An American in Paris (1951 movie)

[Eileen]

I viewed the 17 minute ballet from An American in Paris starring Gene Kelly and Leslie Caron, and the question occurred to me - what must Balanchine have made of this production? The studio spent $500,000 on this sequence, and it is evident from the elaborate costumes, cast of hundreds, and sets. Nonetheless, no aesthetic taste is displayed. I was greatly dismayed by the entire scene.

I don't compare Gene Kelly to ballet dancers, for he is a jazz and tap dancer. Oh, he is listed as choreographer in the credits, inconspicuously, under the heading "Other Crew".

An American in Paris, the ballet sequence in the film, is, in a word, truly dreadful. In 1951, the studios were competing for audience with television, so upped their game with visual pyrotechnics. These visuals are, to put it bluntly, unnecessary. The scene opens with mysterious dancers in huge skirts and veils throwing their veils over Gene Kelly's face. This is the type of episode that is unnecessary. It is repeated in various ways over the 17 minute sequence.

Crowds fill the screen, marching on and off. There is constant movement, but none of it is meaningful.

I must mention Leslie Caron. She was a ballet dancer, but she is given little to dance despite substantial time on film. The pointes of her toe shoes are very small, so it would be impossible to dance on toe for any length of time, as dancers do today. She will stand on toe for a moment, then go back to flat. She'll strike a pose, and Gene Kelly lifts her and does acrobatics. That is most of their pas de deux, lifts by Kelly. Caron could not possibly dance in those weak toe shoes, not at today's standards.

The supporting cast of dancers are - well, garish, over-costumed in technicolor. They have the 50's figure, the women are showgirls rather than ballet dancers. Caron is slimmer by comparison, but her wide grin is jarring, and her costume is again, overdone.

Now for the praise. It is only for Balanchine. In 1970, Balanchine choreographed Who Cares to Gershwin music. His aesthetic is so completely opposed to the 50's extravaganza I saw on film. His dancers are sleek, neat, with the emphasis on dance, not costumes or scenic excess. The backdrop appears to be New York at night, with buildings casting a glow. The dances perfectly reflect the music. While Gershwin is not my favorite music, I appreciate what Balanchine did with limited money, and limitless dancers.

What would Balanchine have thought of the film? Hollywood. And when Balanchine choreographed sequences for Vera Zorina in early 40's films, the choreography was tasteful. Balanchine rarely substituted showbiz for substance. Balanchine and Gene Kelly? Artistry versus raz-ma-taz.

[Quiggin]

Leslie Caron in her memoir says that it was difficult to dance on hard cement floors and she had to sand down the points of her shoes to keep from slipping on the slick surfaces. (Also that in an act of rebellion she cut her hair short and the film had to be postponed for three weeks while everyone waited for it to grow out.)

As you say, the answer to what Balanchine might think is in the scene he did for the Goldwyn Follies of 1938, which like American in Paris was also directed by Vincent Minnelli and in Technicolor. A complex set but the dancing is clean and clear. He probably would immediately begin trimming away the excesses of the dream scene if he were called in as a script doctor.

The problem with the Minnelli ballet is that it has no problem nothing to solve other than how many famous paintings can Minnelli and the MGM art department duplicate. The "upmarket" sets fight with Kelly's "low brow" dancing, especially the sculptures in the fountain scene where Raoul Dufy-style flat paper cutouts may have been better. Anyway isnt Kelly at his best with only a few humble props, like the umbrella in Singin in the Rain and the newspaper in Summer Stock?

Corrected per dirac's comment below.

Added: Gregg Toland who did Citizen Kane was the cameraman on Goldwyn Follies. Also Technicolor gets a bad rap but is capable of subtle and accurate hues like the blue-gray and green-gray jackets at the beginning of the dream sequence. Minnelli tends to load the palette with reds.

[dirac]

The "dream ballet" was a staple of the more ambitious musicals of the period. Few of them have worn well. (And most choreographers don't look so good compared to Balanchine.)

the scene he did for the Goldwyn Follies of 1938, which like American in Paris was also directed by Vincent Minnelli and in Technicolor

Perhaps you are thinking of Ziegfeld Follies, the revue-style picture directed by Minnelli in 1945?

