AN AMERICAN IN PARIS [1951 / 2009] [Blu-ray] [USA release]
What A Joy To See Metro-Goldwyn-Mayer’s Technicolor Musical!
Gene Kelly, producer Arthur Fred, director Vincente Minnelli and a skilled production team conjure an entertainment for the ages. Gene Kelly plays an ex-GI who loves Paris and an alluring [but engaged] perfume-shop clerk Lise Bouvier [Leslie Caron] in her beguiling screen debut. Dazzling dance sequences are spun around songs by George Gershwin. And the closing ballet sequence combining the George Gershwin title piece, Impressionist set styling's and Gene Kelly's inimitable talent telling a story in dance and lifts this winner of 6 Academy Awards® to new heights and especially now this Blu-ray has had a New Ultra-resolution Digital transfer!
FILM FACT No1: Awards and Nominations: 1952 Academy Awards®: Win: Best Picture for Arthur Freed. Win: Best Writing, Story and Screenplay for Alan Jay Lerner. Win: Best Cinematography in Color for Alfred Gilks and John Alton. Win: Best Art Direction-Set Decoration in Color for Cedric Gibbons, E. Preston Ames, Edwin B. Willis and F. Keogh Gleason. Win: Best Costume Design in Color for Irene Sharaff, Orry-Kelly and Walter Plunkett. Win: Best Music Scoring of a Musical Picture for Johnny Green and Saul Chaplin. Nominated: Best Director for Vincente Minnelli. Nominated: Best Film Editing for Adrienne Fazan. 1952 Golden Globes: Win: Best Motion Picture in a Comedy or Musical. Nominated: Best Director for Vincente Minnelli. Nominated: Best Actor in a Comedy or Musical for Gene Kelly. 1952 BAFTA Film Awards: Nominated: Best Film from any Source in USA. 1952 Cannes Film Festival: Nominated: Grand Prize of the Festival for Vincente Minnelli. 1952 Directors Guild of America: Nominated: NBR Award for Top Ten Film. 1952 Writers Guild of America: Win: Best Written American Musical for Alan Jay Lerner.
FILM FACT No2: The 17 minute "An American in Paris – Ballet" sequence, with sets and costumes referencing French painters including Raoul Dufy, Pierre-Auguste Renoir, Maurice Utrillo, Henri Rousseau, and Toulouse-Lautrec, is the climax of the film, and cost the studio approximately $450,000 to produce. Production on the film was halted on the 15th September, 1950, because Vincente Minnelli left to direct another film, ‘Father's Little Dividend.’ Upon completion of that film in late October, Vincente Minnelli returned to film the ballet sequence.
Cast: Gene Kelly, Leslie Caron, Oscar Levant, Georges Guétary, Nina Foch, Robert Ames (uncredited), Joan Anderson (uncredited), Marie Antoinette Andrews (uncredited), Larry Arnold (uncredited), Martha Bamattre (uncredited), Felice Basso (uncredited), Charles Bastin (uncredited), Joan Bayley (uncredited), Janine Bergez (uncredited), Rodney Bieber (uncredited), Madge Blake (uncredited), Ralph Blum (uncredited), Nan Boardman (uncredited), Dino Bolognese (uncredited), Eugene Borden (uncredited), Ann Brendon (uncredited), Florence Brundage (uncredited), Monica Bucky (uncredited), Peter Camlin (uncredited), David Carlin (uncredited), Benny Carter (uncredited), Sue Casey (uncredited), Monique Chantal (uncredited), Andre Charisse (uncredited), Jack Chefe (uncredited), Dick Cherney (uncredited), Ann Codee (uncredited), Louise Colombet (uncredited), Allan Cook (uncredited), Adèle Coray (uncredited), Gino Corrado (uncredited), Paul Cristo (uncredited), Susan Cummings (uncredited), Albert D'Arno (uncredited), Viola Daniels (uncredited), George Davis (uncredited), Paul De Corday (uncredited), René de Loffre (uncredited), George Dee (uncredited), Ralph Del Campo (uncredited), Gloria DeWerd (uncredited), Jeannine Ducasse (uncredited), Art Dupuis (uncredited), John Eldredge (uncredited), Carli Elinor (uncredited), Marietta Elliott (uncredited), George Ellsworth (uncredited), Luigi Faccuito (uncredited), Ernie Flatt (uncredited), Marie Francoise (uncredited), Clair Freeman (uncredited), Mary Jane French (uncredited), Captain Garcia (uncredited), Jon Gardner (uncredited), Mary Gleason (uncredited), Shirley Glickman (uncredited), Ricardo Gonzáles (uncredited), Madeline Gradin (uncredited), Andre Guy (uncredited), Claude Guy (uncredited), Judy Hall (uncredited), Patricia