Edit
Storyline
In 1941 America Kay and her husband are happy enough until he enlists after Pearl Harbor. Against his wishes, his wife takes a job at the local aircraft plant where she meets Hazel, the singer from across the way to whom she hadn't previously been all that nice. The two soon become firm friends and with the other girls become increasingly expert workers able to ride the jibes of the male workforce. As the war drags on Kay finally goes on a date with her trumpet playing foreman and life inevitably starts to get complicated. Written by
Jeremy Perkins {J-26}
Plot Summary
|
Add Synopsis
Taglines:
When America marched off to war the women marched into the factory. From then on...nothing was the same.
Edit
Did You Know?
Trivia
The scene taking place on the pier was filmed at Long Beach Navy Base. You can see the USS New Jersey, recently restored upgraded and home-ported there, over Goldy's shoulder. This gave the effect of the scene happening at the end of WWII as the New Jersey was a WWII battleship.
See more »
Goofs
The Navy rank patch is displayed on Fred Ward's right sleeve when it should be on his left.
See more »
Quotes
[
final lines]
Kay Walsh:
Hazel... we showed 'um didn't we.
Hazel:
Boy, did we ever.
[
both hug and cry]
See more »
Soundtracks
"American Patrol"
Written by
F.W. Meacham See more »
WWII star-vehicle for Goldie Hawn, here cast as a Rosie the Riveter-type who goes to work in an airplane-parts factory after her husband reports for duty. Poor beginning and hastily-filmed conclusion redeemed somewhat by bright moments in the middle. Hawn seems to realize she's being upstaged by Christine Lahti (as a "tramp" who lives in the same housing complex) and the final moments flip-flop trying to restructure the film's focus in Goldie's favor (check out that final shot). There's nothing wrong with that--Goldie's a wonderful presence and she's very appealing in parts of the movie--but her character as written just isn't all that interesting. As the men vying for Hawn's affections, Kurt Russell and Ed Harris are handsome and serviceable. As for Lahti, she indeed shines, obviously relishing the chance to play against type. I just wish the interaction between Lahti and Hawn had been explored with more depth, but it isn't. This is the fault of the screenwriter (the non-existent "Rob Morton", who is really Bo Goldman, Ron Nyswaner, and Nancy Dowd, here doing a WWII variation on "Coming Home", which Dowd also had a hand in) and also Goldie Hawn, who reportedly fought with director Jonathan Demme over control of the piece. They are all to blame for the slim box-office receipts "Swing Shift" struggled to bring in. **1/2 from ****