While both of the films in this week’s paring center on American men living and dancing abroad, the main thing linking the new MAGIC MIKE’S LAST DANCE to 1951’s AN AMERICAN IN PARIS is the relationships those men have with wealthy women who wish to be their patrons, and perhaps a bit more. Each relationship and the problems that come with them are distinct to the social customs of the time in which the film was made, a fact that’s difficult to ignore when viewing AN AMERICAN IN PARIS today. But for every clunky regressive beat in this Gershwin trunk musical, there’s another that rings true, so we’re joined this week by Chicago film critic Deirdre Crimmins to consider the limits of Gene Kelly’s charm, and the limits of our tolerance for 17-minute dream ballets. Plus, our recent discussion of the long takes in CHILDREN OF MEN prompts an appropriately extended conversation on the subject in Feedback.

Note: due to a technical failure during recording, some of the audio on this week’s episode is suboptimal. We apologize for the aural inconvenience.

Please share your comments, thoughts, and questions about AN AMERICAN IN PARIS, MAGIC MIKE’S LAST DANCE, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730.

Outro music: “An American in Paris” by George Gershwin

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