A colorfully dark musical providing a hand-of-card’s worth of gloomy mopers traversing around no-so-gay Paris.Despite the datedness and feel of Vincente Minnelli’s 1954 movie, there are some modern issues dealt with in an archaic fashion: the independence of the woman (Nina Foch), her aggression in the game of love; the male’s delicate ego (here Gene Kelly), not allowing him to be supported or coddled; the temperament of artists; the gullibility of a youth’s love. Unfortunately, even though these issues are addressed, it is more than the movie can juggle. The balance, otherwise seen as the song and dance, manage to come along at the most inopportune times, and wear out their welcome at an excessively rapid rate. And the last musical number, a nearly mute (as in dialogue or song) 30-minute fantasy/contraction, concludes with stretch marks equivalent to war wounds. When Jacques Demy (representing the French) offered his own version of a dark musical, The Umbrellas of Cherbourg, even with every word of dialogue sung, there is a clear separation between an idea and a vision.
With Leslie Caron, Oscar Levant and Georges Guetary.[Not to be bothered with.]