American Studies Movie Reviews

This movie was super funny and great entertainment!...I don't watch too many low-budget indie films, but this was filmed locally in the Dallas area, where I'm at (anyone who lives in Dallas or Denton should check this out and look for landmarks that you recognize!), and I was very pleasantly surprised. Cornman has hilarious characters, very witty dialogue, and pokes fun at plenty of B-movie cliches.

In comparison to another film starring offbeat superheroes - I recently saw Orgazmo (which, for anyone who doesn't know, is a funny superhero movie from the Southpark people, not an adult film), and hands down I liked Cornman a whole lot better.

The DVD is cool too, and has some neat extras.

In 1973, when George Lucas made this movie, the preview audience liked it. They loved the performances of Cindy Williams, Ron Howard, Richard Drefuss, and Harrisson Ford kind of spoke to the early 70's generation of youth who distrusted the establishment and lived a life of fast cars. But Universal did not like the movie and cut about 8 minutes from the film to make it more "mainstream". Lucas was furious. But it did not stop the movie from becoming a hit with the public. about ten years later, after George Lucas had become a very successful film maker, he went back to Universal and said "I want to finish my movie and do my director's cut." By this time, the studio was under new management who realized that a large mistake had been made, and they said "Okay." So today the movie as you see it on the DVD is the director's cut and it's one of the most best praised movies ever spoken of. Since then Lucasfilm and ILM have done a lot of business with Universal in making some very good movies that have done well at the box office.

When he wasn't making digital modifications to his original Star Wars trilogy, director George Lucas apparently found the time to tweak his first blockbuster, American Graffiti, as well. A glorious orange sunset has been dropped behind Mel's Drive-In in the opening shot, where originally was just a solid blue sky.

I saw this film and Diner (1982) when each was first released and have since followed with interest the subsequent careers of their youthful lead actors, notably Richard Dreyfuss, Ron Howard, Charles Martin Smith and Cindy Williams in American Graffiti and Steve Guttenberg, Daniel Stern, Mickey Rourke, Kevin Bacon, Ellen Barkin, and Paul Reiser in Diner. Separated by nine years, the two films offer informative as well as entertaining perspectives on their respective youth cultures. George Lucas directed this film which focuses on Modesto (California) during the late-summer of 1962. The screenplay and cinematography are seamlessly integrated with 4l popular tunes which comprise the soundtrack. Most of the central characters can be viewed as "tweeners," in awkward transition from one phase of life to another. For example, Curt Henderson (Dreyfuss) will soon depart for college but seems ambivalent about that. The others' plans are even less certain. Meanwhile, together or separately, they spend their evenings cruising around town. (All of the scenes are at night.) I enjoyed the humor, some of it poignant, and could identify with many of the situations which closely resemble those of my own teenage years in Chicago. Keep an eye open for Harrison Ford in a brief appearance as Bob Falfa. Who knew then what awaited him next: a minor part in The Conversations (1974) and then starring roles in Lucas' Star Wars (1977) and Spielberg's Raiders of the Lost Ark (1981). Of course, I have no idea how appealing American Graffiti will be to those born since (let's say) 1985 but it is still great fun for many of us born before then and will perhaps be of greatest interest to cultural anthropologists who study the teenage culture in the U.S. in the 1960s. For me a sobering thought with which I conclude this brief commentary: if Curt (Dreyfuss), Steve (Ron Howard), Terry (Smith), and Laurie (Cindy Williams) were real people and alive today, they would be about 59 years old. Hmmmmmmm....

If you purchase the DVD version (which I strongly recommend), be sure to check out the documentary "The Making of American Graffiti" which features interviews with director George Lucas, executive producer Francis Coppola, and other cast and crew members as well as never-before-seen screen tests. Excellent stuff.

