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 »
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 »
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,
Lady Alyce Marshmorton must marry soon, and the staff of Tottney Castle have laid bets on who she'll choose, with young Albert wagering on "Mr. X." After Alyce goes to London to meet a beau... 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 »
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 <firstname.lastname@example.org>
The original concept of "Bojangles of Harlem" was actually much more elaborate than what ended up on film. A scenario called "Hot Fields" was prepared as a loose parody of the all-black vehicle "Green Pastures." It would have involved the Bojangles character traveling through a variety of stylized sets representing Heaven, Hell and jungle locations, and would have involved many routines with that most familiar Bill Robinson setting - stairs. Thirty-three scenes would have been required. No doubt such an elaborate series of sequences was deemed to be too expensive to construct and film. All that remains in the film is an introduction to the character involving an outsized bowler hat which turns into enormously long legs. See more »
In the scene at the New Amsterdam, when Lucky first gets out of the car, there is a large white mark on the seat of his coat. This is possibly because no-one brushed off his coat after a previous take of the same scene, in which he sits down on a "snow" covered bench. See more »
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.
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