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Warner Brothers’ proprietary Ultra-Resolution process has brought fresh life to such classics as “The Wizard of Oz,” “Gone With the Wind,” Errol Flynn’s “Robin Hood,” and “Singin’ in the Rain.” By going support to the novel three-strip technicolor negatives and realigning them digitally, the color and detail blows away anything that customers have seen in the past with home video. “An American In Paris” has now undergone the same process. For those that have a blu-ray player, be positive to order this version, An American in Paris [Blu-ray]. Here is a list of extras that are the same on both versions:

Buy,Download, Or Stream An American in Paris! Click Here

Disc 1:

1.33:1 Tubby Cover with Modern Mono audio * Tech Specs for Blu-ray version: Video is 1080P 1.33:1 * Audio is English, French, Spanish (Both Castilian and Latin), German and Italian DD1.0 * Subtitles (Main Feature) : English, French, Spanish, Danish, Dutch, Finnish, German, Italian, Japanese, Norwegian, Portuguese, Swedish * Subtitles (on Occupy Bonus Material) : English, French, Spanish, Dutch, Italian, Japanese, Portuguese

1938 MGM short: Paris on Parade

1951 MGM cartoon: Symphony in Slang

Buy,Download, Or Stream An American in Paris! Click Here

Theatrical trailer

Disc 2:

2002 American Masters Documentary: Gene Kelly: Anatomy of a Dancer (Gene Kelly - Anatomy of a Dancer)

`S Wonderful: The Making of An American in Paris, an all fresh documentary, produced especially for this release. A dynamic history of the making of the film, which reveals how George and Ira Gershwin’s classic songs, the graceful art of the French impressionists and the ultimate teamwork of MGM’s legendary “Freed Unit” came together to execute a musical masterpiece. Featuring ten unique interviews, including co-stars Leslie Caron, Nina Foch, and Kelly’s widow. A very enlightening piece; Caron’s memories are probably the most tantalizing, with Foch running a stop 2nd. Caron’s comments about co-star Georges Guétary being attractive but not too lustrous seem to be echoed by Kelly’s widow, who says Gene spent more time trying to swear him how to gracefully skedaddle down a location of steps than on anything else in the film. It is depressed that Maurice Chevalier could not have taken that role as originally intended. You also realize fair how revolutionary this movie was (artistically), especially because of the 17-minute ballet tacked on at the slay of the movie. Even Irving Berlin disapproved during an on-set visit, which didn’t aid the confidence of Vincente Minnelli at all.

Outtakes:

Georges Guetary performing Like Walked In (not missed in the movie at all!)

Audio Outtakes: Alternate Main Title, But Not for Me (Guetary), But Not for Me (Levant Piano Solo), Gershwin Prelude #3, I’ve Got a Crush on You, Nice Work if You Can Salvage It, ‘S Wonderful

Radio Interviews: Johnny Green, Gene Kelly, Gene Kelly & Leslie Caron;

Gene Kelly and Leslie Caron promotional radio interview with Dick Simmons

Not all of the current musical recording stems have survived over the years, preventing a proper stereo/5.1 restoration of the soundtrack; instead, a restored mono version is being made available.

Most are familiar with the movie; storywise, it is a petite creaky and hasn’t necessarily survived well over the years: Kelly is an American artist living in Paris. He falls in cherish with a young girl (Leslie Caron) who is in a loveless relationship with one of his best friends (Guétary) . Kelly is also in somewhat of a loveless relationship with his financial sponsor (Nina Foch) . You can probably guess the rest.

The blooming color, astonishing music by Gershwin (arrangements by the talented Conrad Salinger), and the astonishing choreography of Gene Kelly will sustain this one a classic for years to reach despite a predictable place. Unbiased the ending ballet alone is a masterpiece; the art of Toulouse Lautrec and Utrillo comes to life with Gene Kelly & Leslie Caron dancing their hearts out to some of the most imaginative choreography (Kelly’s) in years. The Freed Unit at MGM was at their peak when this movie was made, and this is one of the last gigantic ones that it created.

It is a right shame that with how unbelievable the recount is (the colors literally leap off the cover, and it really adds to the appreciation of what an artistically sparkling visual feast this movie is) that the sound cannot match. Although it is obvious and free of problems, the Gershwin music objective begs for a 5.1 or 7.1 surround track; unfortunately, due to the age and availability of the modern elements, this is not possible.

A ravishing movie that showcases Gene Kelly’s breathtaking talent. Forget the laughable legend and unbiased discover him dance and dance and dance. He does more with a turn of a shoulder than most dancers can do with their whole body. This movie also introduced the lithe and glowing Leslie Caron as the object of Kelly’s affection. The film builds to its dramatic hallucinatory conclusion as Kelly dances his map across a Paris dreamscape, that brings all the elements of unusual dance together in a tour-de-force that was unprecedented in musicals of that time. You can’t befriend getting swept away in the feel-good spirit of this movie. It was another time and set.
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