"American History X" definatly isn't a feel good movie, but it doesn't need to be. I knew before I saw this film that it would confront and bother me, but for all the horrible moments in this film I actually feel better having seen it. Edward Norton is fantastic, as he always is, as a skinhead living a life of hate and influencing the life of his younger brother. There are many mements where you hate Norton's character so much you can hardly stand it. However, unlike similar movies where the veiwer has no characters to relate to, the direction and acting in this movie accomplish an amazing task: the viewer starts to sypathise with Norton as he realises the futility of his hatred in prison. In the end, one message is clear: the only thing hate creates is more hate. Though tough to watch, this is a movie that more people need to see.

this movie was written by a certain david mckenna. he grew up and went to my high school together. a couple of years ago i had a chance to talk to him after a very chance encounter in santa monica. dave explained that his script was completely rewritten after he sold the rights to it.

the original ending was the most important section of the film and it was completely altered. the original script calls for a accidental murder of the character danny, and a more thoughtful exposition of the thesis of the film, which is principally about fear and how fear shapes our societies, and a small view into how this might come about.

dave explained that the edward norton "skinhead" character's realization of ignorance and fear was much more fully and subtley developed than in the final cut. this is unfortunate, and i think that dave's original script would have made a more meaningful movie.

the idea of portraying a charasmatic white power neo-nazi is absolutely controversial, but in analysing the movie ( even the final product ) i think it is very clear that the "logic" behind nazi theories shown is extremely faulty. in fact, the inspiration for "derek" to embrace these ideas is absolutely linked to his personal and emotional experiences and not his logical mind. if you want to judge for yourself, watch the film closely!

all in all, this film was well directed, and in my opinion very well acted. certain parts could have been made more realistic, like the basketball sequence. (ed norton is not a basketball good player by any standards...but that is trivial).

this is a movie that interested me, and if you watch it remember that it was not intended by the writer to play out exactly as it does.

Not as good as Romper Stomper, because I found it less enjoyable, but American History X is a great movie no doubt, I recommend buying this movie and Romper Stomper.

Hollywood werewolves have long been characterized as serious creatures who lope after their victims like an hirsuit Groucho Marx. The image of this loping werewolf was originally etched by Lon Chaney and succeeding generations of actors merely continued his style. But with AN AMERICAN WEREWOLF IN LONDON, director John Landis not only pushed the werewolf back down on all fours so it would resemble nothing less than a bristling mobile lycan tank but he also added a much needed touch of humor to force viewers to stand apart momentarily from the gore to contemplate what they had just seen. David Naughton and Griffin Dunne are two Americans backpacking their way through a gloomy English moor right out of Heathcliffe's WUTHERING HEIGHTS. They are attacked by a howling werewolf who kills Dunne but merely bites Naughton before it itself is shot by villagers. This introductory scene in which Naughton and Dunne are banished by an unfriendly group of pub drinkers is an unsettling mixture of creepy fear leavened with biting wit. It is precisely this same melding of horror and humor that suggests that the viewer engage in extremes of emotions that range from laughing to choking, with the viewer sometimes not sure which one to choose.

Jenny Agutter is a much underappreciated actress who shines as a nurse who falls for Naughton, and cannot understand a radical change in his eating habits as he increasingly comes to prefer his meat extra rare. Agutter adds an unexpected dimension to a role that in another and less competent director's hands might have relegated her to little more than a fetching piece of English eye candy. Griffin Dunne supplies visceral humor as a corpse that keeps popping up, like Hamlet's father's ghost, at opportune times to remind Naughton that the price to pay to be free from lycanthropia may be a tad too high. And then there is the music, played in much the same vein as Simon & Garfunkle's lyrics from THE GRADUATE, but here Credence Clearwater Revival's lilting "Bad Moon Rising" punctuates the eye popping transformation scenes that a bad moon leads to bad vibes. Finally, the special effects of Rick Baker are stunning in that you can see bones elongating, fur sprouting, and nostrils stretching as Naughton is seen scaring himself as much as the audience. Ultimately, AN AMERICAN WEREWOLF IN LONDON is a ground breaker in the werewolf genre in that sight and sound combine to present creatures as helpless in their own way as their victims are in their own.

May turn into a snarling hell-hound that boogies down to Creedence Clearwater Revival's "Bad Moon Rising" while tearing up yuppies in Kensington and uptight bankers in the London Underground---all when the wolvesbane blooms and the Moon is shining bright, of course.

