Париж, махаббат және суретшінің арманы

1951 film by Vincente Minnelli
The story of the film is interspersed with dance numbers choreographed by Gene Kelly and set to Gershwin's music. MGM executive Arthur Freed bought the Gershwin musical catalog from George's brother Ira in the late 1940s, since George died in 1937. It is ranked number nine among AFI's Greatest Movie Musicals.

American World War II veteran Jerry Mulligan lives in Paris trying to succeed as an artist. His friend and neighbor Adam Cook is a struggling concert pianist and longtime associate of French singer Henri Baurel. At the ground floor bar in their building, Henri tells Adam about his girlfriend, Lise Bouvier. Jerry then joins them before going out to try and sell his art. Lonely heiress Milo Roberts notices Jerry displaying his work in Montmartre. She buys two paintings, then brings Jerry to her apartment to pay him. Jerry accepts an invitation to her dinner party for that evening, and on the way home, he sings "I Got Rhythm" with some local children. Upon discovering he is Milo's sole dinner guest, an offended Jerry says he is uninterested in being a paid escort. Milo insists she only wants to support his career. At a crowded bar, Milo offers to sponsor an art show for Jerry. Milo's friends show up and while everyone is talking, Jerry notices a beautiful young girl at the next table. He pretends they know each other and asks her to dance, unaware it is Lise, the girl Henri loves. When Jerry wants her phone number, Lise, uninterested, gives a fake one. Someone at her table misunderstands and says the correct number. Milo, upset that Jerry flirted with another girl in her presence, wants to leave and later criticizes him for being rude. The next day, Jerry calls Lise, but she refuses to see him. Meanwhile, Milo has arranged a showing with a collector interested in Jerry's work. Before the meeting, Jerry goes to the parfumerie where Lise works. She agrees to a late dinner, but wants to avoid public places; they share a romantic song and dance along the banks of the Seine River. She then rushes off to meet Henri after his performance ("I'll Build a Stairway to Paradise"). Henri tells Lise he is going on tour in America and proposes marriage to her. Later, Adam humorously daydreams he is performing Gershwin's Concerto in F for Piano and Orchestra in a concert hall. As the scene progresses, Adam is also the conductor, other musicians, and even an audience member enthusiastically applauding at the end. Milo rents Jerry an art studio and says she is planning an exhibition of his work in three months time. Jerry initially refuses the studio, but accepts on condition he will repay Milo when his work sells. After a month of courting, Jerry brings Lise to his apartment building. When Lise suddenly rushes off in the waiting taxi, Jerry is confused and complains to Adam, who realizes that Henri and Jerry love the same girl. Henri and Jerry later discuss the girl they each love ('S Wonderful") without realizing it is Lise. That night, Jerry and Lise reunite by the Seine. Lise says she and Henri are to be married and going to America. Lise feels duty bound to Henri for protecting her during the war. Jerry and Lise proclaim their love for each other before parting. A dejected Jerry invites Milo to the art students' masked ball, where they run into Henri and Lise. Jerry admits to Milo that he loves Lise. When Henri overhears Jerry and Lise saying goodbye, he realizes the truth. As Henri and Lise drive away, Jerry fantasizes through a diverse and extended dance scene with Lise, all over Paris, and set to George Gershwin's An American in Paris. A car horn breaks Jerry's reverie; Henri returns Lise to him. They embrace and walk off together as the Gershwin composition (and the film) ends.

Bosley Crowther of The New York Times gave a mostly positive review largely on the strength of the closing dance number which he called "one of the finest ever put upon the screen", as well as Leslie Caron's performance, writing that the film "takes on its own glow of magic when Miss Caron is on the screen. When she isn't, it bumps along slowly as a patched up, conventional music show." Variety called the film "one of the most imaginative musical confections turned out by Hollywood in years Kelly is the picture's top star and rates every inch of his billing. His diversified dancing is great as ever and his thesping is standout." Harrison's Reports deemed it "an excellent entertainment, a delight to the eye and ear, presented in a way that will give all types of audiences extreme pleasure". Richard L. Coe of The Washington Post called it "the best musical movie I've ever seen", praising its "spirit of crisp originality and sophistication rarely found in a screen musical". John McCarten of The New Yorker called it "a thoroughly pleasant musical film Never too tightly confined by its slender story, An American in Paris skips from love in the moonlight to handsome ballets with the greatest of ease, and Mr. Kelly is always ready, willing, and able to execute a tap dance." The Monthly Film Bulletin called it "merely a good musical, far more attractive than most, but considerably less than the material seemed to promise. This is due in part to unimaginative use of the Paris settings—a very obvious tourist's view—and to the rather curious way in which the story, after building up interest in Jerry's painting and in his one man show, simply shelves the whole issue." Reviewing the film in 2011, James Berardinelli wrote that it "falls into the category of a weak Oscar winner. The movie is enjoyable enough to watch, but it represents a poor choice as the standard bearer of the 1951 roster It's a fine, fun film with a lot of great songs and dancing but there's nothing about this production that causes it to stand out when compared to one of dozens of musicals from the era." On review aggregator Rotten Tomatoes, An American in Paris holds a score of 95% based on 101 reviews, with an average rating of 8.1/10. The website's critics consensus reads, "The plot may be problematic, but such concerns are rendered superfluous by Gene Kelly and Leslie Caron's star power, the Gershwins' classic songs, and Vincente Minnelli's colorful, sympathetic direction." On Metacritic, the film holds a weighted average score of 83 out of 100 based on 18 critics, indicating "universal acclaim".

In 2011, the film was digitally restored by Warner Bros. for its 60th anniversary.

A stage version of the musical was adapted by Ken Ludwig, and began previews at the Alley Theatre (Houston) on April29, 2008, officially opening on May 18 and running through June22. The production, directed by Alley artistic director Gregory Boyd with choreography by Randy Skinner, starred Harry Groener and Kerry O'Malley. The musical had many of the film's original songs, and also incorporated other Gershwin songs, such as "They All Laughed", "Let's Call the Whole Thing Off", and "Love Walked In".

In 2014, a stage adaptation premiered in Paris at the Théâtre du Châtelet, with Robert Fairchild as Jerry Mulligan and Leanne Cope as Lise Bouvier (here renamed Lise Dassin and turned into an aspiring ballet dancer). The production, which ran from November to January 2015, was directed and choreographed by Christopher Wheeldon, written by Craig Lucas and designed by Bob Crowley. The musical then transferred to Broadway, with previews at Palace Theatre beginning on March13, 2015, before officially opening there on April12.

The epilogue of the 2016 musical film La La Land references the set design and costuming of An American in Paris, which director Damien Chazelle called "a movie that we just pillaged". In the season 3 finale of Amazon Prime’s streaming series The Boys, Soldier Boy (Jensen Ackles) reminisces about starring in his own biopic, which lost the Oscar for Best Picture to An American in Paris.