Hall (uncredited), Betty Hannon (uncredited), Jack Harmon (uncredited), Jean Harrison (uncredited), Linda Heller (uncredited), Lars Hensen (uncredited), Marian Horosko (uncredited), Don Hulbert (uncredited), Dickie Humphreys (uncredited), Harvey Karels (uncredited), David Kasday (uncredited), Paul King (uncredited), Stephen Kirchner (uncredited), Isabel La Mal (uncredited), Tommy Ladd (uncredited), Jeanne Lafayette (uncredited), Judy Landon (uncredited), Richard Landry (uncredited), Michele Lange (uncredited), Numa Lapeyre (uncredited), Louise Laureau (uncredited), Louis Laurent (uncredited), Janet Lavis (uncredited), Meredith Leeds (uncredited), Dick Lerner (uncredited), Ruth Lewis (uncredited), Eileen Locklin (uncredited), Shirley Lopez (uncredited), Wanda Lucienne (uncredited), Ralph Madlener (uncredited), Bert Madrid (uncredited), Dudley Field Malone (uncredited), Bob Mascagno (uncredited), Charles Mauu (uncredited), Paul Maxey (uncredited), Anthony Mazzola (uncredited), Leonard A. Mazzola (uncredited), Greg McClure (uncredited), Svetlana McLe (uncredited), Bonnie Menzies (uncredited), Mary Menzies (uncredited), Sheila Meyers (uncredited), Charles Millsfield (uncredited), Leo Mostovoy (uncredited), Noel Neill (uncredited), Anna Q. Nilsson (uncredited), Allen O'Locklin (uncredited), Roy Ossorio (uncredited), Alfred Paix (uncredited), Jetsy Parker (uncredited), Christian Pasques (uncredited), Lucien Plauzoles (uncredited), Pierre Plauzoles (uncredited), Albert Pollet (uncredited), Don Quinn (uncredited), Anne Belle Rasmussen (uncredited), Waclaw Rekwart (uncredited), Ricky Ricardi (uncredited), Carol Risser (uncredited), Marilyn Rogers (uncredited), Jean Romaine (uncredited), Alex Romero (uncredited), Hayden Rorke (uncredited), Dennis Ross (uncredited), Albert Ruiz (uncredited), Marilyn Russell (uncredited), Betty Scott (uncredited), Linda Scott (uncredited), Rudolph Silva (uncredited), Pat Simms (uncredited), Mabel Smaney (uncredited), Melba Snowden (uncredited), John Stanley (uncredited), Sam Strangis (uncredited), Phyllis Sutton (uncredited), Beverly Thompson (uncredited), Yves Troendle (uncredited), Peter Troiekouroff (uncredited), Dee Turnell (uncredited), Dorothy Tuttle (uncredited), Maya Van Horn (uncredited), Pat Volasko (uncredited), Dorothy Ward (uncredited), Ray Weamer (uncredited), Pamela Wells (uncredited), Dick Wessel (uncredited), Herbert Winters (uncredited), Mary Young (uncredited) and Lila Zali (uncredited)
Director: Vincente Minnelli
Producers: Arthur Freed and Roger Edens (uncredited)
Screenplay: Alan Jay Lerner (story/screenplay)
Composer: Conrad Salinger (uncredited)
Cinematography: Alfred Gilks (Director of Photography) and John Alton (Ballet Sequence) (Director of Photography)
Image Resolution: 1080p (Technicolor)
Aspect Ratio: 1.37:1
Audio: English: 1.0 Dolby Digital Mono Audio
French: 1.0 Dolby Digital Mono Audio
Spanish: 1.0 Dolby Digital Mono Audio
German: 1.0 Dolby Digital Mono Audio
Italian: 1.0 Dolby Digital Mono Audio
English: 2.0 Dolby Digital Stereo Audio
Subtitles: English, French, Spanish, Portuguese, German, Danish, Dutch, Finnish, Italian, Norwegian and Swedish
Running Time: 113 minutes
Region: All Regions
Number of discs: 1
Studio: Metro-Goldwyn-Mayer / Warner Home Video
Andrew's Blu-ray Review: ‘AN AMERICAN IN PARIS’ [1951] is one of the greatest, most elegant, and most celebrated of Metro-Goldwyn-Mayer's 1950's musicals, with George Gershwin lyrics and musical score, plus lyrics by Ira Gershwin and music by composer George Gershwin from some of their compositions of the 1920s and 1930s, lavish sets and costumes, tremendous Technicolor cinematography, and a romantic love story set to music and dance. Gene Kelly served as the film's principal star, singer, athletically-exuberant dancer and energetic choreographer and he even directed the sequence surrounding “Embraceable You.” The entire film glorifies the joie de vivre of Paris, but it was shot on Metro-Goldwyn-Mayer's sound stages in California, except for a few opening, establishing shots of the scenic city. Nonetheless, it remains one of the most optimistic American films of the post-war period, with Paris at its centre.
