Review of An American in Paris (1951) by Tom B — 01 Jan 2010
Just watched some key numbers, reflecting on multiplicity, concept + execution. The multidimensional nature of potentiality, the various versions of Lisa, the multiple versions of Lisa and Gerry during the ballet.
Easy to pass over on first viewing, leap out. Summation might be Levant sequence in which he plays, conducts, is orchestra and audience all in same sequence. This is of course mirror of Keaton sequence in The Playhouse and itself broadcasts ahead to Malkovich sequence in Being John Malkovich.
Probabilities always abound, especially surrounding the potentiality for love, the highest value, and choice. Over and over the message is always the same throughout films across all boundaries. 'S Marvelous to find such tasty hidden subtext.
..Amazing on blu-ray. Visual painting that moves. Lovely turn by Nina Foch. Oscar Levant is a laugh-riot. Dance numbers are sweet, and spectacular. Ballet is famous. Story...well, it's basic. Nonstop Gershwin, great Gene Kelly fun.
I love this movie.
This review of An American in Paris (1951) was written by Tom B on 01 Jan 2010.
An American in Paris has generally received positive reviews.
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