Swing Time (1936) 720p YIFY Movie

Swing Time (1936)

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: 7.72 Likes

  • Genre: Comedy | Musical
  • Quality: 720p
  • Size: 843.71M
  • Resolution: 1280*800 / 23.976 fpsfps
  • Language: English
  • Run Time: 103
  • IMDB Rating: 7.7/10 
  • MPR: Normal
  • Peers/Seeds: 1 / 5

The Synopsis for Swing Time (1936) 720p

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) 720p

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

The Reviews for Swing Time (1936) 720p

The Good & Bad Of 'Swing Time'Reviewed byccthemovieman-1Vote: 7/10

This is one of the most famous Fred Astaire-Ginger Rogers musicals.

GOOD - There is one tremendous dance scene in here by Fred Astaire which includes three big shadows on the wall in back of him as he dances. I think it's one of Fred's all-time best numbers; very inventive and always great to watch. There are also a few good dance scenes with Fred and Ginger Rogers. Some of the songs from this film became "standards," such as "The Way You Look Tonight" and "Pick Yourself Up." The script is corny but at least interesting for the most part. This was my first look at Betty Furness as a younger woman ("Margaret Watson") and I thought she was pretty.

BAD - Same old, same old with these Astaire-Rogers films, namely: (1) marriages made out of "spite;" (2) a very annoying character, this time "Pop Cardetti," played by Victor Moore, and (3) a very stupid ending.

OVERALL - At least at the end, we see the couple getting married for the right reason: love (duh). It's an okay but I think an overrated one. There are a number of other Astaire films I'd choose over this, but then again, to see either Fred or Ginger dancing can never be underestimated. They were a fabulous team and great individual talents.

A light and enjoyable piece of entertainment despite some moments that are "a bit off"Reviewed bybob the mooVote: 7/10

On the day of his wedding to Margaret Watson, John "Lucky" Garnett is tricked by the other members of his dance troupe into missing the ceremony. He goes to apologise and make amends but Mr Watson refuses to let them marry unless Lucky can apologise to the tune of $25000. Keen to get married, Lucky resolves to go to New York with his natural dancing talent and make the money that way. Once there he meets dancer Penny Carroll and the two strike up a relationship despite the obstacles of Lucky being committed to someone else and a band master who refuses to play for them to dance.

At the start the film stutters into life and sets us up with an uncomfortable backdrop of Lucky's engagement to another girl. This played on my mind for a little while because I felt it unfair for the film to basically turn us against Margaret in order that we would support Lucky and Penny, but it is to the film's credit that this was swept aside quite quickly by a series of breezy and enjoyable songs and dance numbers. They all sound and look great even if the "blacked up" number runs the risk of having the PC brigade grumbling and mumbling to themselves. The only problem comes near the end where the issue over Margaret needs to be resolved and it is all done too easily and just felt like a bit of a whitewash or cop out. In fairness to do it more convincingly would have risked ruining the light and fun mood of the film.

Needless to say both Astaire and Rogers are great and have a lovely chemistry between them; and it also goes without saying that they move together as if they were images in a mirror. Support is also good from Moore and Broderick, although I did feel a little bad for Furness being stuck in a secondary and thankless role. Overall though they all work well together and produce a film that is wonderfully light and entertaining and, despite being in black and white seems to colourful and bright throughout. Some minor details may slightly bother viewers but generally it is a great film and refreshingly fun.

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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