Anyway isn’t Kelly at his best with only a few humble props, like the umbrella in Singin in the Rain and the newspaper in Summer Stock?

I think also of Astaire partnering a coat rack in the "Sunday Jumps" number of "Royal Wedding."

[volcanohunter]

The scene opens with mysterious dancers in huge skirts and veils throwing their veils over Gene Kelly's face. This is the type of episode that is unnecessary. It is repeated in various ways over the 17 minute sequence.

The business of long pieces of fabric being dragged across Kelly's face and/or torso was one of his favorite and more tiresome tropes. I groan every time I see it.

Anyway isn’t Kelly at his best with only a few humble props, like the umbrella in Singin in the Rain and the newspaper in Summer Stock?

Yes.

I have never cared for any of Kelly's big production numbers. The only thing I can say in defense of the American in Paris ballet is that the art department in the "Chocolat" sequence did a good job of capturing Toulouse-Lautrec's palette. (And fortunately Kelly elected not to go blackface.) Beyond that I don't like it, and in any case I find the film's romantic plots revolting. Apart from the "I Got Rhythm" number I don't think it's worth watching.

[Parma]

I've always wondered if the dance sequence "Stereophonic Sound" which Fred Astaire did with Janis Paige in "Silk Stockings", was a bit of ribbing at some of Kelly's pretensions, with the lines about "Bali ballet" and "a dancer's gotta throw his back out and come sliding on his knees". I always get a giggle out of that song. Fred Astaire was such a tasteful dancer who modestly described himself as "just a song and dance man".

[dirac]

I've always wondered if the dance sequence "Stereophonic Sound" which Fred Astaire did with Janis Paige in "Silk Stockings", was a bit of ribbing at some of Kelly's pretensions, with the lines about "Bali ballet" and "a dancer's gotta throw his back out and come sliding on his knees". I always get a giggle out of that song.

I would substitute "ambitions" for "pretensions" - Kelly was very much a proselytizer for dance and ballet, although the latter was not his metier (as he knew). This was a time when musical comedy was beginning to aim for something different. I don't think his reputation as a dancer will ever be where it once was, right by Astaire's, and that's appropriate, but Kelly's accomplishments should not be overlooked.

I like "An American in Paris" better than I used to do. It gets off to a dubious start with "By Strauss" but it recovers.Lerner's script is one of the rare instances where a writer won an Oscar for the script of a musical. The things that were unusual and even revolutionary about it are things we now take for granted. As mentioned previously, the "ballets" of the period generally suck - even the "good" ones, like "The Girl Hunt" in The Band Wagon aren't very good.

Quiggin, on 16 Feb 2015 - 1:15 PM, said:

Anyway isn’t Kelly at his best with only a few humble props, like the umbrella in Singin in the Rain and the newspaper in Summer Stock?

Yes.

For the most part -- although one of Kelly's best numbers is the "Alter Ego" routine from "Cover Girl."

[volcanohunter]

As mentioned previously, the "ballets" of the period generally suck - even the "good" ones, like "The Girl Hunt" in The Band Wagon aren't very good.

I value Michael Kidd's "Girl Hunt" ballet if only because the choreography for the chorus of hoods anticipated the hyper-physical style of Édouard Lock, Ginette Laurin, Jean-Pierre Perrault and other choreographers from the 1980s Quebec school by about 30 years.

[dirac]

As mentioned previously, the "ballets" of the period generally suck - even the "good" ones, like "The Girl Hunt" in The Band Wagon aren't very good.

I value Michael Kidd's "Girl Hunt" ballet if only because the choreography for the chorus of hoods anticipated the hyper-physical style of Édouard Lock, Ginette Laurin, Jean-Pierre Perrault and other choreographers from the 1980s Quebec school by about 30 years.

Yeah, the choreography for the hoods is striking. Not much to be said for the rest of it, though, although I do enjoy Astaire's voiceover.

