| http://www.w3.org/ns/prov#value | - Vincente Minnelli is a brilliant enough director that one is obligated to do this subtextual digging, particularly when his AN AMERICAN IN PARIS (1951) features such a similarly dysfunctional romance at its heart, between a self-satisfied but financially bereft painter who treats his kind French sugar mama like shit (he wants to be self-sufficient while doing no work other than painting, which he
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