Swing Time
Nov. 18th, 2009 08:23 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
icepixieHmmm. It was good, but it didn't blow my socks off or anything. Maybe if I hadn't read so many good opinions of this one before seeing it, I might have been more impressed. Actually, maybe its problem was that, plotwise, it was too good--it wasn't bad enough, like Top Hat, to where I could comfortably skip most of the farcical developments; neither was it good enough that sitting through the non-dancing parts was actively pleasurable. (Though one key moment I did enjoy was the "picket line" outside Penny's room. Hee! And I did sort of enjoy seeing Ginger get to pursue Fred for a while. That was a change.)
Most irritating was Penny's aversion to gambling, which only appeared when it was necessary for the plot, and was conveniently absent when it wasn't. (Also irritating was the casual sexism that seemed more prevalent than usual. I know, I know, I can't judge movies of seventy years ago by th standards of today, but the scenes in the dance studio in particular made me want to punch someone. Martha P. Nochimson comments that there are some class issues at work in this movie that aren't there in some of the others--or rather, perhaps, that this time the class difference puts Ginger's character lower than Fred's--and I'm thinking that might contribute to the excessive use of "little girl" and like epithets to refer to Penny. That makes it even more grrrful, but does at least explain why it seems worse in this movie than the others.)
The ending was ridiculous, though the cast tried valiantly to make it work, especially Helen Broderick. (She stole every scene she was in.) If I try really hard, I can almost think of it as a Shakespearian comedy, and the too-too ending, with the stupid joke, doesn't bother me as much.
The film is interesting for the way it plays with the national economic context. The shot of Lucky riding a freight train in his top hat and morning suit of course pokes fun at the film series itself via an ingrained image of the Depression. The "strike" came right out of a Ford plant. "Though I'm left without a Penny" in "Never Gonna Dance" manages to reference the Depression and play on her name as well. And "the wolf" is apparently a reference to "the wolf at the door," a popular metaphor for economic hardship at the time (according to Nochimson, anyway)--and, according to certain TV writers, in 2261. ;) I think it's the one film in the series that actually takes the contemporary economic climate into account, though Castles does sort of nod knowingly in the direction of the political zeitgeist. (Possibly Follow the Fleet does as well.)
The dancing is lovely, of course. "Pick Yourself Up" is joyous, even in that drab dance studio set, and "Never Gonna Dance" is perhaps the most moving number they ever did together. Poor Penny. Poor Lucky. At least this time their sadness has a legitimate reason behind it, rather than "Too dumb to ask the other person's NAME." The orchestration was particularly effective, especially when it segued directly from the title melody to a reprise of "The Way You Look Tonight." (Although Ginger needed some kind of bra-like apparatus under that dress, lovely as it was.)
In fact, the scoring throughout was quite good; every measure, I think, even the background stuff, came from one of the five principle songs, which made everything feel especially put-together. I've got to take issue with "A Fine Romance," though. It's supposed to be funny, and it does start out that way, but the moment Penny compared them to hothouse tomatoes, my eyebrows rose up to the top of my forehead and stayed there throughout. Dorothy Fields was trying waaaaay too hard for comedy there, and overshot to land somewhere in the neighborhood of unintentional self-parody. The melody was pretty blah as well, though it got orchestrated fairly nicely at one point when Romero's band was playing.
I think the hideousness of Ginger's dress kept me from liking "Waltz in Swing Time" as much as I might have. I spent the entire thing wanting to take a pair of scissors to those horrible ruffles everywhere, and a machete to that ridiculous Peter Pan collar. (It's an evening gown. You don't need a PETER PAN COLLAR on a BACKLESS EVENING GOWN.)
As for the Bojangles number...well. The shadows were great. The blackface, not so much. *cringes* *cringes some more*
Any idea why people kept referring to Penny as a redhead? I know it's black and white, but her hair looks pretty damn platinum to me.
Also, they were driving around in the snow in an open convertible...why? This strikes me as somehow unwise. Sure, it's fake snow, but, you know. Vague motions toward authenticity are appreciated. (Like when they danced at the wrong nightclub for their audition, but no one called them on it. Er? Maybe the Silver Sandal manager was in the audience or something.)
Speaking of the club, that trompe l'oeil floor in the renovated Silver Sandal was amazing.
Basically: Nice, but I was expecting it to knock Follow the Fleet out of the top position, and was surprised it didn't. I think Fred and Ginger are much better when their characters don't have to carry out the ridiculous plot machinations, and they can just sit back and be amusing and do great dances. (Yes, I am MISSING THE POINT. I DON'T CARE.)