[volcanohunter]

Yes, it injects a necessary tone of droll humor. ("Because I shoot hard, and I hate hard.") And yet what people remember primarily is Cyd Charisse's spangled red dress.

[Parma]

You're right, I should have used a better word. It's just that for all that I recognise Gene Kelly's talent and undoubted contribution to dance on film, I've always been an Astaire girl, I suppose it's once again a matter of preference. Some of Gene Kelly's "higher flying" routines just made me slink a bit with embarrassment (he was also partial to striking matador poses, IIRC). I can only recall one of Astaire's which did so, off the top of my head-the "Ritz Roll And Rock" number, and even there, it wasn't his dancing so much as the number as a whole.

I've always wondered if the dance sequence "Stereophonic Sound" which Fred Astaire did with Janis Paige in "Silk Stockings", was a bit of ribbing at some of Kelly's pretensions, with the lines about "Bali ballet" and "a dancer's gotta throw his back out and come sliding on his knees". I always get a giggle out of that song.

I would substitute "ambitions" for "pretensions" - Kelly was very much a proselytizer for dance and ballet, although the latter was not his metier (as he knew). This was a time when musical comedy was beginning to aim for something different. I don't think his reputation as a dancer will ever be where it once was, right by Astaire's, and that's appropriate, but Kelly's accomplishments should not be overlooked.

I like "An American in Paris" better than I used to do. It gets off to a dubious start with "By Strauss" but it recovers.Lerner's script is one of the rare instances where a writer won an Oscar for the script of a musical. The things that were unusual and even revolutionary about it are things we now take for granted. As mentioned previously, the "ballets" of the period generally suck - even the "good" ones, like "The Girl Hunt" in The Band Wagon aren't very good.

Quiggin, on 16 Feb 2015 - 1:15 PM, said:

Anyway isn’t Kelly at his best with only a few humble props, like the umbrella in Singin in the Rain and the newspaper in Summer Stock?

Yes.

For the most part -- although one of Kelly's best numbers is the "Alter Ego" routine from "Cover Girl."

[Parma]

Oops, on the quote thing-sorry!

[Parma]

I've always wondered if the dance sequence "Stereophonic Sound" which Fred Astaire did with Janis Paige in "Silk Stockings", was a bit of ribbing at some of Kelly's pretensions, with the lines about "Bali ballet" and "a dancer's gotta throw his back out and come sliding on his knees". I always get a giggle out of that song.

I would substitute "ambitions" for "pretensions" - Kelly was very much a proselytizer for dance and ballet, although the latter was not his metier (as he knew). This was a time when musical comedy was beginning to aim for something different. I don't think his reputation as a dancer will ever be where it once was, right by Astaire's, and that's appropriate, but Kelly's accomplishments should not be overlooked.

I like "An American in Paris" better than I used to do. It gets off to a dubious start with "By Strauss" but it recovers.Lerner's script is one of the rare instances where a writer won an Oscar for the script of a musical. The things that were unusual and even revolutionary about it are things we now take for granted. As mentioned previously, the "ballets" of the period generally suck - even the "good" ones, like "The Girl Hunt" in The Band Wagon aren't very good.

Quiggin, on 16 Feb 2015 - 1:15 PM, said:

Anyway isn’t Kelly at his best with only a few humble props, like the umbrella in Singin in the Rain and the newspaper in Summer Stock?

Yes.

For the most part -- although one of Kelly's best numbers is the "Alter Ego" routine from "Cover Girl."

I can live with "The Girl Hunt" because Fred seemed to be mocking the whole thing-film noir, "balletic" dance which wasn't ballet, the grandiosity, etc. But I'll admit that even the Great Astaire never seemed comfortable in balletic-style dances, and after he had the clout in Hollywood to choreograph his own dances, I wonder why he did them, when he said himself that ballet wasn't his strong suit by any stretch (he also said that neither was straight tap, especially after that gorgeous "Begin The Beguine" number he did with Eleanor Powell-I couldn't really see it, I look for his weakness every time I watch that number, which is a lot. I will say it's the only time I ever saw him actually show just the teeniest bit that he was having to "work for it" to keep up with a partner).

