User Reviews

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.

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.

'Swing Time (1936)' is typically held as one of the finest Fred Astaire and Gingers Rogers musicals, of which nine were made between 1933 and 1939 {' The Barkleys of Broadway (1949)' would follow a decade later}. Directed by George Stevens, the film abandons the often-silly mistaken identity subplots of previous films, and presents a more credible love story, supplemented by some of the most remarkable dance numbers I've yet had of enjoyment of seeing. Replete with the usual stock of enjoyable comedic actors, 'Swing Time' is a professionally-produced film, and Astaire and Rogers, as always, bounce off one another exceedingly well. Though the storyline isn't quite as entertaining as in 'Top Hat (1935)' or 'Shall We Dance (1937),' the picture relies purely on its terrific dance routines to elevate it to such a high status. Jerome Kern provided the film's music, and Dorothy Fields wrote the lyrics, including the Oscar-winning song, "The Way You Look Tonight."

John "Lucky" Garnett (Astaire) loves home-town sweetheart, Margaret (Betty Furness), and wants to marry her… or, at least, he thought he did. After the master-gambler moves to New York City to acquire a $25,000 dowry for the wedding, he comes upon beautiful dance instructor Penny Carroll (Rogers), immediately recognising that she is the woman for him. Wasting no time to consider the logic of his actions, Lucky signs up for dancing lessons, and his incredible "progress" leads the pair towards considerable success. A promising romance begins to bloom, but Lucky cannot bear to tell Penny that he's already engaged to marry another woman; at the same time, he deliberately resists achieving success in his gambling activities, lest he win enough money to return home to Margaret. Pop Cardetti (Victor Moore) and Mabel Anderson (Helen Broderick), knowing members of an older generation, stand around to witness the pair's irregular romance, and form a close friendship of their own, though everything is thrown into turmoil when sleazy musician Ricky Romero (Georges Metaxa) attempts to coax Penny from Lucky's grasp.

The absence of Edward Everett Horton unfortunately detracts from the effectiveness of the film's comedy, though Victor Moore provides an amusing substitute; his tone and mannerisms are so ridiculously adorable that he could accurately be described as a real-life Elmer Fudd. Jerome Kern's musical numbers vary from lighthearted tap dance numbers ("Pick Yourself Up") to sarcastic quicksteps ("A Fine Romance") to a virtuoso, emotion-filled ballroom routine ("Never Gonna Dance"), perhaps the most stirring performance that Astaire and Rogers ever did. There's a certain indescribable desperation to the way in which the two dancers leap and twirl across the dance floor, their movements escalating almost imperceptibly from an idle walk, and Rogers' long dress twists and turns in the air behind her. In Astaire's continual search for creative perfection, his routines were filmed, wherever possible, in a single take, and this particular number was attempted no less than forty-seven times. Also notable is Astaire's frenetic tribute to Bill "Bojangles" Robinson, performing in black-face against three tall synchronised shadows on the wall behind him.

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.

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.

SWING TIME (RKO Radio, 1936), directed by George Stevens, marks the sixth screen teaming of Fred Astaire and Ginger Rogers, and if not their masterpiece, their best collaboration together. Aside from the predictable storyline that succeeds in presenting itself as an original screenplay, its their most lavish and stylish production, with the most memorable songs ever scored for a motion picture, compliments of Jerome Kern. Yet it's richness in sets and costumes makes one forget that this very expensive looking film was done at the height of the Great Depression.

