通常歌舞片，把表演者和觀眾帶到一段親密關(guān)系中，隨之這些被表演者“舞臺(tái)以外”的沖突，例如追求、愛情和婚姻等加強(qiáng)了。然而男主角“另外的女人”比起女主角“另外的男人”對(duì)于敘事來說，是一個(gè)更為重要的角色。她們通常是一種誘惑的，道德上可疑的類型，并且通過對(duì)比，去放大女主角的美德。

“音樂標(biāo)志著邁向表演的進(jìn)程，當(dāng)所有威脅到表演存在的爭吵都結(jié)束時(shí)，他最終慶祝表演本身?！备栉杵斜硌萑诤稀⒄{(diào)停了沖突的態(tài)度和角色的生活方式，所以它通過表演本身來慶祝歌舞的本性與以婚姻為代表的文化的結(jié)合。由是，熟悉的文化儀式被譜成音樂，并把環(huán)境轉(zhuǎn)化為一個(gè)理想化的烏托邦王國。如其中的藝術(shù)學(xué)院舞會(huì)，對(duì)于巴黎的唯美主義者來說，舞會(huì)是巴黎人審美季節(jié)的高潮。它也為男女主角的超現(xiàn)實(shí)夢幻芭蕾提供了敘事背景。在這個(gè)輝煌的，長達(dá)20分鐘的終場歌舞中，這對(duì)戀人的沖突，奇跡般地在一個(gè)豪華，充滿活力的法國油畫和文化的致敬中被消解了。

除了那個(gè)生硬的大團(tuán)圓結(jié)尾，終場歌舞在這類電影類型中最偉大的成就恐怕就是展現(xiàn)了精英和流行藝術(shù)的共存，并伴隨以高形式美。

到底是舞臺(tái)設(shè)計(jì)出身的的導(dǎo)演，50年代的彩色片能夠拍出這么美的畫面的，真的不多。如同該導(dǎo)演指導(dǎo)的《梵高傳》一樣，無論是梵高傳中的田野鄉(xiāng)村風(fēng)光，還是這部電影中的巴黎街景、舞會(huì)，包括本片后半段大量出現(xiàn)的歌舞場景，都非常漂亮唯美。

女主的未婚夫登臺(tái)表演歌舞

男主帶富婆參加狂歡舞會(huì)

片頭的巴黎的一些著名地標(biāo)的鏡頭，也是非常值得一看的。

男主同一位鋼琴家一起住在塞納河左岸藝術(shù)街區(qū)里的一棟多層小樓中。男主那起床后要把小床升起來，然后通過各種機(jī)關(guān)擺出起居家具，也是超有意思的一段。

待續(xù)

Another Oscar BEST PICTURE winner confected by Vincente Minnelli, the maker of GIGI (1958), comes a cropper as a fustypomp through the test of time, AN AMERICAN IN PARIS,a studio-bound pageant jovially trades on Gene Kelly’s terpsichorean aptitude, Oscar Levant’s pianistic virtuosity and Georges Guétary’s mellow tenor, also introducing a barely 20-year-old Leslie Caron, who fares way better on pointe than acting love-torn between two men.

The titular American is Jerry Mulligan (Kelly), an undiscovered painter trying his luck in Paris, who gets the patronage from a wealthy socialite Milo Roberts (Foch), but falls head over heels for an ingénue Lise Bouvier (Caron), who in truth is the girlfriend of a French cabaret singer Henri Baurel (Guétary), yet, Henri and Jerry have a common friend, the struggling concert pianist Adam Cook (Levant).Alan Jay Lerner’s Oscar-winning script doesn’t even try to juice up the love triangle, nor does it disperses comic relief whenever it sees fit, one glaring missing opportunity is when the three male friends share the same scene with Adam in the knowing that the other two are falling in love with the same girl, what does he do? Nothing but hangdog insouciance.

More problematically is its salient demerit of flagrant misogyny and male’s wish-fulfillment, earlier on, Jerry haughtily berates a young female student (Neill) who tries to assess his works, utterly dismisses her opinion as inconsequential, and when Milo comes to the picture, Foch was only 27-year-old then, but what the picture depicts her makes her look like a lonely, minted cougar salivating over Jerry with every step and gaze, later after being patronized with a kiss from her disillusion-stuck beau, she has to stomach a supercilious sideswipe from a floppy Adam and onlythanks to Foch’s majestic composure, the character narrowly escapes from being a total laughing stock, plus Jerry’s rapturous infatuation with a mousy Caron over an apparently poised Milo makes it distastefully difficult to suspend our disbelief, and writs large Hollywood’s morbid obsession with young girls.

Fanfare reaches its apex in the climatic "The American in Paris Ballet”, a 17 minute seamlessly choreographed sequence is spectacular with a capital S, yet, everything impresses for the eyes/ears only, a meretricious pomp punches far above its weight with its over-appreciated repute, and very likely, ranks in the lowest rung among the prestigious Oscar BEST PICTURE clique.

referential points: Stanley Donen and Gene Kelly’s SINGIN’ IN THE RAIN (1952, 8.1/10); Vincente Minnelli’s GIGI (1958, 6.6/10). MEET ME IN ST. LOUIS (1944, 6.7/10).

很經(jīng)典的歌舞劇，歌舞劇我只看過紅磨坊和芝加哥，但是這部的歌舞排演很贊啊，除了最后的男主yy生命大和諧外，最喜歡那個(gè)鋼琴家躺在床上白日夢那一段。記得有一句歌詞是：是他，是他，就是他，我們的……，那段白日夢就是他，是他，全是他，哈哈。不知道有個(gè)小細(xì)節(jié)有人注意沒，連最后叫bravo的那個(gè)觀眾，都長得鋼琴家的臉，不禁讓人想到是白日夢結(jié)束后，鋼琴家自己為自己的表演大聲喝彩，很有愛，也很能引起愛白日夢的我的共鳴啊。雖然從劇情上來說，那一段頗顯的多余。 鋼琴家其實(shí)只是連接男主男兒的功能，花太多筆墨顯的累贅了。可能是因?yàn)槟嵌伟兹諌籼?，?dǎo)演也舍不得刪掉吧。

另外這算是蠻早的天降勝青梅的橋段了。不過個(gè)人覺得女主的演員不合適，齙牙，臉長，像只驢。而且女主人設(shè)不討喜，腳踏兩條船不說，頗有點(diǎn)東家食，西家宿的感覺。男主么，就是蠻典型的浪子。他不是愛你，他是愛上了在巴黎一見鐘情的感覺。