Most irritating was Penny's aversion to gambling, which only appeared when it was necessary for the plot, and was conveniently absent when it wasn't. (Also irritating was the casual sexism that seemed more prevalent than usual. I know, I know, I can't judge movies of seventy years ago by th standards of today, but the scenes in the dance studio in particular made me want to punch someone. Martha P. Nochimson comments that there are some class issues at work in this movie that aren't there in some of the others--or rather, perhaps, that this time the class difference puts Ginger's character lower than Fred's--and I'm thinking that might contribute to the excessive use of "little girl" and like epithets to refer to Penny. That makes it even more grrrful, but does at least explain why it seems worse in this movie than the others.)
The ending was ridiculous, though the cast tried valiantly to make it work, especially Helen Broderick. (She stole every scene she was in.) If I try really hard, I can almost think of it as a Shakespearian comedy, and the too-too ending, with the stupid joke, doesn't bother me as much.
The film is interesting for the way it plays with the national economic context. The shot of Lucky riding a freight train in his top hat and morning suit of course pokes fun at the film series itself via an ingrained image of the Depression. The "strike" came right out of a Ford plant. "Though I'm left without a Penny" in "Never Gonna Dance" manages to reference the Depression and play on her name as well. And "the wolf" is apparently a reference to "the wolf at the door," a popular metaphor for economic hardship at the time (according to Nochimson, anyway)--and, according to certain TV writers, in 2261. ;) I think it's the one film in the series that actually takes the contemporary economic climate into account, though Castles does sort of nod knowingly in the direction of the political zeitgeist. (Possibly Follow the Fleet does as well.)
The dancing is lovely, of course. "Pick Yourself Up" is joyous, even in that drab dance studio set, and "Never Gonna Dance" is perhaps the most moving number they ever did together. Poor Penny. Poor Lucky. At least this time their sadness has a legitimate reason behind it, rather than "Too dumb to ask the other person's NAME." The orchestration was particularly effective, especially when it segued directly from the title melody to a reprise of "The Way You Look Tonight." (Although Ginger needed some kind of bra-like apparatus under that dress, lovely as it was.)
In fact, the scoring throughout was quite good; every measure, I think, even the background stuff, came from one of the five principle songs, which made everything feel especially put-together. I've got to take issue with "A Fine Romance," though. It's supposed to be funny, and it does start out that way, but the moment Penny compared them to hothouse tomatoes, my eyebrows rose up to the top of my forehead and stayed there throughout. Dorothy Fields was trying waaaaay too hard for comedy there, and overshot to land somewhere in the neighborhood of unintentional self-parody. The melody was pretty blah as well, though it got orchestrated fairly nicely at one point when Romero's band was playing.
I think the hideousness of Ginger's dress kept me from liking "Waltz in Swing Time" as much as I might have. I spent the entire thing wanting to take a pair of scissors to those horrible ruffles everywhere, and a machete to that ridiculous Peter Pan collar. (It's an evening gown. You don't need a PETER PAN COLLAR on a BACKLESS EVENING GOWN.)
As for the Bojangles number...well. The shadows were great. The blackface, not so much. *cringes* *cringes some more*
Any idea why people kept referring to Penny as a redhead? I know it's black and white, but her hair looks pretty damn platinum to me.
Also, they were driving around in the snow in an open convertible...why? This strikes me as somehow unwise. Sure, it's fake snow, but, you know. Vague motions toward authenticity are appreciated. (Like when they danced at the wrong nightclub for their audition, but no one called them on it. Er? Maybe the Silver Sandal manager was in the audience or something.)
Speaking of the club, that trompe l'oeil floor in the renovated Silver Sandal was amazing.
Basically: Nice, but I was expecting it to knock Follow the Fleet out of the top position, and was surprised it didn't. I think Fred and Ginger are much better when their characters don't have to carry out the ridiculous plot machinations, and they can just sit back and be amusing and do great dances. (Yes, I am MISSING THE POINT. I DON'T CARE.)
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no subject
Date: 2009-11-20 01:02 am (UTC)I love your observations on the economic comments in the movie on the times. I swear I've learned more about the political/economic/social/slang aspects during WW2 from old movies (heck, even Bugs Bunny cartoons!) than I learned in school.
And how about that feathered gown Ginger wore during Top Hat? Fred hated that gown cause it lost feathers as she twirled, but Ginger fought to keep it. I have to agree with him. It was a bit of a mess. When I stop and think about it, Fred & Ginger movies may have had a big influence on Bollywood/Indian films, even today. A lot of them have paper-thin, very worn plots, yet the public still eats them up for the dancing, "boy meets girl" romance.
no subject
Date: 2009-11-20 02:08 am (UTC)I hadn't thought about the vaudeville connection; that's a good point. Most critics handwave it as an homage to Bill Robinson, and some of them really try hard--"Look, he didn't accentuate the lips like the bad kind of blackface! It's totally honoring Robinson!" I call bullshit on that; you can be a white guy honoring a black guy without painting your face black, my god.
