Ritmo Louco

This was, in many ways, the zenith of the Astaire-Rogers 10-film saga. And it manages to reveal a perfectly cohesive story (as well as a marvelous musical score) without one frame of mistaken identity or a misunderstanding which takes an hour-and-a-half to resolve. (Spoiler-ish) Astaire is initially betrothed to society girl Furness, but goes out into the world to raise a wedding dowry and ends up meeting, dancing with, and falling in love with Rogers instead. (If it reads like it all happens too fast, by all means acquaint yourself with the rest of the A-R film series.) The plots ultimately didn't matter- only the duo's ravishing dance duets, which were their love scenes. Probably no more thrilling dances have ever been presented on film: the tap routine "Pick Yourself Up" which first introduces the couple to each other; the 'lovely Waltz in Swing Time' (a happy duet which sort of marks the Act 1 finale); and the dramatic "Never Gonna Dance." This number is stunning for two reasons: it's a dance of a break-up, and it's the dance which may have been their most difficult to film. Because Astaire's mantra was uncut (or nearly uncut) dance numbers, his duets with Rogers were usually all done in one unbroken camera shot. In "Never Gonna Dance," the action travels from one dance floor up two curved staircases to another, cutting only one time, to a final 2-shot showing Rogers gloriously spinning in and out of Astaire's arms several times before making a dramatic exit. The shoot, history says, lasted from mid-morning until about 4 a.m. THE NEXT DAY, as take after take of the dance was spoiled with one problem after another (cameras bumping into walls, lights crashing, Astaire's toupee flying off his head!). Eventually, Rogers' feet bled into her high heels, but neither she nor Astaire wanted to stop until they got it right- and they finally did on take number FORTY-EIGHT. Now that's entertainment.

I agree that George Stevens contribution to Swing time is noteworthy however it is the brilliance of Jerome Kern that truly stands out from this production. Kern's beautiful melodies:- 'Pick Yourself Up', 'A Fine Romance' and the 'The Way You Look Tonight'had left an indelible effect on my conscience, because programmers had been clever enough to utilise their qualities in advertisements and TV sitcoms in the UK in the 70's & 80's. But when I learnt recently that these numbers all originated from the same production I was surprised.

I had the pleasure of seeing this picture for the first time over the Christmas holidays (2004) and was entranced by the execution of these compositions in their original form. Of course much of the credit goes to Dorothy Field's lyrics - perfectly delivered by Fred Astaire and Ginger Rogers. No wonder Irving Berlin and George Gershwin also wrote for them. We should remember that Astaire the vocalist is the equal of Astaire the dancer! Notwithstanding Kerns's melodies - which like Mozart's piano concertos are pure and simple but undoubtedly the work of a master - it is also the sexual chemistry of Astaire and Rogers that is expertly conveyed by Stevens and far ahead of its time! Forget Mike Nichol's Closer (2004) it is George Steven's Swing Time (1936) which suggests the leading players and their companions have an interesting private life and are far nicer people than Closer's protagonists too!

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.

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.

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.