The story begins with John "Lucky" Garnett (Fred Astaire), a professional dancer finishing up with his stage performance, and about to leave the theater and marry Margaret Watson (Betty Furness), his childhood sweetheart. Because his friend, "Pop" Cardetti (Victor Moore) feels his marriage would be a mistake, he succeeds into getting Lucky (whose biggest weakness is gambling) into a game of cards with his colleagues while others "arrange" to take time and have a tailor fix his pants by having cuffs put on them, while in reality his pants don't need cuffs. By the time he arrives at his wedding, the guests and preacher have long gone. Lucky persuades Margaret and her angry father (Landers Stevens), who disapproves of dancers, that if he can make $25,000 for his professional dancing, he can return to Margaret and claim her as his bride. The old man readily agrees to this idea and all is forgiven. Lucky and Pop train ride to New York City where while walking down the streets, a misunderstanding occurs between them and a young lady (Ginger Rogers) involving a lucky quarter belonging to Pop, in which a policeman (Edgar Dearing) enters the scene and sends the lady on her way. Trying to square himself, Lucky follows the girl, Penelope Carroll, to the dance studio where she works. He pretends to enroll in a class and has Penny as his teacher. Her employer, Mr. Gordon (Eric Blore), fires Penny for insulting her pupil, whom she finds annoying whom she finds annoying and incapable of learning how to dance, but Lucky squares things by demonstrating how much Penny has taught him in one easy lesson. Amazed by the accomplishment Gordon arranges for Penny and Lucky to dance professionally at the Silver Scandal Night Club. Along the way, Lucky gambles his way to success, by winning a game of cards to obtain an orchestra leader, Ricardo Romero (Georges Metaxa), who loves Penny and jealous of her dancing partner. As for Pop, he finds middle-aged companionship with Mabel Anderson (Helen Broderick), Penny's co-worker, best friend and roommate. Problems arise when Margaret returns to the scene and Ricardo insists on wanting to marry Penny.

SWING TIME's perfection mainly relies on the comic timing supplied by both its stars and character supporters, as well as the production numbers that surpass anything Astaire and Rogers have have done thus far. The score by Jerome Kern and Dorothy Fields include: "Pick Yourself Up" (sung by Fred Astaire and Ginger Rogers); "The Way You Look Tonight" (sung by Fred Astaire, later reprized by Georges Metaxa); "The Waltz in Swing Time" (instrumental dance by Astaire and Rogers); "A Fine Romance" (sung by Ginger Rogers and Fred Astaire); "Bojangles of Harlem" (sung by chorus/ performed by Astaire); "Never Gonna Dance" (sung by Astaire/ danced by Astaire and Rogers, along with "The Way You Look Tonight" and FINALETTE: Astaire and Rogers singing "A Fine Romance" and "The Way You Look Tonight." (Academy Award winner as Best Song of 1936). Of the musical highlights, "Bojangles of Harlem," Astaire's solo dance and his only black-face number, is an immediate classic that can be seen over and over again without any loss of interest. Reportedly a tribute to Bill "Bojangles" Robinson, Astaire manages to what would be offensive in today's society as both watchable and entertaining. Unlike the traditional black-face clichés, Astaire avoids the use of whiteness around the lips and presents himself in a complete tanned facial makeup, dressed in derby and spotted jacket. The scene where he dances in front of three shadows of himself on the wall has to be seen to really be appreciated. There's no doubt this was the best eight musical minutes ever recorded on film. Thank goodness due to political correctness that this number was never known to have been deleted from television prints. After seeing "Bojangles of Harlem," one would wonder how Astaire could ever top this? Well, he does, with "Never Gonna Dance," in he and Rogers dance on the glittering dance floor and finish it by dancing separately up a flight of two staircases. Great stuff.

SWING TIME brings back Helen Broderick, of TOP HAT (1935) fame, for the second and final time supporting Astaire and Rogers, once more delivering wisecracks in her deadpan manner, and her first of several opposite Victor Moore. As with each passing movie, Ginger Rogers has groomed, into an attractive young lady. By this time, her vocalization has matured, no longer the high-pitch girlish singer she once was in FLYING DOWN TO RIO (1933). Eric Blore, a regular in five Astaire and Rogers musicals, has less to do here than in his other collaboration with them. This time he sports a mustache, isn't playing either a waiter or butler.

SWING TIME, available on video cassette and DVD, and formerly presented on American Movie Classics, is shown regularly on Turner Classic Movies. To watch SWING TIME for the 50th time is like watching it for the first. Highly recommended, particularly during the late hours or during a cold, snowy afternoon, considering how snow does cover a lot of ground during the second half of the story. (****)

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!

This is one of the most famous Fred Astaire-Ginger Rogers musicals.

