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: 4 / 7

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


heavenly dancing, heavenly music, heavenly partnershipReviewed byblanche-2Vote: 8/10

There's something special about all of the Astaire-Rogers movies, and "Swing Time" is no exception. Directed by George Stevens, it tells the story of a dancer and a gambler - not seen as much of a catch by his future father-in-law - who, after he misses his wedding, goes to New York. He promises his fiancée's father that he will return, solvent, and ask again for his daughter's hand in marriage. Once in New York, he falls for Ginger Rogers, who was never prettier than in this film. One thing leads to another, and the wind up as dance partners.

Eric Blore, Helen Broderick, and Victor Moore supply able support, and the film has a beautiful Jerome Kern score: "Pick Yourself Up," "The Way You Look Tonight," and "A Fine Romance" being a few of the numbers.

There are two knockout pieces in this film - Astaire's tribute to Bill "Bojangles" Robinson is one of the most stunning numbers Astaire ever did. He manages to wear blackface and not have it be offensive, as it's very light makeup to suggest his portrayal of Robinson. The number, with its accompanying huge dancing shadows, is magnificent. And the final number - "Never Gonna Dance" surely is one of their top dances ever, with that incredible deco set, the double curving stairways, and Ginger in that glorious dress.

It's hard to sum up how their dancing lifts you up and out of whatever ails you. Definitely their smoothness, footwork, chemistry, and glamor reach out to my soul every time I see them.

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.

"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.

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