When an American painter in Paris is discovered by an influential heiress, he has to deal with her and his rival friend if he is to date his true love.

Hmmm yes.. perhaps the proposed logline format won't do much good for this genre indeed. Or in the very least, it doesn't sound as catchy...

>>>why did you left out what the protagonist has to do, to end up with the french girl?

I saw the film many years ago and my recall of the details of the plot are fragmentary.? Perhaps I should have consulted the IMDB summary.? Frankly, I fast forwarded through scenes to get to the good stuff, Gershwin's music.? The plot was too contrived for my taste.? It was so obvious that the? inspiration for the movie was Gershwin's music, a reverse of the usual m.o. where the script is the inspiration for the musical score.

And the organizing principle for the plot (per my earlier comment on "The Sting") is the love triangle.? That's the story spine around which all the other characters, complications and subplots are arrayed.? After all, it's a musical romance.? He obviously woos her,? but if that wooing is framed within a particular game plan, I don't recall.? Any particulars you may wish to point out on that point would be of interest.

Finally, I have come to the conclusion that romance genre stories may present exceptions to the standard logline paradigm.? Because the organizing principle -- the spine -- is as much or more the relationship as it is the action.? In some stories, the objective goal is to win the heart of the love interest, to consummate the relationship with a happy ending. That's the only goal that matters.? (How else can you logline adaptations of Jane Autsen novels?)?

>>>why did you left out what the protagonist has to do, to end up with the french girl?

I saw the film many years ago and my recall of the details of the plot are fragmentary.? Perhaps I should have consulted the IMDB summary.? Frankly, I fast forwarded through scenes to get to the good stuff, Gershwin's music.? The plot was too contrived for my taste.? It was so obvious that the? inspiration for the movie was Gershwin's music, a reverse of the usual m.o. where the script is the inspiration for the musical score.

And the organizing principle for the plot (per my earlier comment on "The Sting") is the love triangle.? That's the story spine around which all the other characters, complications and subplots are arrayed.? After all, it's a musical romance.? He obviously woos her,? but if that wooing is framed within a particular game plan, I don't recall.? Any particulars you may wish to point out on that point would be of interest.

Finally, I have come to the conclusion that romance genre stories may present exceptions to the standard logline paradigm.? Because the organizing principle -- the spine -- is as much or more the relationship as it is the action.? In some stories, the objective goal is to win the heart of the love interest, to consummate the relationship with a happy ending. That's the only goal that matters.? (How else can you logline adaptations of Jane Autsen novels?)?