GOOD - There is one tremendous dance scene in here by Fred Astaire which includes three big shadows on the wall in back of him as he dances. I think it's one of Fred's all-time best numbers; very inventive and always great to watch. There are also a few good dance scenes with Fred and Ginger Rogers. Some of the songs from this film became "standards," such as "The Way You Look Tonight" and "Pick Yourself Up." The script is corny but at least interesting for the most part. This was my first look at Betty Furness as a younger woman ("Margaret Watson") and I thought she was pretty.

BAD - Same old, same old with these Astaire-Rogers films, namely: (1) marriages made out of "spite;" (2) a very annoying character, this time "Pop Cardetti," played by Victor Moore, and (3) a very stupid ending.

OVERALL - At least at the end, we see the couple getting married for the right reason: love (duh). It's an okay but I think an overrated one. There are a number of other Astaire films I'd choose over this, but then again, to see either Fred or Ginger dancing can never be underestimated. They were a fabulous team and great individual talents.

The Astaire and Rogers partnership was in its third year, and at its peak in quality and popularity, when producer Pandro S. Berman decided to switch director Mark Sandrich (who had the helmed classics The Gay Divorcée, Top Hat and Follow the Fleet) with up-and-coming George Stevens. Stevens' background was in "B" comedy, and he had recently graduated to "A" drama with 1935's Alice Adams, so had been judged ready to handle the franchise that was RKO's biggest moneymaker. The resulting film was the greatest of the Astaire-Rogers pictures, and a highlight of the 30s musical.

Although Stevens did not have the light, rhythmic touch that characterises the Sandrich musicals, he added an emotional depth that the series had never had before. Fred and Ginger were a pair of talented dancers with a flair for comedy, and RKO had never used them for anything more than that. Stevens really allows them to act. The overall plot is in the same vein of romantic comedy as Top Hat, yet here and there is a little hint of poignancy. For example, when Astaire's old band mates hunker down and begin gambling with their earnings, he gives a quick mournful look he as strolls past them, as if he knows he's losing a part of his life. Later, when Ginger realises that Fred's fiancé is in the room, she is held in a lengthy close-up, and emotes brilliantly for the camera. The significance of these little moments is that they make us really care about the characters, the way we cared about Katherine Hepburn in Alice Adams. We want their relationship to work rather than simply wait for the inevitable conclusion.

Of course, Stevens was also a brilliant comedy director, and he is always willing to punctuate the most sentimental moments with a gag, such as when "The Way you Look Tonight" ironically ends with Astaire turning round and realising Rogers actually looks a bit of a sight as she is halfway through washing her hair.

As well as the different director Swing Time also sees something of a shake-up to the regular supporting cast. It makes a change to see Eric Blore playing something other than a butler for once, and the marvellous comic actress Helen Broderick is thankfully back after almost stealing the show as far as comedy was concerned in Top Hat. Georges Metaxa seems to be a replacement for the pretentious foreign love-rival normally played by Erik Rhodes, and while not as comical as Rhodes, does not do at all badly. On the other hand Victor Moore, while very good, is not a patch on Edward Everett Horton, who is the perfect "buddy" for Astaire.

A common misconception about musicals of the 1930s is that they were not "integrated" – that is, the songs were musical breaks inserted into the narrative rather than being part of the story in themselves. Of course this is not the case as a glance at the Ernst Lubitsch Paramount musicals will prove, but even those of Astaire and Rogers had their own form of integration. While it's true that the numbers tended to be fairly generic love songs, functioning mainly to lead into a dance routine, it was the dances themselves that often carried the plot along and revealed character. Every up and down of the romance revolved around a dance, and the first time Fred and Ginger dance together, that's the moment they fall in love.

In the case of Swing Time the songs actually do bear some relevance to the storyline, thanks mainly to some intelligent lyrics by Dorothy Fields. Jerome Kern also provides some fantastically soulful music that goes hand-in-hand with the picture's deeper emotional feel. And let's not forget the amazing dance numbers dreamed up by Astaire and choreographer Hermes Pan. The routines in these pictures were becoming increasingly extravagant and inventive as Pan continuously tried to outdo his last effort, and there is a sense of his clutching at straws for fresh ideas in the later pictures as the series' popularity declined. Here however the choreography is still on top form, and the Bojangles of Harlem number has to rank among his best.

