Ein Walzer aus Amerika

I completely agree with my fellow film buffs that "Swing Time" ties with "Top Hat" as Fred and Ginger's best musical together. While "Top Hat" has an elegant, almost dreamy atmosphere to it, "Swing Time" gets a gold star for its more real (albeit musical numbers) and honest feel. Fred and Ginger just shine as dapper Lucky and sassy but classy Penny. One of their best dance numbers together is the spontaneous and fun "Pick Yourself Up", where Fred is in overly formal attire and Ginger wears a cute black business dress. Fred's big moment in the sun, however, is the legendary "Bojangles of Harlem" number. Many people today object to it because Fred dances in black face, but I feel it's totally misunderstood. Instead of the awful, grotesque black face Al Jolson wore (pitch black face with white lips), Fred wears tasteful theatrical makeup (think Laurence Olivier as Othello). Also, Fred isn't doing a jig in a cotton field and eating watermelon; the backdrop is a city with glamorous backup dancers. It's not a racist parody, it's one great dancer's tribute to another (that's who Bojangles was, after all). Forget what's on Fred's face, just watch him display a talent no one sees anymore. Because that's what it is: talent and tribute, not hate.

'Swing Time (1936)' is typically held as one of the finest Fred Astaire and Gingers Rogers musicals, of which nine were made between 1933 and 1939 {' The Barkleys of Broadway (1949)' would follow a decade later}. Directed by George Stevens, the film abandons the often-silly mistaken identity subplots of previous films, and presents a more credible love story, supplemented by some of the most remarkable dance numbers I've yet had of enjoyment of seeing. Replete with the usual stock of enjoyable comedic actors, 'Swing Time' is a professionally-produced film, and Astaire and Rogers, as always, bounce off one another exceedingly well. Though the storyline isn't quite as entertaining as in 'Top Hat (1935)' or 'Shall We Dance (1937),' the picture relies purely on its terrific dance routines to elevate it to such a high status. Jerome Kern provided the film's music, and Dorothy Fields wrote the lyrics, including the Oscar-winning song, "The Way You Look Tonight."

John "Lucky" Garnett (Astaire) loves home-town sweetheart, Margaret (Betty Furness), and wants to marry her… or, at least, he thought he did. After the master-gambler moves to New York City to acquire a $25,000 dowry for the wedding, he comes upon beautiful dance instructor Penny Carroll (Rogers), immediately recognising that she is the woman for him. Wasting no time to consider the logic of his actions, Lucky signs up for dancing lessons, and his incredible "progress" leads the pair towards considerable success. A promising romance begins to bloom, but Lucky cannot bear to tell Penny that he's already engaged to marry another woman; at the same time, he deliberately resists achieving success in his gambling activities, lest he win enough money to return home to Margaret. Pop Cardetti (Victor Moore) and Mabel Anderson (Helen Broderick), knowing members of an older generation, stand around to witness the pair's irregular romance, and form a close friendship of their own, though everything is thrown into turmoil when sleazy musician Ricky Romero (Georges Metaxa) attempts to coax Penny from Lucky's grasp.

The absence of Edward Everett Horton unfortunately detracts from the effectiveness of the film's comedy, though Victor Moore provides an amusing substitute; his tone and mannerisms are so ridiculously adorable that he could accurately be described as a real-life Elmer Fudd. Jerome Kern's musical numbers vary from lighthearted tap dance numbers ("Pick Yourself Up") to sarcastic quicksteps ("A Fine Romance") to a virtuoso, emotion-filled ballroom routine ("Never Gonna Dance"), perhaps the most stirring performance that Astaire and Rogers ever did. There's a certain indescribable desperation to the way in which the two dancers leap and twirl across the dance floor, their movements escalating almost imperceptibly from an idle walk, and Rogers' long dress twists and turns in the air behind her. In Astaire's continual search for creative perfection, his routines were filmed, wherever possible, in a single take, and this particular number was attempted no less than forty-seven times. Also notable is Astaire's frenetic tribute to Bill "Bojangles" Robinson, performing in black-face against three tall synchronised shadows on the wall behind him.