I love Kelly's "Slaughter On 10th Ave", as much because I love the music as anything.

I will always believe that Ginger made the best partner for Fred Astaire as a team, even though she wasn't at all the most gifted or best-trained one. She followed him perfectly.

I wish there was film of him dancing with his sister, who was said by everyone, including him, to be the more talented sibling. I can hardly imagine it!

Sorry, I brought Mr Astaire up and now I'll have to make myself shut up about him

[Quiggin]

Parma, yes it absolutely does look like Fred Astaire is doing a Gene Kelly routine in Silk Stockings. And there's a sly reference to English ballet.

I do like the Ritz Roll & Rock number best, the space, the use of the men and women who keep popping up. And Peter Lorre in Sweet Siberia is great, upstages the whole number – you just want to keep watching what he'll do next with his hands. I originally saw this movie in a film school summer class with Albert Johnson and Rouben Mamoulian who was very keen on technical details in the film. I keep remembering a tilting stage but can't find the clips.

Yes, the Cover Girl Alter Ego goes beyond the conceit ... and creates something abstract.

It's been pointed out that the Kelly persona is more comfortable with Comden and Green as writers (Singin in the Rain) than Lerner. Someone on Imdb says that one of the intentions of American in Paris was to get Kelly in a role closer to his early Pal Joey character, but if so, it doesn't seemed to have happened. (I can't find an in print source confirming ths.)

Don't (bad) dream ballets go back to Kurt Weill's Lady in the Dark with Ginger Rogers in the Gertrude Lawrence role?

[Parma]

Ha, you have a point re "Lady In The Dark". For that matter, I didn't like Fred & Ginger together so much in their final, reunion film, "Barkleys Of Broadway". It seemed to me that Ginger had pretensions by then, not just in the movie either. And her voice when she plays that Sarah Bernhardt role!!! But in all the RKO teamings, they were just perfection together. (It goes against the grain, but my favorite is "Follow The Fleet"-I love their "dance competition" number, "Let Yourself Go", and the casino number "Let's Face The Music And Dance"--love that dramatic Art Deco feel and especially the ending).

Parma, yes it absolutely does look like Fred Astaire is doing a Gene Kelly routine in Silk Stockings. And there's a sly reference to English ballet.

I do like the Ritz Roll & Rock number best, the space, the use of the men and women who keep popping up. And Peter Lorre in Sweet Siberia is great, upstages the whole number – you just want to keep watching what he'll do next with his hands. I originally saw this movie in a film school summer class with Albert Johnson and Rouben Mamoulian who was very keen on technical details in the film. I keep remembering a tilting stage but can't find the clips.

Yes, the Cover Girl Alter Ego goes beyond the conceit ... and creates something abstract.

It's been pointed out that the Kelly persona is more comfortable with Comden and Green as writers (Singin in the Rain) than Lerner. Someone on Imdb says that one of the intentions of American in Paris was to get Kelly in a role closer to his early Pal Joey character, but if so, it doesn't seemed to have happened. (I can't find an in print source confirming ths.)

Don't (bad) dream ballets go back to Kurt Weill's Lady in the Dark with Ginger Rogers in the Gertrude Lawrence role?

[dirac]

FYI to all, I cut and pasted Parma's last post into our old Fred and Ginger thread in Other Arts. Thanks, Parma (and welcome to the board!)

[Parma]

FYI to all, I cut and pasted Parma's last post into our old Fred and Ginger thread in Other Arts. Thanks, Parma (and welcome to the board!)

Thanks, and I do apologise for going so far off-topic I've lurked here for a few years, I'm waaayyy out of my depth discussing dance with you all, but I learn a lot from reading your discussions

[dirac]

No worries - you weren't that far off topic. Thank you for giving me an excuse to revive the old thread!

And you're holding your own quite well.

[sandik]

As mentioned previously, the "ballets" of the period generally suck - even the "good" ones, like "The Girl Hunt" in The Band Wagon aren't very good.

