I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

A lot of fun.

The film never slows down or bores, plunging from one harrowing sequence to the next.

The movie is wonderful and true, an act of love in all its contradictions and complexity

This movie is made well but its really aging bad. It has random stupid dance numbers (one with Lise dancing in different costumers) and its honestly a big insult to see such a waste of talent (Gene Kelly). He is the highlight but take him out and the movies bad. Not a good movie. Made OK and Gene Kelly is enjoyable. Also they start with narration because they cant figure out how to show us stuff.

If you're an idiot and you like films like Batman v Superman: Dawn of Justice (2016) or Suicide Squad (2016), you will not like this movie. You must be sensitive, artistic, to like music, dance, painting, arts in general and, in particular, to have been suffered in life, in love. Then you will understand this masterpiece, this little gem of film. Gene Kelly, Oscar Levant, Georges Guétary, Nina Foch are all very good. Unfortunately, they all are in another dimension where I do not know if they can make movies anymore... The only one who is still alive, is Leslie Caron, the least talented one. Overall, the film is very good, because of those first five performances. To be watched at any time. Watch all Vincente Minnelli's movies, he was a great film director.

It's ironic that "An American in Paris" features US citizens speaking glowingly of France. Half a century later Donald Rumsfeld called it Old Europe when Jacques Chirac refused to help the US invade Iraq. Of course, France wasn't without its own misdeeds. Anyone who's studied a little history knows that the French were merciless to the Algerians, and tortured Algerian prisoners during Algeria's war for independence.But anyway, the movie is unpleasant to watch, knowing that Gene Kelly was twice Leslie Caron's age. Seriously, their relationship comes across as statutory rape. If you've read my reviews of musicals, then you probably know that I watch them for the purpose of heckling them like Mike, Servo and Crow do to the crummy movies that Dr. Forrester and TV's Frank send them on "Mystery Science Theater 3000". Most of my comments during "AAiP" are not ones that I'll be allowed to repeat in this review. I will, however, say that the 16-minute dance sequence at the end looks like something that they came up with after eating too much sugar. A lot of people would probably call it an acid trip.One thing that I noticed was the appearance of Hayden Rorke, best known as Dr. Bellows on "I Dream of Jeannie". My satirical explanation of his appearance here is that Jeannie accidentally blinked him to Paris, and so he calls his wife and says "Amanda, Maj. Nelson has somehow sent me to Paris! There's bound to be a conspiracy at work here!", causing mass hysteria in Coco Beach, leading to an accidental launch of a rocket. Oh Jeannie, will you ever learn? Long story short, this is not a movie that I can take seriously, and it didn't deserve Best Picture in a year that gave us "A Streetcar Named Desire".

Everyone seems to love, love, love "An American in Paris". For this viewer, I've never been able to sit through the entire movie in one sitting, so assembling the pieces in my head usually sends me running for a bottle of aspirine.MGM made a number of classic musicals, but AAIP isn't one of them, despite the best picture Oscar it garnered. One wonders if the award was really aimed at the post-war expatriate Americans who stayed behind to live the Bohemian lifestyle of the fabled "starving artist". Gene Kelly's artiste seems to be well fed and well shod (with his trademark loafers) as he lives a life of artistic abandon in the slums of Paris. He taps, twirls, and gives his usual athletic spin on the male dance while hobnobbing with the poor people of Paris. He can't paint very well, but hey! let's sing a Gershwin tune and all the Parisians who wanted to knock him out for mispronouncing everything are suddenly his musical bon amis.Kelly's unrelenting guy from the States becomes annoying in the first half hour, and goes from there. Leslie Caron is pretty, but wooden in the extreme. Oscar Levant does his "talented piano bum" for the 1000th time, spreading seedy charm over absolutely nothing. Only Nina Foch, as a horny and predatory rich bitch with connections to the upper echelon of the 50s art world escapes with some dignity. All she really wanted was to get laid, which Kelly charmingly tapdances his way out of in his dogged pursuit of Caron.AAIP drags on for about two weeks, giving you terrible matte paintings and backlot versions of the City of Lights. These sets were used hundreds of times in the MGM pantheon of "foreign" settings and it shows.The climatic 17 minute "ballet" around an ugly fountain is nearly impossible to sit through, unless you think that Kelly's terpsichorean prowess is from the Ballet Des Artes. He's one note away from boogie-woogie and all his smarmy charm can't convince. He's only good in one sequence here, his tra-la-la-la duet with Levant. He's surprisingly hunky in his wife beater T and open shirt, acting like he's about to give Levant some afternoon delight for a few francs.AAIP is pretty threadbare at this point in time, and does nothing to really celebrate the travails of the artists who chose to stay behind in Paris to pursue a career in the arts. Jambon beurre is French for "ham and butter sandwich", a treat sold in the streets of Paris. AAIP has no butter to smooth the rough edges, but plenty of ham to spare.