Made in 1981 (a great year for movie Lycanthropes on both sides of the Atlantic) Landis's "American Werewolf" is for my money the greatest werewolf movie ever made, and coincidentally marks Landis's directorial high-water mark.

While backpacking across the UK, and shortly after a pit stop at the inhospitable Inn of the Slaughtered Lamb, American friends David Kessler (a fine role by the underrated DAvid Naughton) and Jack (Griffin Dunne)are attacked by a mysterious beast on the moors.

The dimly glimpsed beast tears Jack's throat out and savages David, who is hospitalized and London, cared for by a pretty English nurse (nicely played by Jenny Agutter). Tormented by increasingly horrific dreams and plagued by ghoulish visions, David soon realizes that he has problems far worse than the cancellation of his summer-long EurailPass.

"An American Werewolf in London" has long been regarded as a comedic horror film, and it's not hard to see why. The title is campy and glib, the film itself has a cocky and sarcastic air about it, and the dialogue between the increasingly Lupine David and his ghastly revenant friend Jack is wickedly, blackly funny.

But "American Werewolf in London" is not a funny movie; it is far more of a classic evocation of the black, wild terror you feel when you find that the hungry, uncontrollable beast that stalks the night and slakes its thirst with the blood of innocents---is you. Landis, who had a fine touch for the comedic, sarcastic flair, uses funny barbs and witty dialogue to heighten the terror, the mounting horror, of David's plight.

Landis has created a work of sheer, diabolic genius, channeling the stuff of pure nightmare: think of the stalking scene where a City banker is pursued by something---something too awful for the camera to show, we feel---through the anonymous, antiseptic, endless tube-like passageways of the London Underground. From the moment we hear the snarling, coughing bark coming from the darkened tunnel to the second some brutish thing comes slouching upon its cowering victim, we have left the world of film and entered the world of nightmare.

Rick Baker's special effects are outstanding: the prosthetic and gore effects are so shocking, so gruesome, and so organic that the film (especially on the crisp Special Edition transfer) looks like it could have been made yesterday.

But when all is said and done, the real credit for this masterwork comes back to Landis: here is the work of a director in the prime of his career, finely balancing comedy with terror, and willing to take a chance. Those inured to its shocks from having watched the film hundreds of times may not realize what an insidious, subversive little piece of grue this is, but think about it: Landis zigged where a lesser director would have zagged, and the result is the stuff of nightmare. Where did those squealing Nazi pig-soldiers come from, anyway? I don't know, but thanks to Landis they have been regular guests in more of my nightmares than I can remember.

Dreamy, surreal, hysterical and terrifying, modern and classical at once, "An American Werewolf in London" is the greatest werewolf film of all time, and a fitting meditation on the Beast within.

...May turn into a snarling, drooling, hungry hell-hound that boogies down to Creedence Clearwater Revival's "Bad Moon Rising" while tearing up yuppies in Kensington and uptight bankers in the London Underground---all when the wolvesbane blooms and the Moon is shining bright, of course. .............. Landis's "American Werewolf" is for my money the greatest werewolf movie ever made, and coincidentally marks Landis's directorial high-water mark.

"American Werewolf in London" wastes no time sharpening up its claws, slicking back its hair, and heading out for a gory good night on the town---Merry Olde London Towne, to be exact. .............

"An American Werewolf in London" has long been regarded as a comedic horror film, and it's not hard to see why. The title is campy and glib, the film itself has a cocky and sarcastic air about it, and the dialogue between the increasingly Lupine David and his ghastly revenant friend Jack is wickedly, blackly funny.

But "American Werewolf in London" is not a funny movie; it is far more of a classic evocation of the black, wild terror you feel when you find that the hungry, uncontrollable beast that stalks the night and slakes its thirst with the blood of innocents---is you. Landis, who had a fine touch for the comedic, sarcastic flair, uses funny barbs and witty dialogue to heighten the terror, the mounting horror, of David's awful, lonely plight.

Make no mistake about it, this is a terrifying movie, one of the scariest I have ever seen. Landis has created a work of sheer, diabolic genius, channeling the stuff of pure nightmare.......................

