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.

An excellent feature in almost every respect, "Swing Time" is usually (and deservedly) considered to be, along with "Top Hat", the best of the series of Ginger Rogers/Fred Astaire musicals. And while "Top Hat" is a well-crafted and enjoyable movie, "Swing Time" might be even better. The story is light but entertaining, and the singing and dancing sequences are not only first-class, but also contain quite a variety of material, making this an ideal showcase for the stars and their talents.

Fred and Ginger are joined by Helen Broderick, who fits in very well. Victor Moore has some good moments, although his character is a bit over-used, and ceases to be funny after a while. The four of them carry almost all of the load - Eric Blore and Betty Furness are in the cast, but they do not get a lot of screen time.

The story is not bad, but it is the musical numbers that make this so enjoyable. Practically all of them can be watched a number of times without becoming dull. The upbeat sequence in the dance studio, and the "A Fine Romance" song in the snow both show, in different ways, the two stars working together closely. Astaire's tribute to Bojangles is an impressive display of talent and choreography. Then there are the more thoughtful sequences between the two, which show yet another side of their talents.

If "Swing Time" had Edward Everett Horton back in the cast, instead of the Victor Moore character, this would easily be the best of all of the Astaire/Rogers musicals. Even as it is, it's awfully good.

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.

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.

If you only watch one Fred Astaire & Ginger Rogers musical this should be the one. There has long been a debate over which film is their best: Swing Time or Top Hat. In my opinion, Swing Time definitely takes this honor, number two being Top Hat, followed by The Gay Divorcée. All of their films together are excellent, but Swing Time is set apart because it takes a much more realistic look at love and life. This film handles the love affair between Astaire and Rogers' characters in a way that none of the other films did. The romance is touching, sweet, charming - and believable!

The songs are amazing, including "Pick Yourself Up", "The Waltz In Swing Time", "A Fine Romance", "Never Gonna Dance", and "The Way You Look Tonight", which is the greatest love song ever written. The scene where Astaire sings this to Rogers is not to be missed. His reaction to her touch - in this scene, as well as in the "Fine Romance" scene - is priceless. Watch for another not-to-be-missed moment, also in the "Fine Romance" scene, as Rogers uses every feminine trick in the book to try to get Astaire to respond.

Although this goes without saying, the dancing in "Swing Time" is superb. I hardly know words that are sufficient to describe the beauty that is the bittersweet dance number "Never Gonna Dance". The emotion in this scene is phenomenal. It is absolutely exquisite. If Fred & Ginger had, indeed, never danced - before or after - to any other number, this alone would have made them famous. It is the most beautiful dance ever recorded in motion picture history. Every time I re-watch this film, I'm always caught off guard by the sheer beauty of this one scene. For this reason alone, "Swing Time" is definitely a "must see" film.