Perhaps the biggest difference between the musicals of the 30s and those that came later is not how integrated they were, but how seriously the genre could be taken. The plots of 30s musicals were always clichéd, throwaway romantic comedies, whereas the musicals of the 40s, 50s and 60s had grown up into fully-fledged dramas, equally capable of tackling weighty issues or inducing tears as they were at delighting with song and dance. In that light, the touching romance of Swing Time makes it something of a milestone. However, while the musical genre would continue to move onwards and upwards, the Astaire-Rogers franchise would never be this good again.

I just bought the first Astaire & Rogers DVD collection and watched SWING TIME first because of the reviews and I have to say that I was underwhelmed by the musical. It's not awful but it's not the greatest from the duo. The story is especially silly even for a Fred/Ginger film: gambling and marriage?!? What annoyed me about this musical is the lack of, hmm, songs. The first song occurs 25 minutes into the film. After watching the first 25 minutes, I wondered if this was a musical at all. 50 minutes into the film, there were only 3 songs (and only two of those were dance numbers and average ones at that). Because of this, the film dragged. The pacing is all wrong. SWING TIME has a screwball comedy story but the unusual slow pace (it's almost 2 hours long) betrays its intentions. Halfway through it and I was about to give up. And the Bojangles dance number is, sorry to say, a total misfire, because, thematically speaking, it has nothing to do with the rest of the film. It looks totally out of place. It just doesn't jibe.

With that said, there are a couple of great songs in it, including "A Fine Romance." A lovely song indeed. And Fred and Ginger are always great to look at when they do their dance routine even if, alas, are few and far in between here.

The main problem with SWING TIME is the director: George Stevens. Not known for musicals but mainly for big, epic mythical American films (A PLACE IN THE SUN, GIANT and SHANE), SWING TIME feels at times over-directed (certainly for such a flimsy story-line) AND undernourished (certainly regarding its musical aspect).

I really wanted to like SWING TIME but I didn't care much for it. Now I'll watch TOP HAT and SHALL WE DANCE, which are much more enjoyable than this average affair.

For a much ballyhooed Fred Astaire/Ginger Rogers musical, "Swing Time" is surprisingly tough to sit through. Inane patter flies from the mouths of a slew of uninteresting, often annoying people. Whenever they aren't dancing, they're talking, and that's a problem.

Astaire is Lucky, a compulsive but winning gambler-cum-dancer who goes to New York in order to make enough to marry his rich girlfriend. Ginger is Penny, a woman he meets on the street and whose job as a dance instructor leads to some early laughs when Lucky shows up for a lesson, only to reveal himself as left-footed.

"No, no, your RIGHT foot," she tells him.

"Sorry, I'm left-handed," he replies.

Of course, Lucky can dance quite well. When the pair are moving across the floor, "Swing Time" makes for pleasant if not memorable watching. Yet the movie trips over less musical scenes.

Victor Moore's Pop has been singled out in a lot of user reviews, and rightly so. With his wheedling voice and vacant projection, not to mention a character who is both stupid and a cheat, he really kills dead a lot of my enthusiasm. Helen Broderick is just as bad as Ginger's pal and Pop's love interest, one of those snappy-patter dames who seems to have been a dumping ground for bad lines from rejected scripts: "I always talk to myself...I'm my own grandmother and I have to keep the old girl interested!"

Director George Stevens is the man who also helmed "Gunga Din" and "Shane". You get the feeling he ached to make something more significant here than a showcase for dance numbers. When Lucky and Penny (how can they not be a couple!) come together, they have an argument over Pop having stolen her quarter. A cop takes Lucky's side because he's better dressed: "Guys like you pay me for protecting them from screwy dames." Social commentary! One scene between Pop and Lucky is played for "Of-Mice-And-Men" type pathos. "I'll never leave you", Pop says as the scene fades out. Awwhh...