Underneath the gaudy veneer of modernism Landis has mastered all of the classic techniques of lycanthropic legend: the windswept and haunted moors, the chilly streets of London, the darkened mews and haunts of Knightsbridge, the candle-lit claustrophobia of The Slaughtered Lamb---all of the sets are deliciously atmospheric and serve to accent the film's growing sense of unease. Landis is a master with some truly stunning shots here, particularly David's dream sequences shot from the perspecting of a beast loping through a dark, foggy forest.

The acting here is also top-knotch, rounded off by some fine English character actors, including John Woodvine as a London doctor (Woodvine played the fascistic Marshal in a 1979 Doctor Who episode "The Armageddon Factor") and the late great Brian Glover, who plays a grumpy chess player and "Slaughtered Lamb" denizen. Elmer Bernstein's haunting, brooding score is also a nice touch, swelling when you need it to, circumspect when you don't.

Naturally, Rick Baker's special effects are outstanding............. The effects are so shocking, so gruesome, and so organic that the film (especially on the crisp Special Edition transfer) looks like it could have been made yesterday.

But when all is said and done, the real credit for this masterwork comes back to Landis: here is the work of a director in the prime of his career, finely balancing comedy with terror, and willing to take a chance. Those inured to its shocks from having watched the film hundreds of times may not realize what an insidious, subversive little piece of grue this is, but think about it: Landis zigged where a lesser director would have zagged, and the result is the stuff of nightmare. Where did those squealing Nazi pig-soldiers come from, anyway? I don't know, but thanks to Landis they have been regular guests in more of my nightmares than I can remember.

Dreamy, surreal, hysterical and terrifying, modern and classical at once, "An American Werewolf in London" is the greatest werewolf film of all time, and a fitting meditation on the Beast Within.

Not bad...pretty good...entertaining enough... It moves slow at some points, but Jason Patrick and Wes Study play exceptional roles. Strong support from Gene Hackman. And while Studi speaks Apache at an unconvincing 5 WPM, it's still good entertainment and much more historically accurate than the usual "white men are all devils" Indian flicks.

I share the opinion of several other reviewers that "Geronimo" is an outstanding -- but undervalued -- Western. Let me tick off some of the reasons why this is such a good movie.

First, the scenery and the cinematography are fabulous. Some of the photography deliberately imitates great scenes from other Westerns in the past. I was overcome with deja vu at the scene in which a file of mounted Apaches is silhouetted on the skyline. This is right out of John Ford's "She Wore a Yellow Ribbon" if memory serves me right.

Secondly, the performances of Gene Hackman, Robert Duvall, and Wes Studi, as Geronimo, were outstanding. Matt Damon and Jason Patric were fine as young cavalry officers, and I liked the performance of Steve Reevis as Chato, a friendly, trusting -- and ultimately disillusioned -- Apache scout. Third, the movie was reasonably true to fact and avoided the "noble savage" philosophy that made movies such as "Dances with Wolves" tiresome. Nor did the movie gloss over the perfidy of U.S. policy toward the Apaches.

The story of the long pursuit of Geronimo and his tiny band of Apaches by thousands of soldiers and Apache scouts is an American epic. Perhaps what "Geronimo" the movie doesn't have, and thus didn't capture the attention of the critics and the public, is a blockbuster scene that raises you out of your seat. But I thought "Geronimo" was an honest, informative, well-made film that should be rated among the top twenty Westerns of all time.

I am not going to say anything negative about this film because it has none. This great film should have been shot in the Chiricahua mountains of south east Arizona near Bisby and Tombstone. This georgous area of the country would have given the movie complete accuracy. Geronimo and his tribal members were removed from their land under false promises and were relocated to Florida. Geronimo died in Oklahoma. This film contains American history at it's best. A must see movie!!!

