Formal Integration and Star-Song Attractions in the Cavalcade Musical: A Historical and Digital Analysis of MGM’s An American in Paris (1951)

by Elsa Marshall

Example 1

• Changes to musical numbers over the course of the production. Only scenes with musical suggestions listed. *These screenplays were consulted by Lisa Dare on behalf of the author.

• Songs List

Example 2

• The chart outlines the musical themes used throughout An American in Paris (1951), with full titles representing song or dance performances beyond the final ballet. It is partly based on “Musical Compositions Recorded” document (Turner/MGM Scripts collection, folder A-687). Specific themes from An American in Paris tone poem are not included in the “Music Compositions Recorded” document, and those delineated here are based on the author’s observations. The chart was created using a combination of ELAN and Word, with the time codes reflecting the film’s DVD release.

• Themes Chart

Example 3

• Excerpts of main themes and motifs from An American in Paris tone poem (1928) in the order in which they appear in the original piece, with descriptions of their functions based on Christian Martin Schmidt’s introduction to the Eulenberg score ([1929, 1930] 1987, III-XI), the Knox interviews, and analysis by the author. Measure numbers correspond with the Eulenberg score. See Example 2 for an analysis of where these films appear in the film.

• Tone Poem Themes

Example 4a

• Analysis of cinematic integration in "By Strauss" created in ELAN. Time codes based on 1999 DVD release. Blue indicates musical features while red indicates sound features. Dotted boxes indicate moments in-between sound and speech such as lyrical speech into song (0:14:13 to 0:14:25) or joking moments (0:14:03 to 0:14:06; 0:16:42 to 0:16:52). The "Shot movement" tier indicates who the camera is following.

• "By Strauss" Analysis

Example 4b

• “By Strauss” excerpt (00:13:52-00:14:52). At the beginning of “By Strauss,” dialogue about Adam’s musical choice expands into lilting speech and then sectional verse. It ends with the first of the comic sketches by Jerry and Adam which interrupts the number and pokes fun at its expansion.

• "By Strauss" Video

Example 5a

• Analysis of cinematic integration in “S Wonderful” created in ELAN. Time codes based on DVD release. The “Shot Movement” tier indicates how the camera is moving and who it is following

• "S Wonderful" Analysis

Example 5b

• “’S Wonderful” excerpt (01:22:37-01:23:30). In Chorus 3, Guétary’s and Kelly’s respective star talents are showcased together. The rather static cinematography of the number expands at the end of this sequence as the two part ways in the street and fill the space with grand exclamations of love. The “’S Wonderful” theme quickly returns in the underscore of the next scene, continuing the song’s energy and sentiment as Jerry seeks Lise.

• "S Wonderful" Video

Example 6a

• Analysis of cinematic integration in Concert in F created in ELAN with additional annotation in Word. Time codes based on 1999 DVD release. Whereas the other analyses in this study divide systems by musical form, the systems here represent changing patterns in cuts and shot changes. The piece is a rondo form where a recurring theme (A) alternates with several contrasting themes (B, C, D and E), with each called an episode. “Musical form 2” is a subdivision of “Musical form 1.” The “Shot” tier indicates who is being shown and how. The “Shot change” tier indicates how the camera is moving or when there is a dissolve. Red boxes indicate the few more sound-like moments.

• "Concerto in F" Analysis

Example 6b

• Concerto in F excerpt (01:06:43-01:07:55). In this excerpt, the “Ego Fantasy” gag begins with the return to the piano A theme.

• "Concerto in F" Video