Comenzó en el trópico

I am quite the Mitchell Leisen fan so it was a great anticipation that I rented this movie but the print I got was extremely bad, so worn down from use and scorched seemingly beyond repair, the movie was so dark. So dark that in certain scenes that are cinematographed in the dark, you can't see a single thing. That said, I believe I share the same opinion as the first review of this movie. It starts out unusually and does not tote the lines and rhythms of your typical Hollywood 30's movie. Heck, not even your typical Hollywod movie of any era. It seems the director has been influenced by the Europeans because there is a certain caustic realism to the proceedings from the opening shot which is so crafted in camera movement and placement as Maggie (Carole Lombard) and Skid (Fred Macmurray) meet. You half expect them to start singing "Make believe" from Show boat.It starts with a few laughs and poor Anthony in a one scene role where he speaks not a word of English gets slapped around by Freddie. Skids is a bum who doesn't care that he's a bum. That's why he signs up in the army where he can hide from the world. He's just been released though and in a set of screenplay shenanigans, she misses her boat for New York. This is when the movie kicks into high gear and we begin to get those French movie of the sixties vibes to the whole proceedings. The scenes are so well acted by Lombard and Cecil Cunningham, the movie gains a pulse. MacMurray is good too as he and Lombard fall for each other as she nurtures his talent for the trumpet. Then the temptress arrives in the form of Dorothy Lamour. Enough with plot. The movie has fantastic montage sequences that dazzled me. They are very good. And Lombard scores a home run in this movie but in the second half, a bit more is called of Freddie and he fails to deliver the goods. With a heavily melodramatic ending and an actor you don't believe, the movie falls short but since it is not your typical movie in structure, set design, and direction. It is worth a look. For what is what it was one of the 37 hits of the 1936-37 season. I don't know its exact rank though.

Ist half is kinda fun, with a nice, relaxed tale of three Americans down on their luck in Panama. Director Mitchell Leisen, who cut his teeth as an art director, puts it to good use, along with cinematographer Ted Tetzlaff, in managing to make the viewer (well this viewer, at least) feel they were in Panama City and not the Paramount backlot. And Lombard and MacMurray have good chem. Unfortunately, the second half, set largely in NYC and featuring that hoariest of story/chestnuts...the guy who goes all to pot when his true love leaves him...is a bit of a comedown. Give it a C plus. PS...How long a career did Tony Quinn have, for cryin out loud? This film was made in 1937 and he looks at least as old as MacMurray, if not older.

Cruising through the Panama Canal, pretty Carole Lombard (as Maggie King) resists the advances of date-hungry Fred MacMurray (as Skid Johnson), who is celebrating his last day in the US Army. When Ms. Lombard jumps ship, Mr. MacMurray manages to put himself in her driver's seat. The couple fight and bicker while dating, which you can safely bet means love and marriage are on deck. Credit the film will putting a little delay in that department, however. Lombard gets interested when MacMurray pulls out his trumpet. He turns out to be a professional musician. Eventually MacMurray's boozing "Skid" hits the skids...

The stars are an attractive couple with natural chemistry, but there is too little spark in this middling story. Moreover, MacMurray plays a character written with little appeal. Lombard's character seems not too bright. You can tell "Skid" has a problem. It's too bad, because MacMurray's performance is fine. Watch for a young and handsome Anthony Quinn to try to pick up Lombard, and brawl with MacMurray. Also, lovely young Dorothy Lamour (as Anita Alvarez) plays the exotic other woman. Charles Butterworth (as Harry) is MacMurray's loyal male pal, and Franklin Pangborn appears too briefly. It's cast high, but swings low.

****** Swing High, Swing Low (3/12/37) Mitchell Leisen ~ Fred MacMurray, Carole Lombard, Dorothy Lamour, Charles Butterworth

'Swing High, Swing Low' is a semi-musical, based on a Broadway play (not a musical) called 'Burlesque' which was originally filmed as 'The Dance of Life' when censors wouldn't approve the original title. The play and the original film took place in vaudeville and burlesque: this remake, surprisingly, spends most of its time in Panama City (well away from the Keith-Orpheum circuit). About all that remains of the original is the male anti-hero's name: Skid Johnson. In the original story, the nickname 'Skid' made sense because he was an eccentric dancer. In this remake, Skid Johnson is a jazz trumpeter ... so why is he cried 'Skid'?

Fred MacMurray got typecast as nice guys, but just occasionally he got a chance to show his acting ability in nastier roles. He gives an excellent performance as Skid Johnson: brash, bragging, conceited, yet nagged by self-doubts. But in this version, some of Skid's motivations are highly contrived. When Skid first meets unemployed singer Maggie (Carole Lombard, less impressive), he straight away starts bragging about what a wonderful guy he is. Oddly, he trumpets himself constantly yet he never says a word about his abilities as a trumpeter. There's an extremely contrived scene in a Panama nightclub, when MacMurray casually picks up the trumpeter's horn and blows a few licks. (Yes, professional musicians always leave their instruments lying about so the customers can have a go.) It turns out that Skid Johnson is a brilliant jazz trumpeter. So, why is this braggart so very modest about his one genuine talent?

There's a soap-opera plot line when Skid becomes 'The King of Trumpeters' in Manhattan while Maggie is growing Spanish moss in Panama. One of the cast members of the Broadway drama 'Burlesque' was Oscar Levant, who got to play piano onstage and fire off a few wisecracks. Levant repeated his stage role in the film 'The Dance of Life', but his part was seriously cut. In this remake, Levant's role is expanded again, but regrettably not played by Levant this time. Charles Butterworth plays Skid's pianist buddy Harry. I've never liked Butterworth, whose screen roles usually include some very contrived business to make Butterworth a 'character'. In this movie, he wears winter clothing during a Panama heat wave. Very credible, I don't think.

Maggie is courted by Harvey Dexter, a self-made millionaire who sincerely loves her. But this is one of those annoying movies in which the gal gives up the steady level-headed guy in favour of the unreliable bum who's handsome and charming, and we're supposed to approve her choice. There are bad motivations elsewhere, too. In the first scene, MacMurray is a soldier who talks on sentry duty ... because it's his last day in the army, so they can't fire him. (No, but they can extend his hitch while they give him a nice long sentence in the stockade.)

For all its faults and forgettable songs, 'Swing High' features some extremely impressive montage sequences: the best I've ever seen in a Paramount film. (Though not up to the standard of Warners.) Franklin Pangborn appears very briefly, playing his usual cissy role, but he gives here one of his most energetic performances: he twirls frenetically, he taps his fingertips together impatiently. This is one of Pangborn's very best performances, buried in an obscure film. Dorothy Lamour sings pleasantly here but wears a very harsh makeup. Fred MacMurray gives Anthony Quinn a punch in the nose. Any movie where Anthony Quinn gets punched in the nose is fine with me.

There's a good performance by Jean Dixon as Lombard's 'seen it all, dearie' pal. Dixon wisecracked her way through several major Broadway roles, but never caught on in film. There's also a good performance by an actress with the mannish name Cecil Cunningham, who plays a nightclub landlord known only by the mannish name Murphy. Cunningham was the ex-wife of vaudevillain Jean Havez, who wrote Groucho Marx's song 'Everybody Works But Father'. That song would have livened up this movie. I'll rate 'Swing High, Swing Low' 5 points out of 10.

What a shame this beautiful film with Carole Lombard & Fred McMurray has been allowed to deteriorated to such a low level; two of my favorited Hollywood stars. Emotional. Seen on TCM 06/Oct/2020.