In the amazon review, this movie was compared to the excellent Christopher Guest mocumentaries Waiting for Guffman and Spinal Tap. However, unlike the latter featuring our dim-witted though endearing British heroes, this is not a top-notch film. What we see here is a depressing reel trying to capture the forever elusive "American Dream," whatever that is today. While watching the characters, you may get the sense that our 'dream' is simply an aggressive way of grabbing success by its expensive tie and feeding its insides to the public. The central character, Mark Borchardt (and central seems to be a fitting word, seeing as how the entire making of Coven revolves around him, and sometimes his stoner buddy) is not merely a character but an accurate portrayal of self-indulgent American wrecks. There is scarcely anything redeemable about this film, save a few amusing moments. Even the most likable person involved, Mark's tolerant-beyond-necessary mother, can't save this waste that is the American Movie. Save your time, and money, for the Tap.

American Movie is ostensibly about Borchardt's quixotic quest to complete his independent film, Coven. However, the movie covers far more ground than just filmmaking. Interwoven with the plot are the existential themes of meaning, purpose, death, and life. Borchardt, whether he knows it or not, confronts major philosophical questions with a mix of sheer idealism and raw courage during his soliloquies that are fueled by 6 packs of Pabst Blue Ribbon beer. Throughout the filming of the movie Borchardt encounters one "test" after another and bears his soul for all to see. His determination to overcome any obstacle is humorous at times and thoroughly inspiring. Whatever you do, don't give up on this film-watch it to the end. Even after considering all of his flaws, I believe the world needs more men like Mark Borchardt-men whose dreams may at times be flawed, but are committed to following them nonetheless.

Becoming a filmmaker takes much more than just passion. It takes hard work, supportive friends and family, borrowed money, headaches, lottery tickets, and a lot of beer.

American Movie: The Making of Northwestern is an indie film about indie films. Director Chris Smith's documentary follows aspiring Milwaukee filmmaker Mark Borchardt as he pursues his life's dream - to produce a feature film called Northwestern. Unfortunately, this film isn't really about the making of Northwestern - because early in the film, Mark realizes that he doesn't have enough money to produce it. Instead, he decides to finish his short film, Coven, so he can sell copies (at least 3,000, he calculates) and earn the money to produce his feature film.

American Movie is a hilarious look at the life of an independent filmmaker - beginning with the first movies he made as a kid (The More the Scarier 1- 3). Smith follows Borchardt as he tries to get funding from his reluctant Uncle Bill, talks his mom into doing camera work, bails his friend (and associate producer) out of jail, and drags his kids along (sleeping bags in hand) to the editing studio - always with his laid-back drinking buddy, Mike Schank, at his side.

American Movie is surreal. You'll never believe that it's a true story about real people making a real movie - but it really is. I promise.

If you've ever wondered what it would be like to make a movie, head to the nearest video store and pick up American Movie. It's a humorously educational film about making an independent film. It's about the hard work and the hardships that go into it - and if that doesn't scare you away from trying to create one of your own, nothing will.

American Pie 1 is definitely worth checking out, it has the comedy, charm, and sleaziness that were once great in the 80's but were lost in the 90's. It's a high school film that could've been a little more serious, but it was serious enough, and definitely portrayed young high school boys the way most of them really are. Yes, they're horny and stupid sometimes, but also have feelings and are confused about love, and can be as lonely as anyone now matter what their "status" is. I definitely recommend it.
American Pie 2 takes the same cast a year later once in college. This one isn't as good. Why? B/c it's completely full of college cliches and stereotypes. The actors acting abilites just seemed to worsen dramatically (the whole story with those 2 x-lovebirds coming back together as "friends" after a year was so ridiculously stupid and unrealistic it made me wanna vomit, not to mention how laughably horrible they acted it out), and the college experience as a whole was completely superficial. Granted there are a couple of funny parts during the film, they're mostly unnessecary goofy antics that are really the only things holding the movie up.
Even though the first was pretty good, both films' depictions of the teenage obsession with sex went a little far sometimes, it becomes hard to believe. Ask any REAL highschooler, having sex at that age isn't as huge a deal as it is portrayed, and if it is a huge deal, it's because of movies like this. Buy the first, rent the second.

This is a great DVD set. It features both classic American Pie movies, widescreen, special editions. Also, they're both Unrated. I should tell you now, if you haven't seen the movies, this review contains some spoilers.

