Dr. Tony Flagg's friend, Steven, has problems in the relationship with his fiancee, Amanda, so he persuades her to visit Dr. Flagg. After some minor misunderstandings, she falls in love ... See full summary »
Tom and Ellen Bowen are a brother and sister dance act whose show closes in New York. Their agent books them in London for the same period as the Royal Wedding. They travel by ship where ... See full summary »
Aviator and band leader Roger Bond is forever getting his group fired for flirting with the lady guests. When he falls for Brazilian beauty Belinha de Rezende it appears to be for real, ... See full summary »
Dolores del Rio,
Football player John Kent tags along as Huck Haines and the Wabash Indianians travel to an engagement in Paris, only to lose it immediately. John and company visit his aunt, owner of a posh... See full summary »
The Acunas, a rich Argentine family, have the tradition that the daughters have to get married in order, oldest first. When sister #1 gets married, sisters #3 and #4 put pressure on Maria, ... See full summary »
William A. Seiter
Lucky is tricked into missing his wedding to Margaret by the other members of Pop's magic and dance act, and has to make $25000 to be allowed to marry her. He and Pop go to New York where they run into Penny, a dancing instructor. She and Lucky form a successful dance partnership, but romance is blighted (till the end of the film at least!) by his old attachment to Margaret and hers for Ricardo, the band leader who won't play for them to dance together. Written by
Sebastian Gibbs <email@example.com>
The shadow dance idea for "Bojangles of Harlem" occurred to choreographer Hermes Pan and Fred Astaire during rehearsals, when three different light sources illuminating Astaire produced three shadows. See more »
When Penny Carrol's things fall on the ground, Pop Cadetti takes her purse and introduces his left hand in it to pick up back the Lucky Garnett's quarter. But after the cut, he holds the quarter in his right hand. See more »
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.
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