Tedfoldol everything you have heard about this movie is true.

InformationRap This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

Tyreece Hulme One of the best movies of the year! Incredible from the beginning to the end.

Raymond Sierra The film may be flawed, but its message is not.

JohnHowardReid Copyright 3 December 1952 by Warner Bros Pictures, Inc. New York opening at the Paramount: 24 December 1952. U.S. release: 3 January 1953. U.K. release: 6 April 1953. Australian release: 29 April 1953. Sydney opening at the Regent. 9,057 feet, 100 minutes. NOTES: Number 42 at Australian ticket windows for 1953. While the film itself did not break into the ranks of the top thirty domestic box-office champions, Doris Day herself was voted number 7 of the nation's money-making stars of 1952 in a poll of all U.S. exhibitors conducted by The Motion Picture Herald. Ray Bolger was often berated by director Butler during shooting for his efforts to crowd Doris Day. Why the egotistic Bolger should try these tricks to overshadow his co-star is a mystery. He is extremely well treated throughout and often seems to be enjoying an undisputed lead. He even has an elaborate special effects solo in which he dances with himself as both a costumed Washington and Grant. COMMENT: Just because a movie was popular in all sections of the community (the carriage trade, the middle classes, the workers), doesn't mean critics have to look for faults. April in Paris far from deserves its so-so critical reputation. For at least three-quarters of the way through, the dialogue is not only bright and snappy with fast, witty comebacks, but even amusingly risqué. It's true the fountain runs a bit dry towards the close, and is therefore replaced by unlikely farce, but even this comparative wasteland is enlivened by a delightfully photographed production number for Doris Day. As for the songs, though they seemed no more than mildly pleasant at the time, they have improved with repetition. What's more, they're colorfully staged. Bolger's comic dancing, lithe and superbly timed, is such a joy, so cleverly choreographed in fact, one wishes there were more. Miss Day herself is a gem, whilst Dauphin makes the ideal spoof of a Frenchman. It all just goes to show how spoilt we were back in 1953. A film as pacy, as superbly photographed and never mind the expense, with the occasional inventive bit of direction, would cause a sensation if newly released today. (And some of the dialogue, amazingly frank for 1952, would also seem right at home).

wes-connors Well, "built" Doris Day (as Ethel S. "Dynamite" Jackson) is mistaken for thespian Ethel Barrymore, and falls in love with dancer Ray Bolger (as S. "Sam" Winthrop Putnam). Older Frenchman Claude Dauphin (as Philippe Fouquet) also digs Doris. Honestly… What were they thinking? - This wildly inappropriate musical does feature Ms. Day prettily singing the standard "April in Paris", and others. Certainly, there nothing as good as her Columbia recordings from the time; and, nothing approaches Day's stunning and forthcoming "Secret Love". Although the material does not serve him well, it's nice to see Mr. Bolger performing. Some of the musical numbers are obnoxious.**** April in Paris (12/24/52) David Butler ~ Doris Day, Ray Bolger, Claude Dauphin

bkoganbing Doris Day as Ethel 'Dynamite' Jackson gets a letter from the State Department saying that she's been chosen to be an American representative at an Arts Festival in Paris. The letter was supposed to go to Ethel Barrymore instead. Doris had written the State Department about a work permit visa to work at a nightclub in Montreal. It's a faux pas of the highest order that State Department bureaucrat Ray Bolger has committed and he tries to rectify the situation. But when the press gets a hold of it, the thing becomes a popular move. So Bolger's boss Paul Harvey puts him in charge of getting Doris's diplomatic etiquette up to speed. For better or worse Bolger and Day are going to spend April In Paris together. The popular Vernon Duke-E.Y. Harburg standard serves as the title for this film and Warner Brothers got Vernon Duke to write the balance of the score with Sammy Cahn's lyrics. Nothing really outstanding here, but the score fits well with styles of the two leads.Doris is great as always, the problem here is Bolger and the part he plays. Ray Bolger was a great personality on stage who but for two roles never quite was able to translate the same popularity to the big screen. One role was of course the Scarecrow in The Wizard Of Oz and the other was the lead in Charley's Aunt. And both of those were comic parts.As a traditional screen lead Ray never quite made it. In fact in watching April In Paris I couldn't quite see what Doris saw in him. Of course with her attraction it was obvious as Bolger so succinctly put it, 'What a Built'. Ray plays a traditional WASP stuffed shirt diplomat who is engaged to the demanding daughter of Harvey, Eve Miller. Getting involved with Day was not an upward career move.Of course Doris sparks the attention of Claude Dauphin who's working his way back to France on the same ship that Bolger and Day and company are traveling. She has a nice number with Dauphin in a Parisian nightclub.Bolger's big moment on the screen is a very nicely staged fantasy number where portraits of Lincoln and Washington come alive and dance with him as Bolger dreams about his future. It was as creative as something Gene Kelly or Fred Astaire might have done.Still Ray is not quite leading man material and the film can't overcome that. Fans of Doris and Ray will like it though, but I fear it's not one of Doris Day's best films.

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.