For the first movie, the Unrated and R-Rated versions have so little difference that if you've only seen it once, you probably wouldn't notice. The only difference that stands out is the famous pie scene. I feel, however, the original one was funnier. The cover promises "more pie," while what we see is a different version of pie. There are five seconds of extra Nadia scenes in which she.... uh... pleasures herself. There is more moaning during the Vicky/Kevin scene. The..... stuff... in the beer is clearer (I honestly didn't notice). That's basically it. No, wait! There's a few more pages to the "sex bible."

Doesn't sound like much, does it? Well, it isn't. But, the Unrated version of part two more than makes up for it. There are at least fifteen, repeat: FIFTEEN differences in this. These even include whole new scenes! Part one only had about 10 seconds of extra footage. This one has six minutes. And all the added scenes are really funny! There is a very special one featuring Jim and his dad in the hospital. Also, a bit more in the "lesbian" scene. Stifler boots some kids out of his house, and criticizes (sp?) Oz's choice of girlfriend. There's tons more, but I think I missed some. Believe me, this Unrated one is great!

So, anyway, both are Unrated in this excellent box-set. I don't mind #1 being like that. If I bought them separate, I'd probably just get the Unrated. It has better cover art. But, the one for part two is awesome, and is the only one that should be watched. This is a great set. They're both Collector's Editions. I don't care. The "Ultimate Edition" of part 1 is ridiculous. There's almost nothing new, except some deleted scenes and a full-screen version, and nobody should watch full-screen stuff.

Buy this great set. It's worthy, and you'll watch them over and over again!

Personally,I would suggest for people to see the first one before they see the second one.I thought the first one was the
funniest and the best one out of the two.The second movie is
more serious and has more of a story line.It's not as funny as
the first one but it has it's funny scenes.I think American Pie
part 1 is one of the best teenage comedy's ever made,If you love
teenage comedy's,you'll love American Pie.

God Bless the French, for salvaging "The Matinee Idol," a "lost" Frank Capra movie uncovered in the archives of the Cinematheque Francaise, bringing one of Capra's last silent films back into the world of the living. Johnnie Walker stars as a Broadway star who accidentally falls in with an earnest but untalented regional theater company, the Bolivar Players. His big city pals see the show and it leaves them in stitches, so they invite the hapless rubes to a run on Broadway -- as a comedy act, unbeknownst to the actors themselves. The end of the film is rather abrupt: Walker seeks to make amends for the cruel joke, and to patch things up with the gal who runs the troupe, but doesn't go through the type of elaborate manouevers we'd expect to see a few years later, in a classic screwball comedy. (One imagines the script was clipped and the movie kept shorter than Capra might have liked...) Actress Bessie Love is a really interesting onscreen presence, and the scenes in which she and her fellow actors are jeered at by the audiences in New York are absolutely heartbreaking, in the classic Capra style. Not a stunning movie in artistic terms, though invaluable for any fans of Capra to see him in his work in his early years. (The accompanying biographical documentary, narrated by Ron Howard, is also available separately as a VHS tape, without "The Matinee Idol" as a backup feature.)

THE MATINEE IDOL is a minor Frank Capra comedy made shortly after he came to Columbia in 1928. While certainly not top drawer it already deals with many themes which Capra would expand on as his career progressed. Comic bits, sentiment, and the determination of "the little guy" to succeed are well blended in this short but entertaining feature about a top Broadway star and the country acting troupe he brings to New York as a joke until he falls for their leading lady. The performances by Bessie Love and the now forgotten Johnnie Walker are quite good while Lionel Belmore (the Burgomaster in FRANKENSTEIN and subsequent films) steals the show as the troupe leader. Unfortunately the dated nature of some of the material in which the star performs in blackface (to cash in on the success of THE JAZZ SINGER the year before) does not play well with today's audiences. Although it's tastefully done (what Capra film isn't), it remains a product of its time and should be viewed as such. The real story here is the rediscovery and digital restoration of the film. It is beyond remarkable. The DVD comes with an insert which chronicles the extensive work necessary to bring this film back to life. Whether the film was worth it is debatable, the time and techniques used are not. This will be the future of old movies on video. The added bonus on this disc is the real reason to purchase it. FRANK CAPRA'S AMERICAN DREAM is a superb documentary that no student of film or fan of Capra should be without. An important release for the documentary and the restoration job rather than the film itself. If you are a film lover then it is definitely worth having.