If you've heard of ‘AN AMERICAN IN PARIS,’ then you already know that it's one of the top musicals ever made and one of the artistic high points in the history of the Metro-Goldwyn-Mayer studio. In the production unit of Arthur Freed, Metro-Goldwyn-Mayer bankrolled a concentration of musical and dancing talent that no smaller organisation could possibly have put together; it's one of the truly persuasive arguments in favour of the old studio system.
Inspired by the music of George Gershwin and Ira Gershwin, and Arthur Freed put his most creative talent into this one entertainment. The ambitious Vincente Minnelli was a meticulous design-oriented director, while the energetic star and choreographer Gene Kelly was hooked on the idea of blending dance and cinema into new, unseen forms. One of the film's highlights is its impressive finale – an ambitious, colourful, imaginative, 17 minute ballet avant-garde “dream ballet” costing a half million dollars to produce. The pretentious sequence, featuring an Impressionistic period daydream in the style of various painters, is one of the longest uninterrupted dance sequences of any Hollywood film, and features the music of George Gershwin. Gene Kelly and John Alton collaborated in presenting a totally remarkable marathon musical and dance number that was the first for both of them to work in Technicolor.
Hollywood attempts at artistic achievement have often been met with indifference, even when they succeed. Film historians point to the “cinematic” ballet in Michael Powell and Emeric Pressburger's ‘The Red Shoes’ as an important precedent; many dance critics had little use for it as well. Hollywood films were expected to be escapism first and art “maybe” Vincente Minnelli and Arthur Freed took a big risk with their consciously “arty” ballet finale.
America accepted and celebrated ‘AN AMERICAN IN PARIS’ and perhaps marks the highpoint of post-war optimism, a time just before the anxieties of those years claimed a big piece of the culture. Alan Jay Lerner's script is as simple as any of Metro-Goldwyn-Mayer's formula musicals. Ex-GI Jerry Mulligan [Gene Kelly] tries to become a painter in an idealised post-war Paris that still loves Americans. Jerry Mulligan lives in the same building as Adam Cook [Oscar Levant], a pianist-slacker who lives from fellowship to fellowship grant. Jerry Mulligan meets two women on the same day. Well-heeled Baltimore divorcée Milo Roberts [Nina Foch] offers to sponsor Jerry Mulligan's art, but is really looking for a new man to keep. Jerry Mulligan's eye instead goes to the young Parisian Lise Bouvier [Leslie Caron] and falls in love almost immediately. The problem is that Lise Bouvier is engaged to successful singer Henri Baurel [Georges Guétary], a close associate of Adam. Jerry Mulligan's Yankee sense of humour helps win Lise Bouvier's heart, but she feels too indebted to Henri to let him down.
A strong story is often irrelevant with any classic Metro-Goldwyn-Mayer musical. The important factors are the music, the talent and the treatment of the musical numbers. Paris glides from one jubilant George Gershwin winner to the next, none of which repeat a mood. Jerry, Adam and Henri celebrate friendship with “By Strauss” and dancing with the fat barmaid and an ancient, but cheerful lady bystander. Jerry has fun playing with the neighbourhood kids with the song “I Got Rhythm” the children seem genuinely amused. Georges Guétary belts out a flashy Follies Bergére type song called “I'll Build a Stairway to Paradise,” while the egotistical Adam daydreams of triumph as a concert pianist performing “Concerto in F for Piano and Orchestra.” Jerry Mulligan and Lise Bouvier's key romantic tune is “Our Love is Here to Stay.”