Rogers is said to have liked this best of all her Astaire films. She probably appreciated playing a character who for once wasn't ready to bolt or hit Fred at the first hint of romantic interest. Fred's the problem here, hanging around at the beginning with dopey Pop and a bunch of male dancers who scheme to stop his wedding and steal his bankroll in the process. When confronted by their treachery, he just shrugs and smiles. When meeting Penny, he can't bring himself to tell her he's engaged, which of course would be honest and make for a much shorter, less complicated film. I love Fred, but I couldn't stand Lucky.

There are good things. "The Way You Look Tonight" is one of the best movie songs ever. Eric Blore has a funny, short role as Penny's bombastic boss. The art deco sets really play up the glitzy luster we associate with the 1930s high life.

No, musicals aren't reality. Like monster movies they have their own logic. But good musicals have a way of drawing you in. "Swing Time" keeps you at a distance, not caring an iota what happens next.

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.

SWING TIME just misses being the best of all the Astaire-Rogers musicals because of one factor--too much Victor Moore and too little Eric Blore. I tend to favor TOP HAT as their best collaboration because among the supporting players in that one was Edward Everett Horton and, of course, the Irving Berlin tunes were great.

This time, in SWING TIME, we're at least spared the mistaken identity theme which ran through so many Astaire-Rogers plots. It's a simple boy meets girl, boy loses girl, boy wins girl sort of thing without wearing the patience thin and sprinkling some nice Gershwin tunes throughout.

My own favorites are "A Fine Romance", staged among the snowflakes in a country setting, and "Never Gonna Dance" which is the most dramatic of the duo's dancing numbers and takes place in an art deco setting that is strikingly photographed in great B&W photography.

Ginger's eye make-up looks a little heavy but she's pretty as a picture as the dancing instructor Eric Blore almost fires. Fred Astaire not only acquits himself with finesse on the dance floor but in the acting department as well.

Victor Moore soon gets tiresome (in a way that Edward Everett Horton did not). The plot is paper thin and Betty Furness has next to nothing to do--but in this kind of film, all fans really wanted was to watch Astaire and Rogers glide across the dance floor in intricate style--and this they do.

Ginger Rogers was told that SWING TIME did even better business at Radio City Music Hall than TOP HAT--and has declared that among all her films with Astaire, this is her own personal favorite. It's easy to see why. Her big dance numbers with Astaire were filmed in one long, unbroken take--but since she complained of bleeding in her dance shoes you have to wonder how many takes it took to get the perfection seen here.

It's wonderful that we have these Fred Astair and Ginger Rogers films to give us delight some seventy years after they were made. They occupy a unique niche in movie history representing a style that will never be again. It was an era before realism when there was no concern for believability. For example consider when Lucky, Penny, "Pop", and Mabel drive to the New Amsterdam lodge in their convertible in the snow (which is absurdly fake) with the top down no less. And then they hang around singing to each other. And Lucky's hopping on a train in a tuxedo and arriving looking fresh as a daisy. But the movie is so good-natured and the leads so elegant and winning that all is forgiven. What current movies will be watched seventy years from now? What current movies will then appear regularly on late-night TV?

Fred and Ginger dance with such joy that it is impossible for it not to rub off. The plot here is merely a device to provide something to hang the dancing and singing onto, and the dancing is special - the singing somewhat less so. How did they do that number with the backlit dancers?

This movie also offers us a glimpse into the 1930s, or at least 1930s film making. It must have been a trip to dance in those old art deco nightclubs. Such upbeat and sparkling movies surely helped a lot of people make it through the depression.

This one is a real gem. Fred Astaire and Ginger Rogers are at their very best. The musical numbers leave you humming them long after the movie is over. Great lyrics. Jerome Kern is a great song writer especially, "The way you look tonight" and "A fine romance" The dance scene with the shadows is very inventive. The black face presentation was very tasteful and lots of fun to watch. The rhythm is exciting in the number where Fred uses castanets in his hands. Ginger is so beautiful and they both are really funny. Ahh they just don't make movies like that anymore. Thank God we have these little jewels just waiting to be rediscovered once again. A great work of art, and craftsmanship that is lost, but still preserved.