This video chronicals the life and achievements of the great Frank Capra. It contains rare footage and stills and is narrated by today's most popular directors. I highly recommend this for all Capra fans. END

I felt sick after watching this movie. I thought it would be like Singing in the Rain, which is one of my favorite musicals. Instead, I get cheesy acting, overproduction, a sub-average dialogue, and the worst plot for any musical I've ever seen. The music was commendable, which is why I give it two stars. But the dance numbers and the movie in general are so overproduced, it's practically megalomaniacal. As stated above, the acting and dialogue are boring. And not only is the story beyond cliche, but in the end the guy gets the girl for no reason we can think of, in the most vile Hollywood ending ever. Stick with The Music Man instead. Or Singing in the Rain. Or Showboat. Just not this . . .

AN AMERICAN IN PARIS is a wonderful movie musical with great songs, a touching story, brilliant choreography, and lush sets and costumes. Gene Kelly, one of the greatest dancers of all time (he also choreographed many of his own films, including this one), is always a joy to watch. He is especially well-cast here as Jerry Mulligan, a somewhat gauche would-be artist living in Paris. The thing I find attractive about Kelly is that, even though the characters he generally plays are tough and even slightly boorish, Kelly himself projected a charm and a graciousness that are often disarming. Similarly, while his dancing style was athletic and masculine, his physical movements (even normal ones, like standing up and walking -- watch him in the first scene when he gets up out of bed) were graceful, like a ballet dancer's. The "American in Paris ballet" is an undoubted highlight of the film and of Kelly's great career. Leslie Caron's dancing ability and lovely appearance, Georges Guetary's "legit"
tenor voice, and Oscar Levant's acid wit and genuine musical talent all add to the film's value. And of course, there are those Gershwin songs! All Gene Kelly fans should watch AN AMERICAN IN PARIS -- it's one of his best movies, along with SINGIN' IN THE RAIN and ON THE TOWN.

This is one of my favorite film musicals, together with Singin' in the Rain and Chicago. It received and richly deserved six Academy Awards in 1951, including one for best film. When you think about it, there are so many musicals which also offer delightful entertainment such as Meet Me in St. Louis, Seven Brides for Seven Brothers, The Wizard of Oz, Show Boat, West Side Story, Cabaret, South Pacific, The Sound of Music, Carousel, All That Jazz, and The King and I. It has been 50 years since An American in Paris was released and longer than that since the Gershwin brothers collaborated on the songs and George Gershwin composed Concerto in F and An American in Paris. How remarkable that the film has held up so well over the years. When I first saw it (in 1951), I immediately envied Jerry Mulligan's lifestyle (Kelly), especially after he met and fell in love with Lise Bouvier (Leslie Caron). He seems so at home in Paris, hanging out with his fellow American, friend, and neighbor Adam Cook (Levant) as well as with close friends among the Parisians such as Henri Burel (Georges Guetary). He also seems so popular with others within the area where he lives. The "I Got Rhythm" street scene number with his neighbors (especially the children) is thoroughly enchanting.

As for the plot, it is relatively simple: Boy meets girl, doesn't know she's a friend's girl, falls in love with her and (we suspect) she with him. After a while, they agree not to hurt his friend and part but are eventually reunited. As I said, a relatively simple plot. What sets An American in Paris apart from most other musicals are its great music and dancing, of course, but also an especially thoughtful and witty script by Alan Jay Lerner. (His screenplay earned him an Academy Award.)I also enjoy the dream sequences, notably when Cook imagines himself performing the Concerto in F and then later when Mulligan brilliantly dances his way through the title symphony. The exteriors in Paris shot by cinematographers John Alton and Alfred Gilks are certainly charming. Their work earned them an Academy Award. Director Vincent Minnelli probably received substantial assistance from Kelly who was the film's choreographer. In all respects, this film had a superior cast and crew.

