The reason I saw Swing at all is because I am a big Lisa Stansfield fan. When I discovered she was making her theatrical debut in a movie about a struggling swing band, I was excited not only to see Ms. Stansfield in her first acting role, but to hear her cover some great big-band standards with that signature voice of hers.

If you get nothing else out of this movie at all, the soundtrack is worth at least one viewing.

Overall, I thought this movie was rather entertaining and very charming, a characteristically cynical and quirky British comedy, with a few minor snags, mainly from plot holes and dialog. (Also, as an American viewer, it was difficult at first to get used to the heavy Liverpool accent.) The one-liners at times try too hard to be funny, but luckily those moments were often quickly followed by one of the movie's greatest strengths, its music.

It's not to say the film has nothing BUT its soundtrack to keep it entertaining. Hugo Speer gives a commendable performance as the frustrated protagonist Martin Luxford—an unlucky chap whose last get-rich-quick-scheme landed him a 2 year prison sentence. While serving time, he learns to play the saxophone from his inmate, and is inspired to change his ways during his parole by starting a swing band. Life is not easy for Marty—his parents live in the projects and his brother is a conniving thief who sells his unsuspecting targets the very security systems he breaks into. Things are so bleak you just beg for some light at the end of the tunnel. But Marty plucks right along persuading his friends to join in on his enterprise and holding out hope that he can live his dream. This set-up, while not thoroughly original, is played out well by Speer. When the movie is not rip-roarin' to the sounds of the jazz age, its up to Speer to make us root for Marty, which he succeeds in doing with devilish charm.

Enter Joan, the ex-girlfriend, played by Stansfield. Marty singles her out to be the lead singer of his developing band (surprise! surprise!) but there's one snag—Joan is married to the police officer who put Marty away in the first place. This sets up all sorts of wonderful possibilities for a love triangle, but Danny McCall comes off as almost unbelievably psychotic as Joan's husband Andy. He seems more obsessed with his job (the man wears police uniform pajamas to bed)than with keeping Joan's affections, and instead of insecure about his marriage he comes off as unreasonable and inexplicably bent on making Marty's life a living hell. It also becomes increasingly difficult to understand why Joan married the man in the first place, since he displays not even one iota of a redeeming quality. But it is fun to see Joan square off against Andy later in the film, in moments where Stansfield shines in ferocious—but fabulous—glory.

Despite some minor but persistent flaws, this movie is a pleasure to watch. Peppered with an odd array of supporting characters—including the intimidating Mighty Mac and his Orange Brigade brass section who look like they're armed for a hit(mob-style, not musical)—the film occasionally takes a delightfully bizarre turn even in otherwise predictable moments.

I would definitely recommend this movie—I have seen it several times—especially if you are looking for an easy, unchallenging but delightful story about the spirit to overcome adversity, an homage to the swing revival movement at the end of the 90's, or a chance to see Lisa Stansfield take down the Liverpool police department.

I recently purchased this movie on video, sight unseen, and was pleasantly surprised. It's not often I consider a movie worth 10 out of 10, but "Swing" deserves a perfect score - because it has "a perfect score". This musical movie is a gem (in my view), because it's got a good story, fine acting, and all the other aspects which go to make a movie worthy (cinematography, editing, etc.) The only other recent movie which I consider in the "little gem" category, is the rather obscure USA "Mumford"(1999); "Swing" can be considered the British equivalent, in that regard. "Swing" is about a young chap, Martin Luxford (Hugo Speer), just released from prison, who, with saxophone, is determined to form his own 'swing' jazz band. The movie tells how he goes about this, the troubles he encounters, and his relationship with his "one true love", Joan (Lisa Stansfield), who aspires to be a singer. He offers her that opportunity, even though she has married - to a psychotic cop. But he needs other band members, and gradually acquires them: a double-bass player, and a drummer. Throughout the film, he remembers the advice of his mentor, a black musician, Jack (Clarence Clemons), who is still in prison. This movie is basically a comedy, but has dramatic moments. Music is the key factor, and popular tunes occur throughout, as the band grows and practices. Mighty Mac (Alexei Sayle) and his boys form the brass section - seconded from Orangemen marching bands. Indeed, Catholic-Protestant rivalry is a theme, but is trivialised, as all concerned devote themselves to the much higher ideal of - music, and dance. So, for a most enjoyable experience, I recommend watching "Swing". PS. For New Orleans' jazz, try the movie "Undercover Blues"! ========================================================

Just fast-forward through the plot. The writer did. The guy who wants to set up a band just happens to have a bartender uncle who can provide a brass section, a maitre d' friend who can provide a hall, and another friend who works for a crazy millionaire who decides to set up a record label. There are a few good inspirational lines spoken by Clarence Clemons (who also provides the dubbed sax for the protagonist), but the script doesn't take the time to put them in context so they take on the purplish tinge of a sore thumb. The most amusing lines in the film are printed in the closing credits. Oh, but the music is nice and Lisa S. is magnetic.