I value Michael Kidd's "Girl Hunt" ballet if only because the choreography for the chorus of hoods anticipated the hyper-physical style of Édouard Lock, Ginette Laurin, Jean-Pierre Perrault and other choreographers from the 1980s Quebec school by about 30 years.

Oh interesting -- I hadn't thought of that! Kidd's work was often more athletic, and that would certainly make this comparison!

[GeorgeB fan]

I can live with "The Girl Hunt" because Fred seemed to be mocking the whole thing-film noir, "balletic" dance which wasn't ballet, the grandiosity, etc.

From what I understand "The Girl Hunt" ballet was meant to mock Gene Kelly's more "high-brow" balletic dance sequences. Personally I loved it because it was very much tongue in cheek. The "Girl Hunt" was never meant to be taken seriously and because of that I was able to enjoy it and Michael Kidd's choreography is terrific. But then again The Band Wagon is a much better movie then An American in Paris despite the fact I do like Paris. But how it won the Oscar for Best Picture over A Streetcar Named Desire and A Place in the Sun is beyond my comprehension.

[Parma]

Quiggen, I meant to ask you--what was the reference to English ballet? I'd like to be able to look for it next time I watch. Thank you!

Parma, yes it absolutely does look like Fred Astaire is doing a Gene Kelly routine in Silk Stockings. And there's a sly reference to English ballet.

I do like the Ritz Roll & Rock number best, the space, the use of the men and women who keep popping up. And Peter Lorre in Sweet Siberia is great, upstages the whole number – you just want to keep watching what he'll do next with his hands. I originally saw this movie in a film school summer class with Albert Johnson and Rouben Mamoulian who was very keen on technical details in the film. I keep remembering a tilting stage but can't find the clips.

Yes, the Cover Girl Alter Ego goes beyond the conceit ... and creates something abstract.

It's been pointed out that the Kelly persona is more comfortable with Comden and Green as writers (Singin in the Rain) than Lerner. Someone on Imdb says that one of the intentions of American in Paris was to get Kelly in a role closer to his early Pal Joey character, but if so, it doesn't seemed to have happened. (I can't find an in print source confirming ths.)

Don't (bad) dream ballets go back to Kurt Weill's Lady in the Dark with Ginger Rogers in the Gertrude Lawrence role?

[volcanohunter]

I'm guessing this refers to the lyrics of "Stereophonic Sound."

"He's gotta have glorious Russian ballet or modern ballet or English ballet or Chinese ballet or Hindu ballet or Bali ballet or any ballet...and Stereophonic Sound."

Each of the styles is accompanied by appropriate arm positions, a prim en bas position representing English ballet.

[Parma]

Thanks volcanohunter. I'm going to go watch this clip to notice the arm positions. I noticed the Hindu, etc, but didn't know that about the English, Russian, etc arm positions, it will be interesting to notice them.

I'm guessing this refers to the lyrics of "Stereophonic Sound."

"He's gotta have glorious Russian ballet or modern ballet or English ballet or Chinese ballet or Hindu ballet or Bali ballet or any ballet...and Stereophonic Sound."

Each of the styles is accompanied by appropriate arm positions, a prim en bas position representing English ballet.

[dirac]

And yet what people remember primarily is Cyd Charisse's spangled red dress.

Ah, but Cyd Charisse in a spangled red dress is what the movies are all about, no?

But how it won the Oscar for Best Picture over A Streetcar Named Desire and A Place in the Sun is beyond my comprehension.

IMO, GeorgeP, AAIP has survived the years much better than A Place in the Sun.

[sandik]

And yet what people remember primarily is Cyd Charisse's spangled red dress.

Ah, but Cyd Charisse in a spangled red dress is what the movies are all about, no?

Unless it's Charisse in a green dress!

[volcanohunter]

The artist Helen Hancocks made a charming drawing of famous dance sequences from films. Charisse appears twice in the illustration, once in green and once in red. An American in Paris is also there, of course.

http://www.bfi.org.uk/news-opinion/news-bfi/features/how-many-classic-film-dance-scenes-can-you-spot