Image and sound are certainly clearer in the DVD format. Regrettably, the "Features" which accompany this classic film are unworthy of it. Presumably their number and quality will soon be improved. With regard to this film's future, my guess (only a guess) is that this film will remain popular only so long as the Gershwins' music does. In other words, for a long time to come.

I felt sick after watching this movie. I thought it would be like Singing in the Rain, which is one of my favorite musicals. Instead, I get cheesy acting, overproduction, a sub-average dialogue, and the worst plot for any musical I've ever seen. The music was commendable, which is why I give it two stars. But the dance numbers and the movie in general are so overproduced, it's practically megalomaniacal. As stated above, the acting and dialogue are boring. And not only is the story beyond cliche, but in the end the guy gets the girl for no reason we can think of, in the most vile Hollywood ending ever. Stick with The Music Man instead. Or Singing in the Rain. Or Showboat. Just not this . . .

AN AMERICAN IN PARIS is a wonderful movie musical with great songs, a touching story, brilliant choreography, and lush sets and costumes. Gene Kelly, one of the greatest dancers of all time (he also choreographed many of his own films, including this one), is always a joy to watch. He is especially well-cast here as Jerry Mulligan, a somewhat gauche would-be artist living in Paris. The thing I find attractive about Kelly is that, even though the characters he generally plays are tough and even slightly boorish, Kelly himself projected a charm and a graciousness that are often disarming. Similarly, while his dancing style was athletic and masculine, his physical movements (even normal ones, like standing up and walking -- watch him in the first scene when he gets up out of bed) were graceful, like a ballet dancer's. The "American in Paris ballet" is an undoubted highlight of the film and of Kelly's great career. Leslie Caron's dancing ability and lovely appearance, Georges Guetary's "legit"
tenor voice, and Oscar Levant's acid wit and genuine musical talent all add to the film's value. And of course, there are those Gershwin songs! All Gene Kelly fans should watch AN AMERICAN IN PARIS -- it's one of his best movies, along with SINGIN' IN THE RAIN and ON THE TOWN.

This is one of my favorite film musicals, together with Singin' in the Rain and Chicago. It received and richly deserved six Academy Awards in 1951, including one for best film. When you think about it, there are so many musicals which also offer delightful entertainment such as Meet Me in St. Louis, Seven Brides for Seven Brothers, The Wizard of Oz, Show Boat, West Side Story, Cabaret, South Pacific, The Sound of Music, Carousel, All That Jazz, and The King and I. It has been 50 years since An American in Paris was released and longer than that since the Gershwin brothers collaborated on the songs and George Gershwin composed Concerto in F and An American in Paris. How remarkable that the film has held up so well over the years. When I first saw it (in 1951), I immediately envied Jerry Mulligan's lifestyle (Kelly), especially after he met and fell in love with Lise Bouvier (Leslie Caron). He seems so at home in Paris, hanging out with his fellow American, friend, and neighbor Adam Cook (Levant) as well as with close friends among the Parisians such as Henri Burel (Georges Guetary). He also seems so popular with others within the area where he lives. The "I Got Rhythm" street scene number with his neighbors (especially the children) is thoroughly enchanting.

As for the plot, it is relatively simple: Boy meets girl, doesn't know she's a friend's girl, falls in love with her and (we suspect) she with him. After a while, they agree not to hurt his friend and part but are eventually reunited. As I said, a relatively simple plot. What sets An American in Paris apart from most other musicals are its great music and dancing, of course, but also an especially thoughtful and witty script by Alan Jay Lerner. (His screenplay earned him an Academy Award.)I also enjoy the dream sequences, notably when Cook imagines himself performing the Concerto in F and then later when Mulligan brilliantly dances his way through the title symphony. The exteriors in Paris shot by cinematographers John Alton and Alfred Gilks are certainly charming. Their work earned them an Academy Award. Director Vincent Minnelli probably received substantial assistance from Kelly who was the film's choreographer. In all respects, this film had a superior cast and crew.

Image and sound are certainly clearer in the DVD format. Regrettably, the "Features" which accompany this classic film are unworthy of it. Presumably their number and quality will soon be improved. With regard to this film's future, my guess (only a guess) is that this film will remain popular only so long as the Gershwins' music does. In other words, for a long time to come.