George Stevens directed this Astaire/Rogers musical and many critics think very highly of it. There is certainly more plot than usual, (and consequently, less music), but this is the one with 'The way you look tonight', 'A fine romance' and the 'Bojangles of Harlem' number and any time Fred and Ginger are on the floor the movie soars, (witness their 'Waltz in Swing Time'). Unfortunately the comedy seems forced and neither Fred nor Ginger seem as happy in this film as they are in the Mark Sandrich movies, (maybe it's because they are cast as being in love almost from the outset and there is less sparring than usual). We also miss Edward Everett Horton. It's better than the films that followed it, (though I still have a soft spot for "Shall We Dance"), but it has a somewhat inflated reputation and doesn't hold a candle to "Top Hat".

Swing Time is my favorite Astaire/Rogers movie and it is considered by many, rightfully so, the finest of their collaboration. The estimable George Stevens directed this musical and the result is a movie that focuses all its energies where it should be placed- on the magical couple. Gone are the production numbers which comprised of a cast of a thousand dancers and the "other" couple (usually Randolph Scott paired with a singer). Instead, Swing Time pares down the excesses and highlights its musical gifts; and what musical gifts they are! Jerome Kern's score is his best and so affectingly sung by Astaire. The "Bojangles" number is the stuff of legend and the poignant "Never Gonna Dance" communicates the highs and lows of love as eloquently as a Shakespeare sonnet. I recommend this movie highly.

For Fred & Ginger savants, debate over Swing-Time & Top-Hat is the great divider. For this critic, it's the songs (Chinatown Gittes hums one as he peruses Mulwray's office), steps, swell sidekicks (Mabel & Pop), sentiment and Bojangles of Harlem number with Astaire in minstrel, choreographed by Hermes Pan in tribute to friends Robinson & Bubbles, that puts Swing over Top. If you must be offended, you must, but until I'm persuaded R&B were, I won't, be offended. Political correctness is the new Red Scare, Blue as it were, making blacklists, killing art while business reacts as it did in the 50s with fear rather than education. What I fear is warnings on blackface which precede airings, warnings on ALL dated mores, will devalue the art by eroding confidence and invite censorship, leading TV techs to edit more aggressively, only show films like Swing & Bad-News-Bears in snoozer slots or ban them altogether, moving further towards a prosaic programming where westerns & wars are already pelicula non-grata. As a point of interest, in his 2009 Inauguration, President Obama made reference to Swing in using words from Fields & Kern's classic opening tune, challenging the nation to "pick ourselves up and begin again the work of remaking America." Spiffy stuff (4/4).

Swing Time has some of the best music and dance numbers of all the Fred and Ginger movies. Is it the same basic banal story as they all are? Yes, but honestly, I don't mind sitting through a silly story with insipid dialog in exchange for the enjoyment of the musical numbers. One of the worst parts of this movie is Victor Moore as Pop; he's just a little too stupid and obnoxious to be likable. The other, as 90% of the reviews mention is the blackface number. It is completely inappropriate by today's standards; but you have to take into account that this movie was made in 1936 which was a different time and culture. I can overlook it for numbers like "The Way You Look Tonight", "Waltz in Swing Time" "Pick Yourself Up" and "Never Gonna Dance".

As a movie, this is a real stinker. The plot premise (the rapid movement from dislike to romance) is bad enough, but not uncommon, but the pairing of 60 year old (and looking every day of it) Victor Moore as best bud of Fred is laughable. No wait, the pairing of Helen Broderick as best bud of Ginger now that's laughable. Both of these actors have the presence of a block of wood on the screen.

So why watch it? People who know dance (I'm not one of them), say that 3 of the 10 greatest dances ever filmed appear here. I wouldn't know but the dancing is spectacular, for me, particularly the dance to "Pick Yourself Up".

Also, arguably, the movie introduces 3 songs that are solid members of the Great American Songbook. Great Jerome Kern / Dorothy Fields collaborations of "The Way You Look Tonight" (the Oscar winner and only award of this stiff), the aforementioned "Pick Yourself Up" and "A Fine Romance". 3!!!!

So watch. The dance is great; the music is great. Watching the plot and the clunky sidekicks bumble through this film is like watching a train wreck. Three great songs and three great dances deserved a better vehicle.