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Continue reading 1967 was the year that American cinema grew up.Hollywood’s Golden Age of the ’30s and ’40s had long since given way to the sword-and-sandal epics of the ’50s and ’60s.

If you look at our website’s banner in this context, there are fins to the left, fins to the right, and it’s the only shark in town. Just 13 percent of American feature films used a “title song” between 1950-1954, but the number grew to 22 percent over the next five years, and reached 29 percent by the late ’60s.

(A) More importantly, it sets up the film’s central thematic debate — whether it’s best to be a player or to settle down with true love.

Masterson and Detroit represent two opposite viewpoints.

Maybe that’s enough for some, but it isn’t for me anymore because the more beautiful everything is, the more it will hurt without you.” Such is the predicament facing Jerry Mulligan, the titular American in Paris, an ex-G. Their relationship is reminiscent of Bergman and Bogie’s in Casablanca — two lovers who fall in love in Paris and share a musical standard as their love song, yet who also can not be together because outside factors prohibit it.

Jerry (Gene Kelly) has come to love the city for its culture, but now only sees it as a curse, thanks to a broken heart over a Frenchwoman, Lise Bouvier (Leslie Caron).

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