Swing

The reason I saw Swing at all is because I am a big Lisa Stansfield fan. When I discovered she was making her theatrical debut in a movie about a struggling swing band, I was excited not only to see Ms. Stansfield in her first acting role, but to hear her cover some great big-band standards with that signature voice of hers.

If you get nothing else out of this movie at all, the soundtrack is worth at least one viewing.

Overall, I thought this movie was rather entertaining and very charming, a characteristically cynical and quirky British comedy, with a few minor snags, mainly from plot holes and dialog. (Also, as an American viewer, it was difficult at first to get used to the heavy Liverpool accent.) The one-liners at times try too hard to be funny, but luckily those moments were often quickly followed by one of the movie's greatest strengths, its music.

It's not to say the film has nothing BUT its soundtrack to keep it entertaining. Hugo Speer gives a commendable performance as the frustrated protagonist Martin Luxford—an unlucky chap whose last get-rich-quick-scheme landed him a 2 year prison sentence. While serving time, he learns to play the saxophone from his inmate, and is inspired to change his ways during his parole by starting a swing band. Life is not easy for Marty—his parents live in the projects and his brother is a conniving thief who sells his unsuspecting targets the very security systems he breaks into. Things are so bleak you just beg for some light at the end of the tunnel. But Marty plucks right along persuading his friends to join in on his enterprise and holding out hope that he can live his dream. This set-up, while not thoroughly original, is played out well by Speer. When the movie is not rip-roarin' to the sounds of the jazz age, its up to Speer to make us root for Marty, which he succeeds in doing with devilish charm.

Enter Joan, the ex-girlfriend, played by Stansfield. Marty singles her out to be the lead singer of his developing band (surprise! surprise!) but there's one snag—Joan is married to the police officer who put Marty away in the first place. This sets up all sorts of wonderful possibilities for a love triangle, but Danny McCall comes off as almost unbelievably psychotic as Joan's husband Andy. He seems more obsessed with his job (the man wears police uniform pajamas to bed)than with keeping Joan's affections, and instead of insecure about his marriage he comes off as unreasonable and inexplicably bent on making Marty's life a living hell. It also becomes increasingly difficult to understand why Joan married the man in the first place, since he displays not even one iota of a redeeming quality. But it is fun to see Joan square off against Andy later in the film, in moments where Stansfield shines in ferocious—but fabulous—glory.

Despite some minor but persistent flaws, this movie is a pleasure to watch. Peppered with an odd array of supporting characters—including the intimidating Mighty Mac and his Orange Brigade brass section who look like they're armed for a hit(mob-style, not musical)—the film occasionally takes a delightfully bizarre turn even in otherwise predictable moments.

I would definitely recommend this movie—I have seen it several times—especially if you are looking for an easy, unchallenging but delightful story about the spirit to overcome adversity, an homage to the swing revival movement at the end of the 90's, or a chance to see Lisa Stansfield take down the Liverpool police department.

I had barely heard of this film when I caught the trailer in front of another video. Since I love swing music, enjoyed Hugo Speer in "The Full Monty" and like Lisa Stansfield's singing, I gave it a try and was not dissappointed.

The story of an ex-con organizing a swing band is like "The Commitments" only not as crunchy. But while it's unravelling, particularly during the musical numbers, there's little time to complain. The whole thing is really a fairy tale, with a demented lottery winner as fairy godmother and Stansfield's possessive husband--the cop who had arrested Speers three years earlier--as wicked witch.

Stansfield's singing of some classic jazz and soul numbers is simply terrific. And Speers turns in a kinetic performance that could make him a star if anybody else sees this film.

What a great date movie! I saw "Swing" at the Wine Country Film Festival. I arrived vaguely downhearted and left feeling alright with the world; in my book, any film that accomplishes that is worth seeing. Within a minute of the credits I knew I was in for a good time, and by the film's exuberant end I hadn't been the slightest let down.

"Swing" doesn't take itself too seriously, and as a result it avoids the cloying sweetnes that has started to creep into the Full Monty's (which film I loved) progeny. It reminded me of some of my favorite Australian comedies --" Strictly Ballroom," "Priscilla, Queen of the Dessert" and "Muriel's Wedding" come to mind -- as well as, oddly enough, the sitcom "Seinfeld."

Why? Probably because I was as charmed and entertained by the characters, their foibles and imperfections, as I was by the circumstances in which they found themselves. The humor was dark here and there, and often skewer-sharp, but it wasn't mean-spirited, which I especially appreciated; too often nowadays lazy writers reach for laughs through the cheapest shot. "Swing" left me with the kind of warm glow I get at the best family reunions or holiday meals.

"Swing" also provides an energizing soundtrack, really smooth, accessible cinematography and one of the funnier Liverpool jokes I've heard in years.

I watched this film on it's first showing in Great Yarmouth .The film starts a little slowly but really gets going when Oi comes on the scene. James Hicks, as the skinhead, was one of the key roles. Lisa gave a great performance and should sing more jazz. I really enjoyed the "feel good" nature of the show.

Just fast-forward through the plot. The writer did. The guy who wants to set up a band just happens to have a bartender uncle who can provide a brass section, a maitre d' friend who can provide a hall, and another friend who works for a crazy millionaire who decides to set up a record label. There are a few good inspirational lines spoken by Clarence Clemons (who also provides the dubbed sax for the protagonist), but the script doesn't take the time to put them in context so they take on the purplish tinge of a sore thumb. The most amusing lines in the film are printed in the closing credits. Oh, but the music is nice and Lisa S. is magnetic.