Lovers by the Seine

Throughout the narrative of An American in Paris, the protagonists, Lise and Jerry, are connected by one of two themes; a popular ballad, “Love is Here to Stay,” and a “blues”

theme which they dance to in the An American in Paris Ballet sequence. It is to these two themes their relationship develops.

The first time we hear the first of their love themes, “Love is Here to Stay,” occurs when Lise and Jerry dance at the Café Flodair. In a medley of Gershwin tunes played by the house jazz ensemble, the Benny Carter Orchestra two short snippets of their theme are heard.

The “A” section is heard twice: first when Jerry goes over to Lise’s table and invites her to dance, it is heard in its entirety and the opening lines when Jerry sings to her while they dance. While they make their way onto the dance floor, the entire “B” section is heard under their dialogue. The minute the music stops, Jerry and Lise stop dancing and we do not hear this tune again in this café scene. While it is unknown to the characters that they are destined to be together, the music sets up and emphasizes this key plot point for the audience, which comes to fruition in the end.

The end of the café scene is not the end of this theme and its association for Jerry.

While he’s in the car with his benefactress, Milo, he sings the refrain of “Love is Here to Stay”. It’s clear he’s thinking about Lise and not the company his evening started out with, Milo. The following morning, Jerry hums the same melody when he calls Lise at the

perfume shop for a date, only to be rejected. Right after Jerry’s unsuccessful phone call, the main theme of the symphonic poem is heard without any dialogue. Before their nighttime musical number on the banks of the Seine, Jerry again sings the refrain to Lise and she hums it in the midst of their dialogue. After their dance by the Seine, this theme is heard while Jerry paints Lise’s portrait, both by the Seine and in his studio. When it’s heard in his studio,

it interrupts the painting medley montage, “Tra-La-La” and “Love is Here to Stay”; only to be interrupted when Milo arrives. Milo’s arrival not only interrupts Jerry and Lise’s theme, but the work Jerry’s doing on Lise’s portrait which he hides with another painting in

progress.

The Music is Very Clear

Musically, “Love is Here to Stay,” foreshadows the romance between Jerry and Lise.

This song is one of two forms of thematic material associated with these two characters.

The other theme which hints at and weaves its way into its eventual prominence is their ballet theme, the so-called “blues” theme.

Section Measures Detail

A 1-8 Two two-measure phrases, repeated

Cadence in measure 4, thwarted in measure 8

B 9-16 Circle-of-fourths, descending-thirds

sequence, doesn’t cadence

A 17-24 “It’s very clear” replaced with “But, oh

my dear,” same music

B’ 25-32 Technological objects replaced with

geographical, same musical shape Refrain is added at the end Table 1. Musical form of “Love is Here to Stay”

Figure 1. Excerpt from “Love is Here to Stay,” No. 1. Music by George Gershwin. Lyrics by Ira Gershwin

Even though the pick-up measure to the “A” section begins with a C7 (V⁷ in F major), the expected arrival on I is thwarted with a move to a G9 (II) chord. This thwarted arrival is a feature of this song, and forms a strong relation between harmony and lyrics. Four

measures after the start of the “A” section and on the word “stay,” the tonic arrives. While the fourth line has a similar musical shape to the second, there are two alterations which thwart the expected tonic chord.

Both the first and second half of the “A” section have a similar melodic shape. In the first instance, while the fifth and seventh measures are identical in melodic pitch to the first and third, this is not the case for the alternating measures. Rather, the F in measures two and four are raised a third in measures six and eight. The other alteration is that the desired tonic chord is changed and a bVII—(V/ii) is used, which sets up the harmony for the

“B” section. (Figure 1)

Figure 2. Excerpt from “Love is Here to Stay,” No. 2. Music by George Gershwin.

Lyrics by Ira Gershwin

The “B” section is characterized by a circle-of-fifths, descending-thirds sequence and secondary dominants. The only time a tonic chord appears, it does not function as one.

