'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.

Any of the films in which Fred Astaire and Ginger Rogers appeared is worth a look. Each one has something that will endear it to the viewer that seeks in their films entertainment, as well as fun. "Swing Time", their 1936 film was directed by George Stevens, a distinguished American director that had a long career in Hollywood. It helps though that Jerome Kern and Dorothy Fields worked in writing some of the most beautiful melodies heard in the movie.

"Swing Time" is a pretext to present the stars doing what they did best: dancing! Lucky Garnett is made to be late for his own wedding to the socialite Margaret, who contrary to what one expects is forgiving and accepts her boyfriend's excuses. Garnett has to prove his luck, where else?, but in New York. Accompanied by Pop Cardette, they embark in an adventure to try to raise cash and fulfill his promise to Margaret's father.

Fate intervenes in the person of the beautiful Penny. She's a dancing instructor who we first see being cheated out of a quarter by Pop and Lucky. Later they follow her to the studio where Lucky goes to receive a dancing lesson! We know what comes after that. Penny and Lucky were made for one another and it will take the rest of the movie for they to realize this fact and for us to watch some amazing production numbers.

The funniest sequence has to be when Lucky, Penny, Pop and Mabel decide to take a ride to the New Amsterdam resort during a snow storm in a convertible! Not only that, but when they arrive at the inn, finding it closed, they decide to get out and walk in the thick snow without any galoshes! Oh well! The songs one hears in the film are classic standards.

"A Fine Romance", "Pick Yourself Up", "The Way You Look Tonight", "Never Gonna Dance", and others are given excellent treatment. The two excellent musical numbers, "Bojangles' Harlem" and "Swing Time Waltz", show the talent of Mr. Astaire, in the first one, and of Ms. Rogers and Mr. Astaire in the second.

Fred Astaire is always good doing no matter what he does in this film. Ginger Rogers is also appealing as the object of Mr. Astaire's attentions. Victor Moore as Pop, is not as funny as perhaps the film makers wanted him to be, but Helen Broderick, as Mabel was excellent. Eric Blore, Betty Furness and Georges Metaxa and the rest of the cast do their best to support the principals.

This film is a joy to watch thanks to Mr. Astaire and Ms. Rogers under Mr. Stevens' direction.

The story, like with most Fred and Ginger films, is not Swing Time's best asset, it does come across as contrived, though it also has a charming and cute edge to it. That however doesn't matter so much, when so much in fact everything else is done so well. Swing Time is another Fred Astaire and Ginger Rogers classic, and a very close second best to Top Hat. The sets and photography are very lavish and beautiful to look at(Ginger's wardrobe likewise), the most audacious and sophisticated of all the Fred and Ginger films. Jerome Kern's score and songs are also outstanding, The Way You Look Tonight, A Fine Romance, Pick Yourself Up and especially Never Gonna Dance are all classics, and while it is understandable why some won't like it and find it jarring Bojangles of Harlem is at least catchy. There's nothing to complain about in the dancing either, the standout is easily Never Gonna Dance, just perfection in every meaning of the word and Fred and Ginger probably haven't done a dance more beautiful or emotionally moving. It in particular shows off Astaire's effortless grace and style perfectly. The choreography has a lot of spirit and pizazz, done with an appropriately light touch as well as touches of the dramatic. The script is good-natured and amusing, with some sweet parts too. Special mention should also go to the dialogue scene preceding Never Gonna Dance which is very poignant, maybe the most poignant dialogue scene of any of their films. Fred and Ginger are delightful together, and play their characters with great charm. Victor Moore acts with energy and enthusiasm, but one does wish there was much more of Eric Blore. In conclusion, once you get past the story Swing Time is a wonderful film. 9.5/10 Bethany Cox