534:, was the last part of the film to be shot, because of the special effects required. To create the effect that Astaire was dancing with three shadows of himself that were larger-than-life, Astaire had to be filmed dancing in front of a blank white screen on which a powerful light projected his shadow. This footage was tripled in the film lab. Next, Astaire was filmed performing under normal lighting in front of another white screen while watching a projection of the dancing shadow, and the four shots were optically combined. In its entirety, the sequence took three full days of shooting; the whole film took several weeks longer to shoot than the normal Astaire–Rogers film.
424:. They miss the audition, and Penny gets mad at Lucky again. He and Pop picket in front of Penny's apartment door for a week. Mabel intervenes, and Penny forgives him, agreeing to a second audition. At the Silver Sandal, bandleader Ricardo Romero, who wants to marry Penny, refuses to play for them. The club owner cannot force him because he lost Romero's contract in a bet with Club Raymond. At the casino, Pop warns Lucky that he is about to win enough money to marry Margaret. He takes his bet off the table. The club owner wagers Ricardo's contract on a cut of the cards. Seeing that Raymond intends to cheat, Pop cheats too, and Lucky wins the contract.
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she is in no mood to deal with them. Pop sneaks the quarter out of her purse when she drops her things, but she thinks that Lucky did it. Lucky insists on following Penny to her job as a dance school instructor. He accepts a dancing lesson from her agency to apologize. After a disastrous lesson ("Pick
Yourself Up"), Penny tells him to "save his money". Her boss, Mr. Gordon, overhears and fires her. He also fires Mabel Anderson for complaining that Pop ate her sandwich. Lucky dances with Penny to prove how much that she has taught him. Gordon gives Penny back her job, and sets up an audition with the owner of the Silver Sandal nightclub.
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remodeled Silver Sandal, Penny refuses another proposal from
Ricardo. Mabel dares her to give Lucky "a great big kiss". They do kiss behind a dressing room door. Pop lets his sleight of hand become known to Raymond, who insists on competing with Lucky for the contract. He loses. Margaret arrives, and Lucky asks her to meet him the next day. While Lucky is indecisive, Penny becomes heartbroken. Lucky finds her in the deserted club, where he learns that she has agreed to marry Ricardo. Asked about the future, he sings "Never Gonna Dance", segueing without dialogue into their dance to "The Way You Look Tonight".
848:, November 1936: "Astaire's dancing can no longer be classified as mere tap, because it is such a perfect blend of tap, modern and ballet, with a generous share of Astaire's personality and good humor... Rogers is vastly improved... but she cannot, as yet, vie with Astaire's amazing agility, superb grace and sophisticated charm. With Astaire one feels, with each succeeding picture, that surely his dancing has reached perfection and marks the end of invention of new steps: and yet he seems to go forward with ease and apparent nonchalance."
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tap-dancing in Kern's hotel room in an attempt to loosen it up. Kern required the services of Robert
Russell Bennet, and, during rehearsal, Astaire's rehearsal pianist, Hal Borne, contributed ideas. Although Astaire requested that Borne receive credit for his contribution, Kern was insistent that Borne receive no credit, was not to compose any music, and was not to be paid for writing any music. Bennett also received no credit in the film, but the sheet music for "Waltz in Swing Time" credits him with the construction and arrangement.
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refuses to modify the pants, Pop returns with them, unaltered. Margaret's father phones to say that he has sent everyone home, but the call is intercepted. When Lucky finally leaves for the wedding, his troupe bets the bankroll that he will not get married. Lucky mollifies
Margaret's father by saying that he was "earning" $ 200. Judge Watson tells Lucky that he must earn $ 25,000 to demonstrate his good intentions.
