TheLittleSongbird Before seeing April in Paris I saw a fair few bad things written about it, about Ray Bolger being miscast, the story being disposable and the songs being weak. As someone who liked Doris Day, I went ahead and watched it anyhow. The criticisms are understandable actually, but April in Paris is not as bad as it has been made out to be and is hardly a film without redeeming qualities. Ray Bolger is not really the ideal lead role for Day, he was a likable comic actor when his skills were used well but he is too old here and is more supporting comic role actor than leading man. He and Day don't have very much chemistry either, or one that is completely natural. The story is toilet-paper-thin and contrived- true that not many musicals of that particular time had particularly great stories, but there are not many that are as redundant as the story here- and while there are nice snappy moments the wit and satire in the script isn't sharp enough. April in Paris doesn't look too bad though, one does wish that real Parisian locations and more Parisian fashions were seen and some of the sets are on the garish side but the photography is still attractive and Day's dresses are lovely. The songs are definitely not weak either, "I'm Gonna Ring the Bell Tonight", "April in Paris" and "That's What Makes Paris Par-ee" are simply beautiful songs and while not quite as great the other songs work. While Bolger is not leading man material and his strengths are not really used, his dancing is very light-as-a-feather and he looks very comfortable doing it. Charles Dauphin is charming too, while the choreography and dance routines are at least well-staged and put you in a good mood. Day is the best thing about the film, her singing is just enchantingly beautiful, she's completely at ease and she lights up the screen in everything she does from smiling, dancing, singing and acting. Overall, not a great film but while the criticisms are valid it is better than given credit for and Day is fabulous. 6/10 Bethany Cox

theowinthrop It is fascinating to consider the two leads of this film in terms of their movie and stage success. Doris Day became one of the biggest popular singers of her day, and then got a nice contract from Warner Brothers. Her image as the perpetually beautiful virgin who is your next door neighbor got pushed into our faces with films like ON MOONLIGHT BAY and TEA FOR TWO. But they were good films. The public never quite realized her good straight acting in films like LOVE ME OR LEAVE ME or THE MAN WHO KNEW TOO MUCH. Bolger was in films from the 1930s, but performances (even good ones) in films like ROSALIE were forgotten. Instead he lucked out early at MGM with the "Scarecrow" in THE WIZARD OF OZ, a role nobody who saw it ever forgot. He did well enough in the 1940s, but his best film (again with Judy Garland - THE HARVEY GIRLS) while showing him to advantage is just not as memorable. Bolger went back to Broadway, did WHERE'S CHARLIE - a tremendous popular hit, and then was lucky enough to get his performance on celluloid in the film version. He should have taken off. Instead, he makes this film - again a nice one - and does very little other films afterward (most notably the Disney version of BABES IN TOYLAND). A great dancer and entertainer but with two first rate performances on film he never got real film stardom.APRIL IN Paris was a decent musical for 1952, but as a follow-up to WHERE'S CHARLIE it lacks a degree of snap. WHERE'S CHARLIE was based on a classic English farce, CHARLIE'S AUNT, so it was really tried material that usually works The script for APRIL IN Paris was based on the Vernon Duke number that is a standard. But the rest of the score was not up to that standard, although a song and dance number that Day and Bolger do together in the galley of the French ocean liner ("I'm Going'to Ring the Bell Tonight!") is tuneful and bouncy. A later song between Claude Dauphin and Doris Day was also quite pleasant regarding Day's reaction to being in Paris. But neither of the latter two songs have ended up in the American songbook.The script is actually fairly typical for the period. Bolger is a rising figure in the State Department, who is engaged to Eve Miller (the daughter of Paul Harvey, Bolger's boss). Bolger has set up an international cultural festival in Paris wherein America would have Ethel Barrymore representing us. But by one of those ridiculous errors that are used to stimulate the plots of comedies (usually they can be explained away by simply owning up to them), the invitation is sent to chorus girl "Dynamite" Jackson (Day). Bolger tries to get it back but he is slowly attracted to Day. Still he has a difficult time convincing Harvey to replace Barrymore with Day to impress the French about our love of fun.(I was thinking about how within a couple of years Day appeared in YOUNG AT HEART with Barrymore - it might have been interesting to have the famous actress appear for a scene or two reacting to this silly error.)Bolger is trying to balance between his career in the diplomatic service (which may lead to a political career) and his growing affections for Day (who is against the straight jacket approach of American Diplomacy forced down her throat by Harvey). Complicating matters is the side antics of Claude Dauphin, who has to sneak back to France because of a diplomatic problem that Bolger would not help him with - Dauphin is working as a steward on the ocean liner, and is unwilling to keep quiet with the crew or with the passengers, including Doris. Eventually Bolger and Day decide to be married by the Captain of the ship, and Dauphin is their witness. But the Captain is a fraud, and so is the marriage. So Dauphin has to sabotage the wedding night as the nice Day and prickly Bolger are not legally entitled to sleep together. It is quite silly, but it has some amusing moments when Harvey shows up and threatens Bolger to face up to his career responsibilities or face the end of his career. Harvey reading the diplomat's rule book to Bolger under an umbrella in a flooding cabin (don't ask) is a sight to see!It ends satisfactorily. But it is not as good as WHERE'S CHARLIE was, and as a result it was not a good follow up to that film. Maybe if Bolger's follow up had been his "Barnaby" in BABES IN TOYLAND the film career problem would have been settled more satisfactorily.I have known only one person in my life who went far in the State Department. He was the smartest fellow in my high school graduating class, and he would rise to the post of Assistant Secretary of State for Far Eastern Affairs. He still is a rather big wheel in his current job. I dedicate this review to him.

silasandpattiebarnaby April in paris is a great movie to watch on a rainy day. Doris day does a splendid job here, but the true star is Ray Bolger, who makes a fantastic co-star, and is really quite a handsome fellow...definitely my favorite in this film!

Billy-34 First off, I am a huge Doris fan and I thought this movie was not one of her best (her own autobiography said she wanted someone different for the choreography...but I thought that was the best part). Doris is always good but the movie might have looked better if we saw some of the real Paris and why not show off some of the fashions sung about and actually see real settings.Ray Bolger was NOT Fred Astaire but he sure is energetic. There was no real spark between Ray and Doris (who is excellent in the "Rock the Boat" number in the Cruiseliner's kitchen).I bought this inexpensively from Ken Cranes on Laserdisc and Doris looks terrific as always. From what I've read Ray had some trouble with the director who accused him of trying to upstage Doris on camera - as if that were ever possible.My advice...rent TEA FOR TWO instead.