‘AN AMERICAN IN PARIS’ is a beloved title and many fans appreciate its artistry. Most of the other top Metro-Goldwyn-Mayer musicals display a broader streak of comedy, and the supposed 'best musical of all time 'Singin' in the Rain' is wittier, more complex and even has relevance as an account of Hollywood history. Oscar Levant's forced cynicism plays against the mood, as the show never makes a full statement about artistic vagabonds. The sentiment and heart in Paris is really a fusion between the personalities and the music. Leslie Caron's perky smile and laugh are winning but she seems truly heartbroken only when backed by George Gershwin composed music.
Gene Kelly's performance in the big spectacular “An American in Paris Ballet” integrates dance and music so closely together that he seems to personify the spirit of George Gershwin. Busby Berkeley and to some extent Michael Powell's big dance extravaganzas made the camera an active participant in the flow of music and dance, but Kelly's choreography unites music, dance camera and performance into a seemingly living entity. Add to that John Alton's intense colour lighting (with difficult choreographed lighting changes) and the Ballet may be the most complicated dance ever put on film. It's an almost perfect collaboration. Vincente Minnelli's spectacular design motifs here are in much better balance. The ballet progresses through a parade of classic painting styles that mimic artists like Maurice Utrillo [French painter], Pierre-Auguste Renoir [French artist] and Vincent van Gogh [Dutch painter].
Perhaps the best compliment for the Ballet sequence is that it does full justice to George Gershwin and with the music stands alone as a supremely emotional experience, so highlighting the Ballet sequence with an emotional grandeur. ‘AN AMERICAN IN PARIS’ is Hollywood filmmaking worthy of massive of superlatives and justly deserved winning all of the awards.
AN AMERICAN IN PARIS MUSIC TRACK LIST
OUR LOVE IS HERE TO STAY (1937) (uncredited) (Music by George Gershwin) (Lyrics by Ira Gershwin) [Sung by Gene Kelly] [Danced by Gene Kelly and Leslie Caron] [Played often in the score as the love theme between Jerry and Lise]
BY STRAUSS (1936) (uncredited) Music by George Gershwin) (Lyrics by Ira Gershwin) (Lyrics Revised for this film by Ira Gershwin) (1951) [Sung by Gene Kelly, Georges Guétary and Oscar Levant and dubbed by Mack McLean]
FASCINATING RHYTHM (1924) (uncredited) (Music by George Gershwin) [Played by Oscar Levant on Piano]
TRA-LA-LA (This Time It's Really Love) (1922) (uncredited) (Music by George Gershwin) (Lyrics by Ira Gershwin) [Performed by Gene Kelly on vocal and dance and Oscar Levant on vocal and piano]
I GOT RHYTHM (1930) (uncredited) (Music by George Gershwin) (Lyrics by Ira Gershwin) [Performed by Gene Kelly and children]
I’LL BUILD A STAIRWAY TO HEAVEN (1922) (uncredited) (Music by George Gershwin) (Lyrics by Ira Gershwin and Buddy G. DeSylva) [Sung and Danced by Georges Guétary in his show]
‘S WONDERFUL (1927) (uncredited) (Music by George Gershwin) (Lyrics by Ira Gershwin) [Played during the opening credits] [Sung and Danced by Gene Kelly] [Sung, Whistled and Hummed by Georges Guétary]
NICE WORK IF YOU CAN GET IT (1937) (uncredited) (Music by George Gershwin) (Lyrics by Ira Gershwin) [Sung by Georges Guétary]
EMBRACEABLE YOU (1930) (uncredited) (Music by George Gershwin) [Danced by Leslie Caron]
AN AMERICAN IN PARIS – BALLET (1936) (uncredited) (Music by George Gershwin) [Played during the opening credits and often in the score] [Danced by Gene Kelly, Leslie Caron, and Ensemble] [Played by The MGM Symphony Orchestra, in an arrangement by Conrad Salinger based on Gershwin's orchestration] [Conducted by Johnny Green]
STRIKE UP THE BAND (1927) (uncredited) (Music by George Gershwin) [Played as background music]
Third Movement from 'Concerto in F for Piano and Orchestra' (1925) (uncredited) (Music by George Gershwin) [Played by Oscar Levant and The MGM Symphony Orchestra conducted off-screen by Johnny Green and onscreen by Oscar Levant]
BUT NOT FOR ME (1930) (uncredited) (Music by George Gershwin) [Played as background music]
