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Swing Time (1936)

7.7
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Ratings: 7.7/10 from 7,506 users  
Reviews: 67 user | 45 critic

A performer and gambler travels to New York City to raise the $25,000 he needs to marry his fiancée, only to become entangled with a beautiful aspiring dancer.

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Title: Swing Time (1936)

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Won 1 Oscar. Another 1 win & 3 nominations. See more awards »

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Cast

Complete credited cast:
...
...
Victor Moore ...
Helen Broderick ...
Eric Blore ...
...
Georges Metaxa ...
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Storyline

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 <sjg94@aber.ac.uk>

Plot Summary | Add Synopsis

Plot Keywords:

dance | wedding | love | dancer | performer | See more »

Taglines:

A glorious songburst of gaiety and laughter! See more »


Certificate:

Approved | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

|

Release Date:

12 October 1936 (Brazil)  »

Also Known As:

I Won't Dance  »

Box Office

Budget:

$886,000 (estimated)
 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(RCA Victor System)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

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 »

Goofs

During the shadow dance, the shadow behind Lucky is visible through him. See more »

Quotes

Mabel Anderson: Beautiful, isn't it?
Everett 'Pop' Cardetti: What is?
Mabel Anderson: The music.
Everett 'Pop' Cardetti: What music?
Mabel Anderson: The music they're playing.
Everett 'Pop' Cardetti: Oh, yeah.
[pause]
Everett 'Pop' Cardetti: What made you think of it?
Mabel Anderson: Think of what?
Everett 'Pop' Cardetti: The music.
[...]
See more »

Connections

Featured in Siskel & Ebert: Hail, Hail, Black and White (1989) See more »

Soundtracks

The Way You Look Tonight
(1936) (uncredited)
Lyrics by Dorothy Fields
Music by Jerome Kern
Performed by Fred Astaire
Reprised by Georges Metaxa
Reprised again by Georges Metaxa, Helen Broderick, Victor Moore, Fred Astaire, and Ginger Rogers at the end
Played in the score often
See more »

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User Reviews

 
48 takes?!! Jeez!!
8 December 2004 | by (Washington, DC) – See all my reviews

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.


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