Different times, I guess. It basically ruined the number for me, though.
Interestingly, "black face" seems to be making a little resurgence overseas, from what I understand. Odd.
Really? Wow. That's...wow. Where overseas?
I love your observations on the economic comments in the movie on the times.
Thanks. I got most of it from that book I linked to. The Astaire/Rogers chapter is really quite interesting; if it's all up on GoogleBooks, I'd recommend reading it. The book basically falls into the gender studies category--and she does a good analysis of Carefree from that perspective--but also talks a lot about class issues in this movie and Shall We Dance?.
I swear I've learned more about the political/economic/social/slang aspects during WW2 from old movies (heck, even Bugs Bunny cartoons!) than I learned in school.
Bugs Bunny cartoons are great resources for info on life during WW2! :)
And how about that feathered gown Ginger wore during Top Hat? Fred hated that gown cause it lost feathers as she twirled, but Ginger fought to keep it. I have to agree with him. It was a bit of a mess.
I've read that story about the feathery mess, but man, I love that gown. It moves so beautifully; perfect for the "Cheek to Cheek" dance and all its backbends.
My favorite is probably the "Never Gonna Dance" gown from this film, although like I said above, it needed some kind of built-in bra, or at least another couple layers in the bodice. Let's just say that apparently the studio was cold when they were filming the scene in Lucky's hotel room. ;) I'm also partial to the Piccolino dress from Top Hat. Between that, the feather dress, and the jodhpurs, Ginger got the best clothes in that movie, IMO. (Oooh, I almost forgot the "Let's Face the Music and Dance" dress from Follow the Fleet. It's so beautiful, although apparently the heavy, beaded sleeve hit Fred in the face on the first take and about knocked him out. It was the take they used, though, because even though they filmed like twenty more, it was still the best. You can see where the sleeve hits him; it's right at the beginning, where they first start dancing in a partner hold.)
When I stop and think about it, Fred & Ginger movies may have had a big influence on Bollywood/Indian films, even today. A lot of them have paper-thin, very worn plots, yet the public still eats them up for the dancing, "boy meets girl" romance.
...Oooh. Any recommendations? (That I could get via Netflix?)
no subject
Date: 2009-11-20 02:37 am (UTC)I've read about some stuff appearing in the U.K., but most of it in a "tongue in cheek" manner. The British always do push the boundaries of comedy. *shrug* Australia showed a "black face" skit and got a lot of flack for it recently.
http://www.dailymail.co.uk/news/worldnews/article-1218971/Australian-variety-apologises-Jackson-Jive-blackface-sketch.html
Heh. But I also noticed in a scene you linked to from "Follow The Fleet" (the slapstick scene, I think) where she's not wearing a bra. I've often wondered why some actresses opted not to wear a bra at times. Greta Garbo didn't seem to wear one often, likewise Bette Davis, as some points, and others. I wonder if it was just a fashion statement in terms of not wanting to show any visible undergarments to mar the line of the costumes, if it was for more comfort (knowing they were far less comfortable then than now), or if it was something else.
Hmmm. No solid recommendations with regards to Bollywood and Fred & Ginger. Just mostly in general, I guess. I'm not well acquainted with anything Bollywood before, say, 1988, but stuff in the 90's had a LOT of "boy meets girl and complications ensue" kind of thing. That's what the public wanted then. One could never say the dancing was on par with Fred and Ginger, though (really, how much is, when you think about it?). Bollywood's "Ginger" is Madhuri Dixit. She's the best ever in Bollywood, semi-retired now. She's done everything from classical Indian to modern Broadway styles.
If you want to try out a Bollywood movie, not in comparison with Fred & Ginger, but in terms of dance, plot, and beauty, you could give a movie called Devdas a try. Madhuri is in it, but it's not her absolute best dancing performance (though her acting is solid) because she was about 3-4 months pregnant. Another top Bollywood actor/dancer in it, though, is Aishwarya Rai. She's made some Hollywood movies so she might be recognizable. It's a great movie for classical Indian dance, beautiful sets & costumes.
no subject
Date: 2009-11-20 03:39 am (UTC)Now that I look at that slapstick scene again, I can see she isn't wearing a bra. It's not as obvious as it is in Swing Time, though. (I was actually a bit shocked that the notriously strict censors of the time didn't raise a fuss about it. That gown was SHEER.) Just thinking about doing any of their dances without some sort of scaffolding makes my boobs hurt in sympathy; I'm amazed she managed it. Granted, I have rather more material to work with than she did, but still, it's hard to imagine a bra that would be more uncomfortable than doing those dances without one.
Hmm, Netflix doesn't have Devdas. Darn.