscar Levant? "It's not a pretty face, I grant you but underneath its flabby exterior is an enormous lack of character." — His delivery is somehow even better than his playing.

Terrific first acting performance by Leslie Caron along with memorable characters and songs throughout the film.