They were as Gallic as "An American in Paris" got. Maurice Chevalier almost signed up for the role of her benefactor, but bowed out when informed he wouldn't get the girl, so Caron got Georges Guetary. Preston Ames fashioned 44 Oscar-winning facsimiles of France. Everything else was shot on MGM's Culver City backlot where E. Only two authentic shots of Paris made it into the finished film. Kelly, who managed to get three great days of New York location-shooting into "On the Town," had the radical idea of actually filming "An American in Paris" in Paris, but the studio shot that down. Everybody thinks that it was "An American in Paris." The reality was that it was "A Frenchwoman in Culver City." On June 3, 1950, Caron arrived in Hollywood - mother in tow - without any kind of command of English, to begin her Hollywood career. The memory of all that lingered on in Kelly's mind, marinating for two years, and eventually returned to him when he needed a leading lady for "An American in Paris." Marge Champion refused to go Gower-less, and Cyd Charisse got pregnant, so his mind drifted back to that young, elfin creature who was French and danced. You're not doing it." Happily, her mother stood her ground, so Caron stayed the course at Roland Petit’s Ballet des Champ-Elysses company in Paris, where in April 1948 Gene Kelly spotted her Sphinx in a ballet version of the painting "Oedipus and the Sphinx" and was awed. Mama Caron could quick-read trash: "That script's ridiculous.
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