Swing Time (1936) 1080p YIFY Movie

Swing Time (1936) 1080p

Swing Time is a movie starring Fred Astaire, Ginger Rogers, and Victor Moore. 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...

IMDB: 7.73 Likes

  • Genre: Comedy | Musical
  • Quality: 1080p
  • Size: 1.97G
  • Resolution: / fps
  • Language: English
  • Run Time: 103
  • IMDB Rating: 7.7/10 
  • MPR: Normal
  • Peers/Seeds: 2 / 4

The Synopsis for Swing Time (1936) 1080p

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.

The Director and Players for Swing Time (1936) 1080p

[Director]George Stevens
[Role:]Helen Broderick
[Role:]Victor Moore
[Role:]Ginger Rogers
[Role:]Fred Astaire

The Reviews for Swing Time (1936) 1080p

"No one could teach you to dance in a million years"Reviewed byackstasisVote: 8/10

'Swing Time (1936)' is typically held as one of the finest Fred Astaire and Gingers Rogers musicals, of which nine were made between 1933 and 1939 {' The Barkleys of Broadway (1949)' would follow a decade later}. Directed by George Stevens, the film abandons the often-silly mistaken identity subplots of previous films, and presents a more credible love story, supplemented by some of the most remarkable dance numbers I've yet had of enjoyment of seeing. Replete with the usual stock of enjoyable comedic actors, 'Swing Time' is a professionally-produced film, and Astaire and Rogers, as always, bounce off one another exceedingly well. Though the storyline isn't quite as entertaining as in 'Top Hat (1935)' or 'Shall We Dance (1937),' the picture relies purely on its terrific dance routines to elevate it to such a high status. Jerome Kern provided the film's music, and Dorothy Fields wrote the lyrics, including the Oscar-winning song, "The Way You Look Tonight."

John "Lucky" Garnett (Astaire) loves home-town sweetheart, Margaret (Betty Furness), and wants to marry her? or, at least, he thought he did. After the master-gambler moves to New York City to acquire a $25,000 dowry for the wedding, he comes upon beautiful dance instructor Penny Carroll (Rogers), immediately recognising that she is the woman for him. Wasting no time to consider the logic of his actions, Lucky signs up for dancing lessons, and his incredible "progress" leads the pair towards considerable success. A promising romance begins to bloom, but Lucky cannot bear to tell Penny that he's already engaged to marry another woman; at the same time, he deliberately resists achieving success in his gambling activities, lest he win enough money to return home to Margaret. Pop Cardetti (Victor Moore) and Mabel Anderson (Helen Broderick), knowing members of an older generation, stand around to witness the pair's irregular romance, and form a close friendship of their own, though everything is thrown into turmoil when sleazy musician Ricky Romero (Georges Metaxa) attempts to coax Penny from Lucky's grasp.

The absence of Edward Everett Horton unfortunately detracts from the effectiveness of the film's comedy, though Victor Moore provides an amusing substitute; his tone and mannerisms are so ridiculously adorable that he could accurately be described as a real-life Elmer Fudd. Jerome Kern's musical numbers vary from lighthearted tap dance numbers ("Pick Yourself Up") to sarcastic quicksteps ("A Fine Romance") to a virtuoso, emotion-filled ballroom routine ("Never Gonna Dance"), perhaps the most stirring performance that Astaire and Rogers ever did. There's a certain indescribable desperation to the way in which the two dancers leap and twirl across the dance floor, their movements escalating almost imperceptibly from an idle walk, and Rogers' long dress twists and turns in the air behind her. In Astaire's continual search for creative perfection, his routines were filmed, wherever possible, in a single take, and this particular number was attempted no less than forty-seven times. Also notable is Astaire's frenetic tribute to Bill "Bojangles" Robinson, performing in black-face against three tall synchronised shadows on the wall behind him.

Ginger and Fred Swing to the TopReviewed bynpaxton-2Vote: 10/10

Even though I tend to prefer the film I've most recently viewed of the ten Astaire-Rogers musicals, if I had to rate my favorite it would be "Swing Time". Ginger and Fred move so effortlessly through the wonderful opening, "Pick Yourself Up", give a virtuoso performance in the number "Waltz in Swingtime", and a heartbreaking rendition of "Never Gonna Dance". The latter reprises the entire musical score, including the beautiful, "The Way you Look Tonight" and, "A Fine Romance", performed earlier in gently falling snow. Ginger looks lovely and the art deco nightclub sets are spectacular. The acting is more finely nuanced than in many of the other Astaire-Rogers vehicles. The story line is thin, but you really care about Lucky and Penny. Even the black-face number, which originally turned me off, was done with grace and homage to a great dancer, Bill Robinson. Although the number from "Top Hat", "Top Hat, White Tie and Tails" is quintessential Fred Astaire, his "Bojangles" is a much more complicated and creative undertaking. It's amazing.

