1952 Oscar Best Cinematography Color
1952 Oscar Best Art Direction Color
1952 Oscar Best Music Original or Adaptation Musical Score
I’m not a big musical fan, and An American in Paris didn’t really change that. The Gershwin score is glorious, of course — lush and lively in all the right places — but the film wrapped around it feels more like a gallery piece than a story. It’s beautiful to look at, just not all that engaging.
Gene Kelly dances like he’s trying to charm the paint off the sets, and Leslie Caron floats through her debut looking perfectly lovely, if not exactly alive. Everything’s bright, polished, and a bit too pleased with itself.
The famous ballet at the end is impressive in scale but exhausting in length — a flourish that forgets to mean anything. It’s a film of undeniable craft, but for me, there’s not much heart behind the spectacle. All tune, no tune-in.