While the I^△7 is a resting point, it occurs in the middle of the text, and the forward motion of the lyrics which thwart this tonic chord as a strong resting point. Here, it functions as a secondary dominant (V^△7/IV) which moves swiftly to its resolution, a IV Major 7.

Throughout the “B” section, while there are no functional tonic chords or cadences, but there is a sequence. At the close of the “B” section, measures 14-15, the harmoniy break away from the sequence and resolution of the G7 (V7/V) in measure 14 is delayed until measure 16, which is the return of the “A” section. (Figure 2)

There is a strong relationship between the end of the sequence and its timing with Ira’s lyrics. The sequence is present until the word “go,” where it ends and is gone.

Musically, the B section’s sequence represents the advancement and changes in technological devices; the radio, telephone, and movies. However, while the description of the devices and its musical association end, the phrase does not cadence on a tonic, but a minor ii⁷ chord.

Yet, if a strong cadence was used here, there would be no need for the following two verses, nor would the eventual arrival of the tonic be as significant as it is.

But, oh my dear, Our love is here to stay;

Together we're

Going a long, long way.

The return of the “A” section is identical to its initial appearance, down to the bVII substitution for the tonic to lead into a truncated circle-of-fifths, descending-thirds sequence.

The refrain is stated within the first two lines, the latter half of the verse supports the thesis.

From here, the music goes into a coda, the truncated reinforcement and restatement of the first three verses.

In time the Rockies may crumble, Gibraltar may tumble,

They're only made of clay, But our love is here to stay

After the second instance of the sequential passage, there is a two-measure break from the sequence, which is commented on musically and lyrically. Like its accompanying lyrics,

“they’re only made of clay,” also a comment on the previous two lines of text, these two measures are harmonically “unstable,” an bVII⁷-II⁷-IV-vi^o (Eb9-D7-Bb-Ddim) chord coloration. At the same time, the harmony is the musical impression of the lyrics.

Centered around the fifth, to anticipate the arrival of the tonic, the mediant and subdominant form harmonic counterpoints to the erodable topography. The harmony, construction, and treatment of “Love is Here to Stay” prove that this not “just another popular song,” and, as with nearly all songs of this period, it is a narrative in itself.

The Scene by the Seine

At night and away from the masses of Paris, Jerry and Lise do their musical number on the banks of the Seine. Placement of the scene at night and in the shadows further enforces the secrecy in which they keep their relationship from their respective other; Milo for Jerry, Henri for Lise. In a later scene, it is clear that Lise wants to keep it a secret when she exclaims to Jerry, “Oh! Jerry, we have so little time together. Can’t we have our own special world and not talk about anything that happens when we’re apart?”⁸⁰ The secluded area allows Jerry and Lise to move freely, uninhibited by a crowded dance floor as when they first danced together. Moreover, they isolate themselves from the mainstream of Paris, and this further enforces the clandestine nature of their relationship. Even when Jerry works on Lise’s portrait, he does so in an isolated area, be it by the Seine or alone in his studio.

80 An American in Paris, DVD, Chapter 24, 1999.

For the number to be integrated into the film, there should be a way to segue into the musical number to make it appear as though it occurs naturally, spontaneously, and part of the developing drama. The segue in this scene begins with two aural cues; first Jerry sings the same two lines he sang at the nightclub to Lise, then she hums the same two lines soon after. These cues are both signals and reminders to the audience that music plays an integral role in the advancement of the plot and romantic development of the protagonists.

*The orchestra plays the melody throughout the dance break.

Shot Shot Type Action Section of

2 Close-up Lise turns, leans against wall, looks at Jerry

Table 2. Love is Here to Stay, Scene

To allow for continuity from the previous shot focused on Jerry and Lise sitting on the bank of the Seine, Jerry does not begin to sing to Lise until after she gets up and slowly walks towards the camera. Until the musical number, aside from the aforesaid aural cues, there is no music in this scene until Jerry starts to sing. For three beats, he sings a capella and music is not heard until he sings “clear”, as the strings make a smooth, gradual entrance to accompany Jerry’s lyrics.

