By Sue Harris
From Amazon: "An American in Paris (1951) used to be a landmark movie within the careers of Vincente Minnelli, Gene Kelly and Leslie Caron. A joyous get together of George Gershwin's song, French artwork, the wonderful thing about dance and the fabled urban of sunshine, the movie used to be heralded as an extraordinary instance of leisure 'for mass and sophistication alike'. Choreographed by way of Kelly on the peak of his occupation, it gave new stature to the Hollywood musical, and showcased as by no means ahead of the creative ambition, technical talents, inventive mind's eye and collaborative ethos of MGM's pioneering Arthur Freed Unit. Sue Harris attracts on archival fabric to track the film's improvement from notion to display. delivering new insights into the layout technique specifically, she indicates how An American in Paris demonstrated the cinematic template for a urban with which Hollywood could turn into more and more infatuated within the a long time to follow."
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Extra resources for An American in Paris (BFI Film Classics)
I have not been confirmed ... ,'" 28 nor 'had the elastic spring been totally broken by the weight of the Atmosphere of Oxford. ' The slow reweaving of the web of reality around the angular young Gibbon by Pavilliard, a man 'rational because he was moderate', is a microcosm of the concern of Gibbon's litt-work. Seldom has a historian watched with such close at ten27. DJ-', chap. 16, p. H2, n. 11. 28. G. M. , London, 1 <)48), p. I:!. 2<}. 1'dphy of Edward Gibboll, cd. John MurrJY (Londoll, p. 84 f.
Professor Markus's book would have brought Gibbon to a halt. This book is directly relevant to his own concerns. It is a clear-headed exposition of intellectual history, yet concerned throughout to grasp the meaning of ideas by way of the attitudes they encouraged groups to take toward their cultural and social environment-a central concern of Gibbon. ' (. It is just that, 4. 'It is dry and ungrateful work, but when one constructs a building the foundations have to be dug. One has to turn mason as well as architect.
3 The shade would have inspected this group with some curiosity, and would have inspired no little trepidation. For Gibbon's range was awesome. Within twenty years he had covered the history of a millennium, and in so doing he had scanned almost every society in the Eurasian landmass. What is even more disturbing: before he set pen to paper, he had amassed vast knowledge which he did not even consider worth his while to put into the Decline and Fall, so great was his sense of relevance and of the overriding importance of his main themes.
An American in Paris (BFI Film Classics) by Sue Harris