HOW LONG HAS THIS BEEN GOING ON? (1928) (uncredited) (Music by George Gershwin) [Played as background music]
SOMEONE TO WATCH OVER ME (1926) (uncredited) (Music by George Gershwin) [Played as dance music at the Flodair Café]
OH, LADY BE GOOD (1926) (uncredited) (Music by George Gershwin) [Played as background music]
I’VE GOT A CRUSH ON YOU, SWEETIE PIE (1927) (uncredited) (Music by George Gershwin) [Played as background music]
Blu-ray Image Quality – ‘AN AMERICAN IN PARIS’ image quality on this Blu-ray release is a brilliant 1080p encoded image and enhanced with the 1.37:1 aspect ratio. The first thing that will catch your eye with this release obviously, is that 1950′s spectacular Technicolor look. Perhaps it was the intention, but I do have to say at several points in the film the colour palette goes from harsh to seriously intense, not by any means “popping” out of the screen in a very pleasing manner. Now, don't get me wrong, scenes doused in neutrals from the wardrobe to the set design actually look very nice, though there is still the subject of the flesh tones existent. The flesh tones harbour a nice blush of bright orange hues, and this look continues throughout the entire film, fluctuating in that Technicolor way you've seen on other elder classic films, as an actor moves across the screen and visually showing us all shades of the palette in alternate tones. The sumptuous colour palette is heightened by the definite solid black levels we get to view; and so solid, some scenes in which actors are clothed in black actually gives them a solid black level that is on the button, creating a near perfect presence of such vividness, and more importantly, the presence of detail. The late Gene Kelly had an extremely expressive face, giving us much detail of facial features and in doing so gives us good quality that also applies to all other visual definition aspects of the film, from the costumes, to the set design as well. A good example of this is at the runtime of about 32 minutes and 20 seconds, where Milo is wearing an open back dress, and the scene involves some shots from behind her and where we would normally see the contours of the shoulder blades, make the visible flesh tone of her back appear as very smooth. Overall, you have to give credit where it is due, that this release well worth the effort of Metro-Goldwyn-Mayer and Warner Home Video in giving us something truly special for this classic Hollywood film. Keep in mind that when you view this film on this Blu-ray release, is what you are seeing that was created by filmmakers over 50 years ago, and through so many different processes, this will be the best presentation you can own at this time. Purists will also surely be proud, as this release hasn't gone through significant changes, still possessing many qualities that will keep it in a very original form. So all in all, Metro-Goldwyn-Mayer and Warner Home Video have given us something truly special and definitely gets a five star rating from me.
Blu-ray Audio Quality – The audio quality on this release is presented in 1.0 Dolby Digital Mono Audio. It was a great choice on behalf of Warner Home Video to stick with the original mono track for this films Blu-ray release, providing a more sincere, and realistic audio experience connecting to a time long past, not to mention the film's content that is heard would have made for a label of “overkill” if a more voluminous audio track had been included. Some reviewers have noted that at least 2 to 3 times during the abundance of tap dancing that occurs throughout the film, the sounds of “tapping” are sometimes slightly out of sync with what we see happening visually; well I never noticed any of these anomalies at all. On a more positive note, all of the vocals are carried out very nicely, and shouts and emphasized vocals have a bit of an acoustic quality. Overall, this audio track suits the film in a very justifying manner and once again Metro-Goldwyn-Mayer and Warner Home Video have given us something truly special in hearing a superb audio soundtrack that suits this 1951 film as it should be heard.
