6.0/10
135
6 user 3 critic

Swing Fever (1943)

Approved | | Comedy, Musical, Romance | 1 November 1943 (USA)
Lowell Blackford (Kay Kyser) is blessed with a gift of music,but also cursed with a hereditary "evil eye" which hypnotizes people,and he is virtually a recluse. He goes in search of a ... See full summary »

Director:

Tim Whelan

Writers:

Matt Brooks (story), Joseph Hoffman (story) | 2 more credits »
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Cast

Cast overview, first billed only:
Kay Kyser ... Lowell Blackford
Marilyn Maxwell ... Ginger Gray
William Gargan ... 'Waltzy' Malone
Nat Pendleton ... 'Killer' Kennedy
Lena Horne ... Lena Horne
Curt Bois ... Nick Sirocco
Morris Ankrum ... Dan Conlon
Andrew Tombes ... Dr. Clyde L. Star
Maxie Rosenbloom ... 'Rags'
Clyde Fillmore Clyde Fillmore ... Mr. Nagen
Pamela Blake ... Lois
Lou Nova Lou Nova ... Kid Mandell
Jack Roper Jack Roper ... 'Sledgehammer'
Harry Babbitt ... Vocalist with Kay Kyser's Orchestra
Sully Mason ... Sully
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Storyline

Lowell Blackford (Kay Kyser) is blessed with a gift of music,but also cursed with a hereditary "evil eye" which hypnotizes people,and he is virtually a recluse. He goes in search of a Broadway publisher for a symphonietta he has written, and ends up crashing an audition at the Swing Publishing Company, where he meets torch singer Ginger Gray (Marilyn Maxwell) and her fiance and promoter, Waltzy Malone (William Gargan). Ginger accidently walks off with his music and he follows her to a gym where Waltzy's fighter, "Killer" Kennedy (Nat Pendleton), has just been kayoed by his sparring partner. Waltzy learns of Lowell's hypnotic power and believes that Kennedy can win the championship if Lowell uses his power against the champ. He arranges for Lowell to lead the band at the club where Ginger sings. The latter objects to the role she is to play in getting Lowell to use his "evil eye" but Waltzy persuades her to go along by telling Lowell that Kennedy is her brother and it means everything ... Written by Les Adams <longhorn1939@suddenlink.net>

Plot Summary | Add Synopsis

Taglines:

Dance! Sing! It's So JOYOUS!


Certificate:

Approved | See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

1 November 1943 (USA) See more »

Also Known As:

Right About Face See more »

Company Credits

Production Co:

Metro-Goldwyn-Mayer (MGM) See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Western Electric Sound System)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

This film was first telecast in Los Angeles Thursday 18 April 1957 on KTTV (Channel 11) , followed by Altoona PA 2 May 1957 on WFBG (Channel 10), by New Haven CT 10 May 1957 on WNHC (Channel 8), by Philadelphia 23 May 1957 on WFIL (Channel 6), by Tucson 26 June 1957 on KVOA (Channel 4), by Chicago 1 July 1957 on WBBM (Channel 2), by Honolulu 28 July 1957 on WHVH (Channel 13), by Minneapolis 19 October 1957 on KMGM (Channel 9), and by San Antonio 5 December 1957 on WOAI (Channel 4); it first aired in San Francisco 19 December 1958 on KGO-TV (Channel 7) and in Seattle 14 January 1959 on KING (Channel 5); its earliest documented telecast in New York City did not take place until 16 August 1963 on WCBS (Channel 2). See more »

Soundtracks

Mississippi Dreamboat
Music by Sammy Fain
Lyrics by Lew Brown and Ralph Freed
Sung by Marilyn Maxwell
Played by Kay Kyser and His Band
See more »

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User Reviews

 
Kay K.O.'d
3 January 2006 | by marcslopeSee all my reviews

Columbia, RKO,and Republic, among others, turned out escapist wartime musicals by the dozens, and their lack of availability is probably a blessing; this one, from MGM, has sleeker production values but is similarly impoverished of imagination. It's a mishmash involving boxing, swing, hypnosis, Marilyn Maxwell twitching cutely, the unwatchable Ish Kabibble, Nat Pendleton still playing a punch-drunk heavyweight over a decade after "Horse Feathers," and lots of pulchritude to please the boys overseas. (Even Ava Gardner has an unbilled bit.) Kay Kyser could swing it, all right, but he was no actor, and it's almost painful to watch him go through these contrived paces. There's one good number -- no, check that, there's one not-very-good number made bearable by Lena Horne and some good production design -- among lots of trivial swing, and lots of camera trickery in the production numbers, presumably to disguise the paucity of invention. Tommy Dorsey and Harry James show up briefly; they look like they visited the set on lunch hour from other, better movies.


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