Sur les ailes de la danse

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.

There's something special about all of the Astaire-Rogers movies, and "Swing Time" is no exception. Directed by George Stevens, it tells the story of a dancer and a gambler - not seen as much of a catch by his future father-in-law - who, after he misses his wedding, goes to New York. He promises his fiancée's father that he will return, solvent, and ask again for his daughter's hand in marriage. Once in New York, he falls for Ginger Rogers, who was never prettier than in this film. One thing leads to another, and the wind up as dance partners.

Eric Blore, Helen Broderick, and Victor Moore supply able support, and the film has a beautiful Jerome Kern score: "Pick Yourself Up," "The Way You Look Tonight," and "A Fine Romance" being a few of the numbers.

There are two knockout pieces in this film - Astaire's tribute to Bill "Bojangles" Robinson is one of the most stunning numbers Astaire ever did. He manages to wear blackface and not have it be offensive, as it's very light makeup to suggest his portrayal of Robinson. The number, with its accompanying huge dancing shadows, is magnificent. And the final number - "Never Gonna Dance" surely is one of their top dances ever, with that incredible deco set, the double curving stairways, and Ginger in that glorious dress.

It's hard to sum up how their dancing lifts you up and out of whatever ails you. Definitely their smoothness, footwork, chemistry, and glamor reach out to my soul every time I see them.

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.

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.