Any of the films in which Fred Astaire and Ginger Rogers appeared is worth a look. Each one has something that will endear it to the viewer that seeks in their films entertainment, as well as fun. "Swing Time", their 1936 film was directed by George Stevens, a distinguished American director that had a long career in Hollywood. It helps though that Jerome Kern and Dorothy Fields worked in writing some of the most beautiful melodies heard in the movie.

"Swing Time" is a pretext to present the stars doing what they did best: dancing! Lucky Garnett is made to be late for his own wedding to the socialite Margaret, who contrary to what one expects is forgiving and accepts her boyfriend's excuses. Garnett has to prove his luck, where else?, but in New York. Accompanied by Pop Cardette, they embark in an adventure to try to raise cash and fulfill his promise to Margaret's father.

Fate intervenes in the person of the beautiful Penny. She's a dancing instructor who we first see being cheated out of a quarter by Pop and Lucky. Later they follow her to the studio where Lucky goes to receive a dancing lesson! We know what comes after that. Penny and Lucky were made for one another and it will take the rest of the movie for they to realize this fact and for us to watch some amazing production numbers.

The funniest sequence has to be when Lucky, Penny, Pop and Mabel decide to take a ride to the New Amsterdam resort during a snow storm in a convertible! Not only that, but when they arrive at the inn, finding it closed, they decide to get out and walk in the thick snow without any galoshes! Oh well! The songs one hears in the film are classic standards.

"A Fine Romance", "Pick Yourself Up", "The Way You Look Tonight", "Never Gonna Dance", and others are given excellent treatment. The two excellent musical numbers, "Bojangles' Harlem" and "Swing Time Waltz", show the talent of Mr. Astaire, in the first one, and of Ms. Rogers and Mr. Astaire in the second.

Fred Astaire is always good doing no matter what he does in this film. Ginger Rogers is also appealing as the object of Mr. Astaire's attentions. Victor Moore as Pop, is not as funny as perhaps the film makers wanted him to be, but Helen Broderick, as Mabel was excellent. Eric Blore, Betty Furness and Georges Metaxa and the rest of the cast do their best to support the principals.

This film is a joy to watch thanks to Mr. Astaire and Ms. Rogers under Mr. Stevens' direction.

You heard me. Yes, in the beginning he's chasing her, but when he gives her the cold shoulder in order to avoid falling for her so he won't have to tell her about his fiance, she snuggles up to him (amid the loveliest scenery ever; snow). The two actually kiss-- you don't see it due to some clever directing and an opened door, but the evidence is all over Fred's face. Another great moment earlier in the movie (when he's still wooing her) is when he's singing The Way You Look Tonight and she comes out and puts her hand on his shoulder; he looks absolutely delirious. This is, in my humble opinion, the very best of the excellent Astaire-Ginger movies. Every move danced, ever note sang, every expression expressed in this masterpiece is flawless. It doesn't get any better than this. I see a lot of musicals and Swing Time will remain in my top five for years.

Aside from the perfection of "Top Hat" the previous year, this one is my next-favourite of the Fred and Ginger collaborations. The songs are excellent Jerome Kern-Dorothy Fields ones (A Fine Romance, The Way You Look Tonight, Pick Yourself Up, Never Gonna Dance) and the dance sequences are good, especially the one not far from the end with those huge staircases as backdrop; the ad-hoc tap at the dance centre, and Bojangles of Harlem, with its shadow play dancers behind a screen.

In support Helen Broderick and Eric Blore is back (although sadly Blore's appearance in "Swing Time" is brief), and Victor Moore plays a card sharp magician who slowly becomes tedious viewing. There's a recurring joke about trouser cuffs which both sets off the plot and ends it, and Fred and Ginger have the usually sparking repartee which ran through most of their work together.