An American in Paris 1951

Bosley Crowther, New York Times: ...the picture takes on its glow of magic when Miss Caron is on the screen. When she isn't, it bumps along slowly as a patched-up, conventional musical show. Read more

Don Druker, Chicago Reader: While not nearly the musical it's cracked up to be, this 1951 film is absolutely required viewing for anyone who wants to see the studio system (MGM style) at its gaudiest, most Byzantine height. Read more

Kate Cameron, New York Daily News: Inspired by the late George Gershwin's impressionistic musical suite of the same name, the picture is one of the finest musicals Hollywood has ever produced. Read more

James Berardinelli, ReelViews: Gene Kelly remains one of the best and brightest of the Golden Era musical stars and An American in Paris shows him in fine form. Read more

Roger Ebert, Chicago Sun-Times: The real reasons to see An American in Paris are for the Kelly dance sequences, the closing ballet, the Gershwin songs, the bright locations, and a few moments of the ineffable, always curiously sad charm of Oscar Levant. Read more

TIME Magazine: A grand show -- a brilliant combination of Hollywood's opulence and technical wizardry with the kind of taste and creativeness that most high-budgeted musicals notoriously lack. Read more

Tom Huddleston, Time Out: Imperfect, then, but intermittently awe-inspiring. Read more

Variety Staff, Variety: One of the most imaginative musical confections turned out by Hollywood in years. Read more