swingtime

I’m not a fan of musicals, but I know quality when I see it. In the golden age of Fred Astaire and
Ginger Rogers, their films were somewhere between musicals and comedies. The films were more
dance films than singing showcases and “Swing Time” was one of the best, if not the best of them
all.

Astaire plays Lucky, a gambler with a penchant for dancing his feet off. He’s trying to get married,
but the would be father-in-law wants him to earn at least $25,000. He heads to the big city to make
his fortune and win his bride, but a misunderstanding with a quarter finds him in a dancing lessons
studio with Ginger Rogers. They dance beautifully together and soon they find romance
blossoming. Lucky is becoming more successful as a dancer and a gambler, but it’s only a matter
of time before his past catches up with him and he still doesn’t know what to do about the bride he
left behind.

“Swing Time” isn’t a story film really. You watch it for the dancing, and there’s an amazing amount
of it to be had here. This flick really shows off why Astaire and Rogers were such a popular
pairing. They float across the dance floor at any speed, and most of their moves are mind-
boggling. Even more so when you consider that Rogers is doing all of her moves in heels.

Director George Stevens, the guy behind “Penny Serenade” and “Gunga Din,” gives Astaire and
Rogers some serious dancing room in lavish sets with extended music numbers. My favorite
dance, just due to the setting is the dancing school, but there are other impressive moments, most
especially Astaire’s lengthy “Bojangles of Harlem” tap number. The staunchly politically correct
need be warned that Astaire dances this number in blackface makeup, but in viewing the scene
carefully, I did not see any direct racial jabs or stereotyping. In fact, it felt more like homage to
black dance and culture than a parody or a slur.

The singing is also nicely spread out across the story. Singing is where I cringe, and even here I
wasn’t happy about it, but at least the lyrics of the songs furthered the story and the character’s
emotional growth. At the same time, there are only three or so songs in the picture. The rest of
the spectacle is all dancing, and I could watch that all day.

Another nice touch to the movie is the supporting cast, which includes Victor Moore as the lovable
Pop and Helen Broderick as Rogers’ sparky friend Mabel. These sidekicks provide great comic
relief. Of course, Astaire and Rogers aren’t exactly serious in the movie either.

This is light fun produced in a very classy package. Back in the 1930s, even comedies were
sophisticated affairs done right the first time.