When he sings “stay,” Lise, the camera, and musical line pause on the word; the cadence point of the four-measure musical phrase and all the musical information needed to construct the “A” section of the music. On “stay,” Lise smiles towards the camera, but Jerry cannot see this and does not know that he is closer to winning her over. Both the pause of the camera, action, and Lise’s reaction in the scene enforces this musical sense of arrival and further enforces what Jerry is saying through music. The action that does continue to maintain continuity and the flow of the musical line is accomplished via Jerry’s lyrics. (Table 2)

The next shot, akin to a prolonged cut, allows the audience to see Lise’s reaction as Jerry finishes the first verse; Jerry continues to sing and leads both the audience and Lise into the “B” section of the music and the third shot. Key regarding Lise’s reaction is the way it is captured by the camera, and that it is the first time Jerry sees her smile in the musical number. (Table 2)

The third shot slowly pans across the scene as Jerry walks toward Lise, moving in tandem with the action and music. Interesting to note while Jerry sings to convince Lise that he’s correct, this takes place during the most harmonically complex section of the music, the secondary-dominant and descending-thirds sequence. The concluding line of this return of the “A” section has the camera, lyrics, and action choreographed together in such a way to further enforce Jerry’s thesis. Jerry does not sing “Together we’re going a long, long way,”

until he leans against the wall and next to Lise. This is the first instance in the musical number where they are next to each other and either do not try to vividly move away from the other. (Table 2)

It is in the midst of the continuing movement of the close-up towards Lise and Jerry that the coda begins, a summary and restatement of Jerry’s thesis. The first three lines of the coda are similar in their intent to the “B” section, but natural objects versus technological advances are the comparative material used.

When the camera arrives at a close-up of Jerry and Lise, Jerry’s relatively minute actions occur with the music. In time with a harp glissando, (the instrument used to subtly draw attention to key moments in this scene), Jerry puts his hand on the wall and moves out of the shadow as he sings the line, “Our love is here to stay,”; the pause in any motion but the instrumental to maintain continuity into the next shot and the audiences attention, gracefully orchestrated in such a way that visually and aurally Jerry’s thesis is confirmed. The

meticulous attention and acute movements raise a particular consciousness which suggests that movement will eventually dominate as a kinesthetic interpretation of the music, emotions, and the scene. (Table 2)

The fourth shot signals the start of the dance sequence, an enforcement of Jerry’s thesis, in which the development of the choreography determined by the progression of the music. This shot encompasses the majority of the dance number, a visual interpretation of the four verses and the music. In contrast to the first half of the musical number, the strength of the orchestra increases as it now functions as both melody and harmony for the dance, with the dance being Lise and Jerry’s apparently spontaneous interpretation of the music. (Table 2)

The largest motions in this shot occur in a series of balletic leaps and pirouettes when the orchestra is at its fullest, notably the prominence and color of the strings and the action occur during the instrumental equivalent of the fourth verse. While Jerry is sure of himself and what he has stated, Lise is not yet convinced, made evident in how she is a bit hesitant to dance with him. Their paired choreography reflects Lise’s slowly diminishing uncertainty;

their action literally circling around the issue. Still, while Lise follows Jerry’s lead and the camera follows their actions, the timing and pacing of these movements is determined by the music. The strings gradually open and it is not until the music has expanded that Lise displays her first instance of trust with Jerry, enforced by the close-up from the camera, and aurally represented through the music. After the instrumental equivalent of the word “stay,”

Lise tries to leave Jerry and walks toward the camera, but she fails to do so; he grabs her hand to stop her in an instance when the camera stops its action as well. At the same time,

continuity is maintained by the musical line. That is the only form of motion while the camera and action are paused. (Table 2)

