Swing Time (1936)
Swing Time (1936)
Leading this review off, I shall be frank. Up to this point in 2019, I have never seen a Fred Astaire or Ginger Rogers movie. Of course their reputation precedes me and I knew they have been in countless number of films together, but much to the dismay of my older family members, I have not seen a film of theirs…..until I received the desperate pleas to watch 1936’s Swing Time. Guys, I think I loved it. The production values, the song and dance routines, and the erotic yet intelligent chemistry between Astaire and Rogers is really something else. Watching this movie made me fall in love with this duo and has me eagerly wanting to see all of their films together. It’s been told that this particular film is their best one. The excellent song and dance production values are matched very well with a funny and well-rounded script by Howard Lindsay and Allan Scott.
Because this film associates itself with music (well, duh!), I need to talk about these songs. The hit song that everyone talks about is the romantic “The Way You Look Tonight.” This song won the film’s only Academy Award and is completely deserved. The way it was sung in the movie with Astaire sitting at the piano and Rogers in the dressing room listening was incredibly romantic. It has also been voted as one of the best love songs of all time and I will not deny that statement. I may have been openly weeping when that song was played. Another interesting song is “The Bojangles of Harlem.” Great song that used some great effects to it. It’s a song with Astaire dancing to the backdrop of three shadows. This particular scene took three days to film. My only concern was the use of blackface (ugh!), but some critics and historians see that as a tribute to Bill Robinson, an incredible African-American tap dancer. Other songs needed a mention are “A Fine Romance” and “Pick Yourself Up” which happens to be the comedic opening song.
Directed by George Stevens (RKO’s directorial baby at the time) directs the winning duo of Astaire and Rogers in a tale of finding love in the most unexpected places. Lucky (Astaire) is set to marry his bride-to-be but misses the wedding because of his friend’s Pop’s (Victor Moore) trick. He and Pop are forced to go to New York to make $25,000 if he wants to marry his bride. While in the city, he runs into Penny (Rogers) who is a successful dance instructor. They form a successful partnership, but they realize their feelings may be deeper than that. What about Lucky’s bride Margaret or Penny’s suitor, band leader Ricardo.
After watching both Astaire and Rogers together, I absolutely believe the hype. These two might have the best chemistry of any on-screen partners you’ll ever see. It’s really dynamic. Both actors were fantastic. I do not think I can even call them actors because they are performers really. You will lose yourself when the dancing begins and that is a promise. I was a little surprised that it took nearly thirty minutes for our first sequence, but it is well worth the wait.
Many of the films with Astaire and Rogers, while beloved for their production values, are often criticized for stories that are not quite believable. Swing Time is often regarded their best movie because it has a story that people can connect with and some very clever comedy bits. The sequence that comes to mind is the one where Astaire visits Rogers to take dancing lessons but ends up getting her fired, so he dances a complicated jig to prove he learned a few things from her. I also liked the supporting turns from Victor Moore and Helen Broderick (who plays Mabel Anderson, Penny’s secretary). Their comedy can be a little over-the-top, but I got enough laughs from them.
Swing Time was the best way to introduce myself to the talents of Fred Astaire and Ginger Rogers. Their dancing is so calming, so rhythmic, and just an utter delight to watch. The story is about love and it is told extremely well. The blackface sequence, well-intentioned or not, does loom a little problematic in today’s day and age so be forewarned before watching this film for the first time. Other than that, enjoy all the lovely musical sequences and production values. I know I did!
My Grade: A-
Leading this review off, I shall be frank. Up to this point in 2019, I have never seen a Fred Astaire or Ginger Rogers movie. Of course their reputation precedes me and I knew they have been in countless number of films together, but much to the dismay of my older family members, I have not seen a film of theirs…..until I received the desperate pleas to watch 1936’s Swing Time. Guys, I think I loved it. The production values, the song and dance routines, and the erotic yet intelligent chemistry between Astaire and Rogers is really something else. Watching this movie made me fall in love with this duo and has me eagerly wanting to see all of their films together. It’s been told that this particular film is their best one. The excellent song and dance production values are matched very well with a funny and well-rounded script by Howard Lindsay and Allan Scott.
Because this film associates itself with music (well, duh!), I need to talk about these songs. The hit song that everyone talks about is the romantic “The Way You Look Tonight.” This song won the film’s only Academy Award and is completely deserved. The way it was sung in the movie with Astaire sitting at the piano and Rogers in the dressing room listening was incredibly romantic. It has also been voted as one of the best love songs of all time and I will not deny that statement. I may have been openly weeping when that song was played. Another interesting song is “The Bojangles of Harlem.” Great song that used some great effects to it. It’s a song with Astaire dancing to the backdrop of three shadows. This particular scene took three days to film. My only concern was the use of blackface (ugh!), but some critics and historians see that as a tribute to Bill Robinson, an incredible African-American tap dancer. Other songs needed a mention are “A Fine Romance” and “Pick Yourself Up” which happens to be the comedic opening song.
Directed by George Stevens (RKO’s directorial baby at the time) directs the winning duo of Astaire and Rogers in a tale of finding love in the most unexpected places. Lucky (Astaire) is set to marry his bride-to-be but misses the wedding because of his friend’s Pop’s (Victor Moore) trick. He and Pop are forced to go to New York to make $25,000 if he wants to marry his bride. While in the city, he runs into Penny (Rogers) who is a successful dance instructor. They form a successful partnership, but they realize their feelings may be deeper than that. What about Lucky’s bride Margaret or Penny’s suitor, band leader Ricardo.
After watching both Astaire and Rogers together, I absolutely believe the hype. These two might have the best chemistry of any on-screen partners you’ll ever see. It’s really dynamic. Both actors were fantastic. I do not think I can even call them actors because they are performers really. You will lose yourself when the dancing begins and that is a promise. I was a little surprised that it took nearly thirty minutes for our first sequence, but it is well worth the wait.
Many of the films with Astaire and Rogers, while beloved for their production values, are often criticized for stories that are not quite believable. Swing Time is often regarded their best movie because it has a story that people can connect with and some very clever comedy bits. The sequence that comes to mind is the one where Astaire visits Rogers to take dancing lessons but ends up getting her fired, so he dances a complicated jig to prove he learned a few things from her. I also liked the supporting turns from Victor Moore and Helen Broderick (who plays Mabel Anderson, Penny’s secretary). Their comedy can be a little over-the-top, but I got enough laughs from them.
Swing Time was the best way to introduce myself to the talents of Fred Astaire and Ginger Rogers. Their dancing is so calming, so rhythmic, and just an utter delight to watch. The story is about love and it is told extremely well. The blackface sequence, well-intentioned or not, does loom a little problematic in today’s day and age so be forewarned before watching this film for the first time. Other than that, enjoy all the lovely musical sequences and production values. I know I did!
My Grade: A-
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