Swing Time [Import anglais]
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Pour éviter qu'il ne ruine sa carrière de danseur, John "Lucky Garnett" a été empêché par ses amis de se rendre à son mariage. Sommé par le père de sa fiancée de ne pas se représenter que lorsqu'il aurait fait fortune, il part tenter sa chance à New York. Il y rencontre Penny Carrol, un joli professeur de danse... --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.
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Lorsque Fred et Ginger dansaient ensemble, ils paraissaient comme deux anges évoluant dans une zone indéfinie, située quelque part entre le sol et l'espace...
On ne sent ni le travail effectué, ni la mémorisation, ni la sueur....rien...c'est tout simple...Rogers/Astaire, une pure magie....
Les films sont en anglais,sans version française,et je ne peux donc pas
Dommage que ce défaut majeur ne soit pas signalé très clairement au moment
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My reason for rating it very slightly behind the other two films is the slightly weaker supporting cast and the fact that the humor is a tad less humorous. The dance numbers, however, are extraordinary, with at least two of them belonging in the Fred and Ginger Hall of Fame for their finest moments dancing together. These two numbers are the marvelously funny "Pick Yourself Up" and the marvelously dramatic "Never Gonna Dance." Luckily, this isn't the extent of the musical's treasures. There are two other great dance numbers and two marvelous songs that do not feature any dancing. The latter includes Fred's marvelous homage to Bill "Bojangles" Robinson, "Bojangles of Harlem," which Fred does in blackface and which just might be the only non-demeaning use of blackface in a 1930s film. Not only is it not demeaning, it is a powerful homage to the man regarded by his peers as the finest tap dancer of the early 20th century. Fred and Ginger also perform the "Waltz in Swing Time." The two songs are among the greatest pure songs appearing in any of Fred and Ginger's films. "The Way You Look Tonight" (which won the Oscar for Jerome Kern and Dorothy Fields that year) features Fred playing the piano (yes, he really did his own playing) and singing while Ginger shampoos her hair (originally they were going to have her cleaning an oven, coming out mesmerized by Fred's singing, covered in grease, but it was decided the look didn't achieve the desired effect). And later Fred and Ginger sing perhaps their greatest comic song, "Let's Call the Whole Thing Off."
As good as all the musical numbers are, however, the high point of the movie is the utterly amazing "Never Gonna Dance," in which Fred declares that if she leaves him to marry someone else, he will never dance again. The number is incredibly powerful with Fred first singing his intentions, and then luring Ginger into one last dance together. The number was exceptionally difficult to film, owing to a double staircase on each side of the set. The two had to dance upon it to time their arrival at the same precise moment. But for take after take, they kept arriving at slightly different moments. Unfortunately, Ginger's shoes were a bit too small, with the result that she cut her feet pretty badly during the forty odd takes. The result was worth it. The dance ranks with "Night and Day," "Let's Face the Music and Dance," and "Cheek to Cheek" as their greatest romantic dance number.
Although the supporting cast and the humor is not quite at the same level as TOP HAT and THE GAY DIVORCEE, this is nonetheless a fine movie apart from the music. While I would still recommend those other two films above this one, I would recommend that anyone with the tiniest bit of interest in great musicals see all three, as well as catching the dance numbers of FOLLOW THE FLEET.
The dance numbers are staggering and more daring, "Pick Yourself Up" is so athletic and skilled it is a joy to watch, "The Walse in Swing Time" is half their trademark ballroom number and half a stunningly fresh approach. "Never gonna Dance" is quite simply sublime, elegant, emotive, powerful and beautiful. It really demonstrates the power of dance in motion picture form. I saw an interview with one of the writers many years ago who told the story of how the end sequence of this dance, when Fred and Ginger reach the top of the stairs, took at least 40 something takes to get right because a range of problems, lights blowing out, mistimed spins and even Fred's toupee flying off! He talked of how he saw Ginger changing her pink satin pumps after the 36th take and only then realised the pumps were white, stained pink because her feet were bleeding so much! A classic film and a must see if just for this last dance number, I defy you not feel moved by that number!
Why? As Eric Blore says, for the sheer heaven of the "Pick Yourself Up" number, as you watch their feet fly across the dance floor, with Fred in trademark formal attire (in the morning my dears but it fits the lighthearted plot!)and Ginger in the pert black and white knee length dress that lets you see with your very own eyes what an incredibly nimble partner she was for the incomparable Astaire.
This is the ultimate in their "we are making it up as we go along" dances. Fred - who is supposed to be having his first dance lesson of his life - bowls over Ginger and dance school owner Eric Blore by his fancy footwork to demonstrate just how much Ginger has "taught him" and thereby gets her job back for her. Ginger proves to be quite the quick study, as she more than holds her own with Fred.
The number displays many of Fred's concepts about how such dances should be filmed--with one camera that can pan but does not move, with three different tempos to keep things lively, and with action that moves the plot forward. By the end of the dance, Ginger has changed her mind about Fred, and has fallen in love, even though she will change her mind several more times before the final scene.
This is what dancing is meant to be. Watch Ginger watch Fred (which in addition to her agility on the dance floor is the secret to their on screen chemistry).
Why do other dance teams not get that? You aren't on the dance floor to show off how great you are to others; you are there to connect with your partner. That is why Fred's later dance in another film with Eleanor Powell, "Begin the Beguine", while a tour de force, in the end, doesn't work romantically. Powell is the best female dancer, but not the best PARTNER, that Fred ever danced with. She is way too into her own dancing to make us believe that she cares a fig for Fred or anyone else for that matter.
(As an aside, Powell is more believable romantically in her playful scenes with Jimmy Stewart in "Born to Dance"' perhaps she was less intimidated by his reputatin than by Fred's?)
In contrast, every time Ginger looks at Fred, we know that the world has become just the two of them and the rest of us are chopped liver.
If the couples in modern ballroom dance competitions would allow themselves to look at each other in this way, it would ratchet up the things, considerably.
Watch also how Ginger allows an air of frivolity and nonchalance to flash toward the camera.
Later in the film... No one ever looked as good shampooing her hair as does Ginger "Just the Way You Look Tonight". It is whipped cream by the way, not Fells Naphtha.
They dazzle us again in the lovely "Waltz in Swing Time." This time, we get to see a dance that, according to the plot, they had prepared ahead of time. It is a great combination of intricate steps, incorporating some of what they "made up" in "Pick Yourself Up". They end the dance by exiting off stage in a whirl of light and shadow, assisted by Venetian blinds, another Fred and Ginger trademark.
And no set in any movie before this was ever as gorgeously black and white as the grandly reopened 'Silver Sandal', in which they dance their adieux in "Never Gonna Dance"--the number famous for so many takes that it was the wee hours and Ginger's pumps were blood soaked by the time they finished it. They go up and down the double set of stairs, as the black-floored set sparkles all around them.
Enjoy the banter over "cuffs or no cuffs" and the remarkable change that comes over Betty Furness' father and household when they learn that Fred has a knack for making money. This is, after all, still the Great Depression.
But who would ever guess it, as Fred (in the part of Lucky Garnett) wins enough at gambling to make the stars and their costars Helen Broderick and Victor Moore look like a million bucks, as they motor off to the New Amsterdam in an open Dusenberg in the snow. Yes, only in Hollywood!
As the snow continues to fall, Fred and Ginger sing about their "Fine Romance" which makes it seem like they are never going to manage to sort out their differences, but wait for it, there will be a happy ending, this time in the form of a laughing finale.
This is just about the best medicine you can buy without a prescription. Enjoy!