An American in Paris evaluation action

2022-02-07 14:45
The film is a classic in the history of American cinema. It combines modern dance, ballet, song, music and painting with a simple love story. Gershwin's music, Gene Kelly's dance, Minnelli's The director is the magic weapon of the film's success   .
The group dance scene in the last 17 minutes of the film is magnificent and gorgeous, even after many years, it is a rare singing and dancing scene. Gene Kelly integrated these 17-minute dance steps into ballet and tap dance elements, especially interspersed the rhythm of cha-cha in classical ballet, adding a bit of playfulness and dynamic to the elegant and graceful ballet. The two main dancers performed this unprecedented dance pattern vividly and naturally. The light and bright songs in the film are also very consistent with the tone of the film  .
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Extended Reading
  • Kenyatta 2022-03-19 09:01:09

    The whole film is filled with a romantic atmosphere, which is the characteristic of Paris and the characteristic of musicals of that era... The very long dance before the end is very creative. The big reunion at the end was a little weird.

  • Meredith 2022-02-07 14:45:34

    Worthy of a classic, Vincent Minnelli has made a perfect fusion of ballet and musical. I am not really touched by this story, but the exploration of the form of the musical type film must give an excellent Evaluation! The silent dance by the water is a preview for the [Ponge Team], and the pianist's imagination is an evolution. Kim Kelly dances too sexy. Although the French girl Karen has excellent ballet skills, it is a pity that her beauty is not as good as the film text.

An American in Paris quotes

  • Jerry Mulligan: I came to Paris to study and to paint, because Utrillo did, and Lautrec did, and Roualt did. I loved what they created and I thought something would happen to me too. Well, it happened all right. Now, what have I got left? Paris. Maybe that's enough for some, but it isn't for me anymore, because the more beautiful everything is, the more it will hurt without you.

  • Milo Roberts: Why do you make such an issue of money?

    Jerry Mulligan: Because I ain't got any. And when you ain't got any, it takes on a curious significance.

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