Blu-ray Special Features and Extras:
Audio Commentary by Patricia Ward Kelly: Featuring rare and often previously unheard interviews with Gene Kelly, Arthur Freed, Vincente Minnelli, Alan Jay Lerner, Saul Chaplin, Leslie Caron, Nina Foch, Michael Feinstein, Johnny Green, Preston Ames, and Irene Sharaff. Hear some of the most legendary figures in movie musical history; get to “reunite,” thanks to rare, often previously unheard interviews. Hosted by Patricia Ward Kelly that features rare interview segments with director Vincente Minnelli, stars like Gene Kelly, Nina Foch, and Leslie Caron, and other key members of the cast and crew like producer Arthur Freed, screenwriter Alan Jay Lerner, co-musical directors Johnny Green and Saul Chaplin, musician Michael Feinstein, art director Preston Ames, and costume designer Irene Sharaff. The nature of this audio commentary makes for an uneven listen at times, but not detrimental overall, but the enormity of the interviews on hand allows for the participants to cover the gamut of the production values of this film and for the producers of this Blu-ray disc have been very selective about the audio quality of all we get to hear from this audio commentary, but we also get to hear some really fascinating information about the film and all who were involved with the film.
Special Feature: 'S Wonderful: Creating ‘AN AMERICAN IN PARIS’ [2008] [1080p] [1.37:1 / 1.78:1] [42:26] Here we have a dynamic history of the making of the multiple-award winner film ‘AN AMERICAN IN PARIS.’ This documentary features new interviews, including Leslie Caron and Nina Foch. This recently produced behind-the-scenes documentary looks into George Gershwin's original work, the genesis of the cinematic adaptation, casting, the shoot, and the eventual reception of the film. Contributors include: Gene Lees (Music Historian), Gary Giddins (Music and Film Historian), Patricia Ward Kelly (Widow of Gene Kelly), Hugh Fordin (Author), Dr. Drew Casper (Author), Vincent Minnelli (Director) (archive footage), Saul Chaplin (Musical Director) (archive footage), Nina Foch (Actress), Leslie Caron (Actress), Andrée Guy (Former Child Actor), Claude Guy (Former Child Actor), Uan Rasey (First Trumpet with M-G-M Studio Orchestra), Marian Horosko (Dancer) and John Alton (Director of Photography).
Special Feature: Love Walked In Outtake [1951] [1080p] [1.37:1] [2:44] Here we have a musical outtake song sequence featuring Georges Guétary and Oscar Levant on piano. "Love Walked In" is a song composed by George Gershwin, with lyrics by Ira Gershwin. The tune was composed in 1930, but the lyric was not written until 1937.
Special Feature: Audio Outtakes [1951] [1080i] [1.78:1] [14:33] Here you get to hear seven musical outtakes that did not make the grade and they are as follows: “Alternate Main Title;” “But Not for Me” Georges Guétary; ““But Not for Me” Oscar Levant Piano Solo; “Gershwin Prelude #3;” “I’ve Got a Crush on You;” “Nice Work if You Can Get It” and “’S Wonderful.” What you get to view is one single image from the film. As usual, you can hear each segment separately or Play All.
Special Feature: Radio Interviews [1951] [1080i] [1.78:1] [13:54] Here we have a trio of radio interviews with Gene Kelly, Johnny Green, and also a conversational chat with Gene Kelly and Leslie Caron. Sounds like the first two radio interviews by Gene Kelly and Johnny Green were standard recordings with gaps, so different radio stations in America could add in their own relevant questions asked by the radio interviewer, apart from the third radio interview with Gene Kelly and Leslie Caron that was live at the time of the recording. Once again, what you get to view is one single image from the film. As usual, you can hear each radio interview separately or Play All.
Special Feature: Gene Kelly: Anatomy of a Dancer [2002] [1080p] [1.37:1] [84:48] This PBS American Masters series documentary on Gene Kelly, gives and in-depth insight into Gene Kelly’s amazing dancing techniques, and how he formed a style and was the first “blue collar dancer” of hi generation and developed different cinématique techniques, such as brilliantly shot in his dancing sequences. It also focuses on Gene Kelly, his career, and his contributions to the film industry and its genre. It looks in detail at Gene Kelly’s life, the work, and the contributions of Gene Kelly towards films and movie making. The documentary film also celebrates Gene Kelly's putting story-telling into dance and discovering, along with Martha Graham and Jerome Robbins, an American style of dance. It examines his partnership with Stanley Dolan, his bringing of tap and ballet into musicals, his marriages and personal competitiveness, his political views, and his work on stage as well as in film. This production details his contributions as a dancer, choreographer, and director. The narration and talking heads also discuss his muscular style, his low centre of gravity, his masculine appeal and being an all-round professional entertainer. I originally owned this on an inferior DVD, so very pleased it has been featured on tis Blu-ray disc and so giving us a top quality improved image performance. Contributors include: Stanley Tucci (Narrator), Kerry Kelly Novick (Gene Kelly’s Daughter), Gene Kelly (archive footage), Clive Hirschhorn (Gene Kelly Biographer), Beth Genné (Dance Historian), Betsy Blair (Actress), Adolph Green (American lyricist), Jeanine Basinger (Film Historian), Nina Foch (Actress), Stephen Silverman (Stanley Done Biographer), Stanley Donen (archive footage), André Previn (Composer), Betty Comden (American lyricist), Arthur Laurents (American playwright), Leslie Caron (Actress), Cyd Charisse (Actress), Deborah Jowitt (American Dance Critic), Elvis Mitchell (American Film Critic), Fayard Nicholas (American Choreographer/Dancer), Betty Garrett (Actress), Peter Wollen (Professor of Film Studies at UCLA), Donald O’Connor (American dancer) (archive footage), Debbie Reynolds (Actress), Kenny Ortega (Choreographer) and Tm Kelly (Gene Kelly’s Son).
