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An American in Paris (1951)
(113 Images)

Color system

Technicolor No. IV: Three-strip

An American in Paris (USA 1951, Vincente Minnelli).

Credit: UCLA Film & Television Archive.

Photographs of the Technicolor dye-transfer safety print from 1951 by Barbara Flueckiger.

Credit: Academy Film Archive.

Photographs of the Technicolor dye-transfer safety print from 1954 by Michelle Beutler, ERC Advanced Grant FilmColors.

 

 

Contemporary Reception:

Anonymous (1951): An American In Paris with Gene Kelly, Leslie Caron and Oscar Levant. In: Harrison’s Reports, 33,35, Sep., p. 138. View Quote
Full text on the Media History Digital Library website. View Link

Anonymous (1951): Film Reviews. An American in Paris. In: Variety, 183,12, Aug., p. 6. View Quote
Full text on the Media History Digital Library website. View Link

Crowther, Bosley (1951): The Screen. Four New Movies Open. An American in Paris, Arrival at Music Hall, Has Gene Kelly and Leslie Caron in Leads. In: The New York Times, Oct., p. 24. View Quote
Full text on The New York Times website. View Link

Hamilton, Sara (1951): An American in Paris . In: Photoplay, Nov., p. 24. View Quote

Hanna (1951): An American in Paris Another M-G-M Top Musical. In: Film Bulletin, Sep., p. 10. View Quote

S.K. (1951): An American In Paris. In: Motion Picture Daily , 70,41, Aug., p. 1 and p. 4, on p. 4. View Quote

 

 

Selected Analyses:

Ames, Preston (1951): The Ballet (An American in Paris). In: Production Design, 1,11, pp. 6–9, on pp. 6–8. View Quote

Bellantoni, Patti (2005): If It’s Purple, Someone’s Gonna Die. The Power of Color in Visual Storytelling. Taylor & Francis, on pp. 36–37. View Quote

 

 

Production Reports:

Basten, Fred E. (1980): Glorious Technicolor. The Movies’ Magic Rainbow. South Brunswick: Barnes, on p. 132. View Quote

Ames, Preston (1951): An American in Paris. In: Production Design, 1,10, pp. 6–9, on pp. 8–9. View Quote

Gilks, Alfred (1952): Some Highlights in the Filming of… An American In Paris. In: American Cinematographer, Jan., pp. 18–19 and pp. 36–38, on p. 19 and on pp. 36–38. View Quote

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