I love old musicals. Just adore them. Give me a pre-Oklahoma musical and I'll watch it without judgement. I especially love watching certain couples in musicals. Particular Judy Garland and Gene Kelly, and Fred Astaire and Ginger Rogers. The former is why I own Summer Stock and the latter is why I own...well I own a lot of movies because of Astaire and Rogers. Some I watch very rarely, and some I need to be in a particular mood for.
But there is one I can watch day or night. I think I watch it at least once a year. It's a film that always finds it way to my DVD player. And that's Swing Time.
This is Astaire and Rogers at they're apex. The plot is familiar if you've seen any of their films together, and some key players are sorely missed (mainly Edward Everett Horton and Erik Rhodes), but the returning players are all in top form. Helen Broderick and Eric Blore may be playing characters with reverse power roles (I think this is the only film where Blore is Broderick's boss and not vice versa), but they're still very funny and bang off each other and Astaire and Rogers with aplomb.
But who comes to an Astaire&Rogers pic for the plot or supporting cast? You come to Swing Time for the dancing and damn does it not disappoint. "Pick Yourself Up" and "Waltz in Swing Time" are both fantastic numbers. And "Never Gonna Dance?" I could watch that number a hundred times a day and I don't think it would get old. It sums up everything about this pair and why they worked so well together and the cinematography is a joy to watch. Compare this number to a modern dance number and you'll marvel at just how few cuts occur. Yet the sense of tempo and movement never ever halts.
But as much as I love "Never Gonna Dance" it's not the reason a lot of critics and historians revisit this film. That honor belongs to "Bojangles of Harlem." Astaire...in black face.
I've heard people excuse it and I've heard people viciously condemn it (to the point that they discount the entire film). If you're sensitive racial stereotypes it is hard to watch. Astaire is definitely in black face and his exuberance coupled with the camera work seems to celebrate that fact.
But man, to be honest? I wish he wasn't in black face, because the physical and technical wizardry on display is awe inspiring. Watching that dance off between Astaire and his three shadows gives me a case of open mouth awe--much like when revisiting Metropolis or King Kong. You can't help but be astounded by just what was accomplished in that time period.
Oh and this film gave us a Burt Bacharach hit, "The Way You Look Tonight."
But there is one I can watch day or night. I think I watch it at least once a year. It's a film that always finds it way to my DVD player. And that's Swing Time.
This is Astaire and Rogers at they're apex. The plot is familiar if you've seen any of their films together, and some key players are sorely missed (mainly Edward Everett Horton and Erik Rhodes), but the returning players are all in top form. Helen Broderick and Eric Blore may be playing characters with reverse power roles (I think this is the only film where Blore is Broderick's boss and not vice versa), but they're still very funny and bang off each other and Astaire and Rogers with aplomb.
But who comes to an Astaire&Rogers pic for the plot or supporting cast? You come to Swing Time for the dancing and damn does it not disappoint. "Pick Yourself Up" and "Waltz in Swing Time" are both fantastic numbers. And "Never Gonna Dance?" I could watch that number a hundred times a day and I don't think it would get old. It sums up everything about this pair and why they worked so well together and the cinematography is a joy to watch. Compare this number to a modern dance number and you'll marvel at just how few cuts occur. Yet the sense of tempo and movement never ever halts.
But as much as I love "Never Gonna Dance" it's not the reason a lot of critics and historians revisit this film. That honor belongs to "Bojangles of Harlem." Astaire...in black face.
I've heard people excuse it and I've heard people viciously condemn it (to the point that they discount the entire film). If you're sensitive racial stereotypes it is hard to watch. Astaire is definitely in black face and his exuberance coupled with the camera work seems to celebrate that fact.
But man, to be honest? I wish he wasn't in black face, because the physical and technical wizardry on display is awe inspiring. Watching that dance off between Astaire and his three shadows gives me a case of open mouth awe--much like when revisiting Metropolis or King Kong. You can't help but be astounded by just what was accomplished in that time period.
Oh and this film gave us a Burt Bacharach hit, "The Way You Look Tonight."