Special Feature: Metro-Goldwyn-Mayer Short: ‘Paris on Parade’ [1938] [1080p] [1.37:1] [8:53] Metro-Goldwyn-Mayer presents James FitzPatrick’s “TRAVELTALKS” that is “The Voice of the Globe.” This “TRAVELTALKS” short showcases the Paris International Exposition of 1937. It features a tour of the pavilions of several nations, as well as the spectacular water and light displays. The Paris International Exposition of 1937 was at the time seen as one of the most important events to take place in 1937, if only because it brought together forty-four nations side-by-side in goodwill. The Paris International Exposition took place along the banks of the Seine, using many existing landmarks. Each national pavilion was provided and designed by the country in question, symbolizing some important aspect of that country. Pavilions of French colonies were also well represented. Lighter fare at the Paris International Exposition included demonstrations of water skiing on the Seine, performances of cultural dances native to specific countries, and the on-going spectacle of the Fountain of Peace located at the base of the Eiffel Tower. Contributor includes: James A. FitzPatrick (Narrator) (uncredited).
Special Feature: Metro-Goldwyn-Mayer Cartoon: ‘Symphony in SLANG’ [1951] [1080p] [1.37:1] [6:48] ‘Symphony in SLANG’ is a Metro-Goldwyn-Mayer cartoon short directed by Tex Avery, written by Rich Hogan and released with the Metro-Goldwyn-Mayer film ‘No Questions Asked.’ Minimalist and abstract in style, and tells the story of a man John Brown, who finds himself at the Pearly Gates explaining the story of his life to a bewildered Saint Peter and Noah Webster using slang of that era. The majority of the short is made up of sight gags phrases that might seem a bit dated and Saint Peter and Noah Webster have trouble understanding the slang John Brown uses, such phrases as "I was born with a silver spoon in my mouth" and "Outside it was raining cats and dogs.” All in all, this is still a fun Metro-Goldwyn-Mayer cartoon.
Theatrical Trailer [1951] [480i] [1.37:1] [3:39] This is the Original Theatrical Trailer for the film ‘AN AMERICAN IN PARIS.’ Sadly, the trailer quality is not as good as the film, so what shame they could not have upgraded it.
Finally, one of the high points of the Metro-Goldwyn-Mayer musical ‘AN AMERICAN IN PARIS’ makes a welcome entry into the annals of high definition in this marvellous looking Technicolor Blu-ray release, that also gives us a host of bonuses that makes this package a must-see and for many a must-own Blu-ray disc. Warner Home Video used their patented ultra-resolution process to bring this Metro-Goldwyn-Mayer film back to life. That means they went back to the original 3 strip Technicolor negatives and realigned them digitally. As a result, the colour and detail is unlike anything we have seen before on the home video format. In the dance number, where Leslie Caron takes on different personalities using different dances and colours, you will not believe the quality of colour image. It really was amazingly, absolutely beautiful. If you have a Blu-ray player, make sure to choose this Blu-ray version of this film as you will experience something truly special and that is why it has gone pride of place in my ever increasing Gene Kelly Blu-ray Collection. Very Highly Recommended!
Andrew C. Miller – Your Ultimate No.1 Film Aficionado
Le Cinema Paradiso
United Kingdom
