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Swing Time [Import anglais]
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Master numérique restauré
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.
Meilleurs commentaires des clients
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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The supporting cast, Victor Moore and Helen Broderick are delightful and my only tiny complaint would be that I wish they were given more to do! Moore, as a mumbling con artist/pickpocket/card shark is funny and Helen's sarcastic throwaway lines are amusing enough to merit more!
Over the years there have been countless arguments over who was a better Astaire partner/dancer, to me that question is moot.....the chemistry these two had on screen was tremendous and that's why their films together are so beloved!
I've watched this film countless times and am always entertained, so if you're new to the Astaire/Rogers films, I hope you will enjoy this as much as I have over the years and will check out their other collaborations on film!
I might be a minority, but I like the humor. It's cleverer than in "Top Hat", and much less corny than "Singing in the Rain"...and I think the lively plot has more turns in it than the California Coastal Highway. The reason is that this is the Astaire/Rogers film where Fred can't make up his mind about Ginger...because he has made a prior commitment, of a sort, to another woman. This is the fun of the plot...which Ellen Broderick, as Penny's friend...and the audience's commentator...sees clearly throughout the film. I think the plot is not so fragile as some have proposed.
And I'm not thrown off much by Romero turning into a good guy at the end. When his own bride is laughing at him at his own wedding, I think that's a pretty powerful incentive for him to back off. And becoming a nice guy is a valid option to cut his losses...in front of his own orchestra, the pastor, and all his friends. Romero had already shown himself to be influenced by public pressure, when Lucky traps him into playing the "Waltz in Swing Time" so he can dance with Penny....how much more so at his own wedding!
When Penny learns that Fred's wedding is "off"...she first resists the idea that her wedding should be called off too. Her resistance is both brittle and tinged with sadness...as her best friend just laughs at the whole string of events, that has brought her to the point of correcting her quixotic decision, to marry a guy she so obviously doesn't love. This is great acting by Rogers, and great comedy.
The ending is also predicted by Penny, before they dance their great "Waltz in Swing Time", when she says to Lucky that Romero: "is very nice". And Fred's answer is also predictive: "You must be joking.". In the end...the whole story turns into comedy...which was a George Stevens forte as a director. It's a shame that too many critics, and some of the public, have such low emotional IQs, that they have given the ending of this great film a negative tinge. This is an unanticipated role for the film for contemporary audiences...It's a teaching tool.
I should also add that "Swing Time" was a high point of black and white photography, and that compared to the bright and primary colored musicals...I find the black and white adds to the quasi neo-realist and subtle effect....quite appropriate for the 30s Depression era. Fred and Ginger play an upwardly mobile couple...substantiating and fulfilling (on film), the deferred dreams of millions of depression-era Americans. "Singing in the Rain", as great as it surely is, to me, has no such poignancy. It's a positive self-referential film, for post WW II America. Its overly smooth transitions from plot to dance, are dramatically less effective, than the swelling anticipation of the coming of something truly wonderful.
I think this is an extraordinary film with just so many high points, in both song and dance...I can't imagine how it can be rated at anything less than five stars. It's brilliant cinema...and one of the most magical films ever made.