Enjoy Fred singing the title song in "Flying Down to Rio", or the electric "Carioca" number which started this unique partnership. Drink in the dance of seduction from "The Gay Divorcée", "Night and Day"; chuckle at the convoluted plot with co-respondents, passwords, a husband who is a bigamist, and the over-the-top dance, "The Continental". Marvel at "Smoke Gets in Your Eyes" and the fun "I'd Be Hard to Handle" song and tap dance from "Roberta". Suspend belief at the dance and ending of "Let's Face the Music and Dance", from "Follow the Fleet", not to mention the competition dancing in that movie. Evesdrop on the romantic twosome from "Top Hat" as they glide through "Cheek to Cheek". Listen to Fred singing "They Can't Take That Away From Me" and Ginger both singing and dancing to "They All Laughed at Christopher Columbus" from the romp, "Shall We Dance". Laugh at the comedy of Ginger Roger's Amanda Cooper in "Carefree" as you marvel at the slow motion dream sequence,and get energized by "The Yam". Wax nostalgic as you view both "The Story of Vernon and Irene Castle", the famous turn of the century dance team, and "The Barkley's of Broadway", the Fred and Ginger reunion vehicle ten years down the road from their last musical of the 1930s. All of those movies unique and wonderful in their dancing displays, but "Swing Time" which I think should have been called,"Never Gonna Dance" grabs you, not only with great, innovative dancing(and Ginger really matches Fred step for step in this one), but with sensitive direction by George Stevens, wonderful tunes, and sympathetic characters lovingly and thoughtfully portrayed by Ginger Rogers and Fred Astaire.

classic - if you only see one Fred & Ginger film . . .Reviewed byChris_DockerVote: 10/10

At the height of its television popularity, a New York TV station ran Swing Time twice a night for a whole week. Even before digital program recording, people were timing it, so they could tune in to every showing, catching the magical moment when Fred Astaire performs his legendary dance sequence in Bojangles of Harlem.

Later, they would wait for the wonderful pairing with Ginger Rogers, where chemistry would sparkle from beneath her long lashes to the tips of her toes. And although I've also enjoyed it on the small screen several times, nothing can compare with the wonder of experiencing it in a movie theatre. The dance becomes alive. We feel not only the rush of movement, but being caught up in the moment, and seeing the fine details of expression so hard to appreciate when reduced in size. Swing Time is rightly regarded by many fans and critics as Fred and Ginger's greatest movie together. A movie to laugh and cry with. It was even referenced in Barack Obama's inauguration speech. The story is imaginative, the good-natured gags bring a smile to your face when remembered, and the songs and dance routines live on forever. Fred and Ginger exude a joy of performance and a skill of execution that can make you gasp: "This is what dancing is all about!"

The dances are almost always performed in a single take, showing the whole dancer's body. No mistakes. No special effects. But dancing that sets the standard for generations to come. They look carefree and relaxed – as dancers should – but each move, each throwaway gesture and expression, had been minutely rehearsed until it was beyond perfect. It was perfect and then had added charisma, warmth, and acting infused into it. The charm of Fred Astaire's on-screen character (reputedly very close to his real life persona) and the unaffected femininity of Ginger Rogers make them the partners that every dancer longs to trip the light fantastic with. Astaire is the epitome of style, elegance and good taste. The embodiment of the 'gentleman' but without stuffiness. He woos the girl, gets out of problematic situations, and is a good friend. Witty repartee alights from his lips to disarm every attack and entice very woman into his arms, at once making her feel like the most special woman that ever lived.

Occasionally one wonders why Rogers achieved more fame in his arms than any of his other dance partners, many of whom exceeded her in professional training and maybe even looks. Perhaps the answer is that she is not just a perfect dancer, but a perfect partner. Who wants to dance with someone who just loves themself? Rogers, both in her performance of dance steps and in the attitude she emanates, dances as part of a partnership – seemingly made in heaven. As if both people are dancing from the same inner source. Watch her in their first dance together in Swing Time. After the initial gags, he takes her back into the dance studio to save her job in front of the boss. For the first section of the dance, she is the backdrop, discretely watching and following Astaire, the man taking the lead. (It's a basic polka with added syncopation and tap steps.) She is the tapestry upon which he shines. The good woman behind every good man. Then, as they relax into the routine, her steps become more decorative, sparkling jewels adorning their performance together. For those fond of the oft-quoted line, "Ginger Rogers did everything Fred Astaire did, except backwards and in high heels," this is a great example, tap dancing in black high heels! By the end of the dance she is iridescent, a flower in beautiful bloom. The next scene is a suitably impressed studio manager arranging a top audition for them.

Their first dance has followed a farcical sequence when Astaire pretends he can't dance in order to get lessons from the beautiful dance instructor, played by Ginger Rogers. They repeatedly fall over, Astaire trying to arrange it so they fall ever closer to each other. All this is timed to the famous song line, "Pick yourself up, start all over again." It could almost be an anthem for every dancer who has ever failed – as every dancer must – as well as in life. Dramatically, this 'not being dissuaded by failure' is at the core of most rom-coms, as well as visually in much later movies like Flashdance). In Swing Time, it becomes iconic. The words of the song, the visual acting-out in dance, and the storyline. They combine to become something life-affirming, and also one of the quintessential qualities associated with the American attitude of 'never give up.' Or as Obama exhorted in the midst of the 2009 economic crisis, "Pick ourselves up, dust ourselves off!"

Rogers combines a down-to-earth, girl-next-door appeal, with some of the most ladylike qualities anyone could wish for. Her elegance of movement is matched by the elegance with which she handles situations. If the unbelievably crazy strategies to romance her aren't quite believable, she doesn't quite believe them. She can be politely formal rather than take offence or get angry. Her displays of emotion are tempered by gentleness and good taste.

Although the award-winning Bojangles of Harlem sequence was one of the favourites of the day, Never Gonna Dance is probably the climax for modern audiences – and the climax of the film. It is one of the great unsurpassed dance performances of cinema. It deserves to be seen by every aspiring dancer, amateur or professional.

This review will not give away any more hints to the storyline. You will have to see the movie yourself and enjoy the leaps of time and place as it launches from one situation to a deeper one, carrying you with it in one of the greatest Hollywood musicals of all time.

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