When the dance sequence arrives at the “B” section of the music (as stated previously, the most harmonically complex), Lise’s trust towards Jerry has grown exponentially, and it continues to grow throughout this section of the dance. During the dance sequence, the orchestral color develops, though it remains restrained to set up for later instances of musical contrast. For the first time, Chaplin moves the orchestration away from the sole use of the strings and trumpet heard at the start of the “B” section. This trumpet solo is prominently heard above the strings until the instrumental equivalent of the first half of verse three, the first verse in the “B” section. (Table 2)

Immediately afterwards, at the start of the next line, the orchestration reverts back to strings only. For the remainder of the shot, a return of the “A” section, the orchestration returns primarily to the strings. A marked change in this return to the “A” section is the prominence of the harp glissando heard as Jerry and Lise spin together, their action a kinesthetic interpretation of this glissando and bisecting the instrumental verse.

Furthermore, the orchestration reverts back to the strings and only the strings after the spin and for the conclusion of the main portion of the dance sequence. (Table 2)

To conclude this section of the dance, a reprise of the musical number leads into the fifth shot. While Jerry and Lise dance to the fourth instrumental verse, the last line is altered, but the sole horn line maintains the continuity during this change and into the

following shot. Here, the clarity and sustained horn line emphasize the lyrical equivalent of this line, “It’s very clear,” as Jerry and Lise pause momentarily and turn to face each other.

But the attention of the audience is maintained by Jerry taking a step forward and Lise accepts his invitation to dance at the start of the final shot. (Table 2)

The last shot, preceded by a harp glissando and a subtle key change up a step, Jerry and Lise turn towards each other. This shot is a truncated version of the dance break and further enforcement of Jerry’s thesis. The first half of the shot, the “A” section of the verse, Jerry and Lise dance in closed position, as they did earlier in the dance, however they remain together through the end of the verse. The point at which they separate, between the “A”

section and the coda sets up a series of pirouettes they do parallel to each other. This moment is the instance of the largest visual action and fullest orchestration of the musical number. Unlike their action which circles around each other and the issue at hand, the camera is very static; as though the action is taking place on the stage of a ballet and not outside of one. At the same time, this static camera action sets up the final dramatic moments of the scene. (Table 2)

For the final climax and closing of the number, danced to the instrumental coda, Jerry and Lise turn towards each other at the start of the last phrase, the musical “but” of a single violin. When Lise steps towards Jerry and kisses him on the musical “love,” this is the visual sign that shows she trusts and believes him and a cue which not only brings them together, but keeps them together to the end of the musical number. This action is perfectly timed with a harp glissando that weaves its way into the orchestration and follows through as they walk towards the bridge and away from the camera, tracking backwards simultaneously.

Another harp glissando is heard, the musical fulfillment of their relationship and musical

“kiss”, and a solo violin cadences to end the music and action of this musical number.

Chapter 6

An American in Paris: From Tone Poem to Ballet

According to music arranger Saul Chaplin, the idea for the artistic climax of An American in Paris, the ballet, was dreamed up by Vincente Minnelli, Gene Kelly, and costume designer, Irene Sharaff.⁸¹ As a plot for the ballet, it was envisioned as a reprise of Jerry with Lise’s relationship throughout the movie, however the ballet would be performed against an idealistic Paris with a backdrop as seen through the eyes of French and Dutch impressionist painters, with each painter given a locale suitable to them: Dufy for the Place

According to music arranger Saul Chaplin, the idea for the artistic climax of An American in Paris, the ballet, was dreamed up by Vincente Minnelli, Gene Kelly, and costume designer, Irene Sharaff.⁸¹ As a plot for the ballet, it was envisioned as a reprise of Jerry with Lise’s relationship throughout the movie, however the ballet would be performed against an idealistic Paris with a backdrop as seen through the eyes of French and Dutch impressionist painters, with each painter given a locale suitable to them: Dufy for the Place