767:": After Astaire sings Fields's closing line of Kern's haunting ballad, they begin the acknowledgement phase of the dance, replete with a poignant nostalgia for their now-doomed affair, in which the music changes to "The Way You Look Tonight", and they dance slowly in a manner reminiscent of the opening part of "Let's Face The Music And Dance" from
773:. At the end of this episode, Astaire adopts a crestfallen, helpless pose. They begin the denial phase, and again the music changes and speeds up, this time to the "Waltz In Swing Time" while the dancers separate to twirl their way up their respective staircases, escaping to the platform at the top of the Silver Sandal Set — an elaborate
725:"Bojangles of Harlem": Kern, Bennett and Borne combined their talents to produce a jaunty instrumental piece ideally suited to Astaire, who here — while overtly paying tribute to Bill Robinson — actually broadens his tribute to African-American tap dancers by dancing in the style of Astaire's one-time teacher,
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The next day, Margaret tells Lucky that she wants to marry someone else. Everyone laughs until Pop announces that
Ricardo and Penny will be married that afternoon. They rush to intervene and manage to pull off the trouser gag. While waiting for the nonexistent alteration, Ricardo struggles to keep up
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also marked the beginning of a decline in popularity of the
Astaire–Rogers partnership among the general public, with box-office receipts falling faster than usual after a successful opening. Nevertheless, the film was a sizable hit, costing $ 886,000, grossing over $ 2,600,000 worldwide, and showing
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says that, although the screenplay is contrived, it "left plenty of room for dance and all of it was superb. ... Although the movie is remembered as one of the great dance musicals, it also boasts one of the best film scores of the 1930s." "Never Gonna Dance" is often singled out as the partnership's
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in 1976, and later in a letter to John
Mueller; the published sheet music notes that the waltz was "constructed and arranged" by Bennett. The dance is a nostalgic celebration of love, in the form of a syncopated waltz with tap overlays — a concept that Astaire would rework in the "Belle of New York"
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John "Lucky" Garnett is a gambler and dancer who is ready to marry
Margaret Watson. Not wanting him to retire, the other members of his dance act deliberately sabotage the event. "Pop" Cardetti takes Lucky's trousers to be altered by sewing cuffs, while the others begin a crap game. After the tailor
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because he did not get married. Pop and Lucky board the first freight train to New York. Lucky meets Penny when he asks for change for his lucky quarter, so that he can buy cigarettes for Pop. The cigarette machine dumps a load of coins, so they follow Penny and offer to repurchase the quarter, but
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and John
Harkrider. The music switches to a frantic, fast-paced, recapitulation of "Never Gonna Dance" as the pair dance a last, desperate and virtuosic routine before Rogers flees and Astaire repeats his pose of dejection, in a final acceptance of the affair's end. This final routine was shot 47
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is sung by
Astaire, seated at a piano, while Ginger is busy washing her hair in a side room. Astaire conveys a sunny yet nostalgic romanticism, but later, when they dance to "Never Gonna Dance", the pair will create a mood of sombre poignancy. As evidence of its enduring appeal, the song has been
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Kern was hired to write seven songs, for which he was paid $ 50,000 and a gross percentage up to $ 37,500. Astaire requested that two of the songs be swing numbers, but the weak version of "Bojangles of Harlem" that he delivered remained unacceptable, despite Astaire having spent several hours
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Lucky and Penny are dance partners, but he avoids seeing her alone. He lacks the nerve to tell her about Margaret. Mabel arranges a trip to the country. Lucky resists the temptation to snuggle in a snow-covered gazebo, prompting "A Fine Romance". Pop lets the truth slip about Margaret. In the
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except, perhaps, one thing: Astaire and Rogers are the picture; everything else seems to have been put in to fill the time between swings. Dance routines are fresh and interesting, dance is superb. When Hollywood will learn to make a dance picture as good as the dancing, we cannot even
682:"Waltz in Swing Time": Described by one critic as "the finest piece of pure dance music ever written for Astaire", this is the most virtuosic partnered romantic duet Astaire ever committed to film. Kern was always reluctant to compose in the swing style, so the film's orchestrator,
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was somewhat patronizing about the music: 'Although I don't think Kern has written any outstanding song hits, I think he did a very credible job with the music and some of it is really quite delightful. Of course, he never was really quite ideal for Astaire and I take that into
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The film's plot has been criticized, though, as has the performance of Metaxa. More praised is Rogers's acting and dancing performance. Rogers credited much of the film's success to Stevens: "He gave us a certain quality, I think, that made it stand out above the others."
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sung and danced by Astaire and Rogers. It is also a technical tour-de-force, with the basic polka embellished by syncopated rhythms, and overlaid with tap decoration. In particular, Rogers recaptures the spontaneity and commitment that she first displayed in the
326:, the film follows a gambler and dancer, "Lucky" (Astaire), who is trying to raise money to secure his marriage when he meets a dance instructor, Penny (Rogers), and begins dancing with her; the two soon fall in love and are forced to reconcile their feelings.
756:, all of which was captured by Stevens in one take. A two-minute solo follows, with Astaire dancing with his shadows; it took three days to shoot. Astaire's choreography exercises every limb, and makes extensive use of hand-clappers. Hermes Pan earned an
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Finale duet: At the end of the film, Astaire and Rogers sing shortened versions of "A Fine Romance" and "The Way You Look Tonight" simultaneously (with altered lyrics). Harmonies were slightly altered so that the two songs fit well
869:, September 2, 1936, by Abel: "Perhaps a shade under previous par, but it's another box-office and personal winner from the Fred Astaire-Ginger Rogers combo... Film's 103 minutes running time could have been pared to advantage but
743:. Dorothy Fields recounted how Astaire managed to inspire the reluctant Kern by visiting his home and singing while dancing on and around his furniture. It is the only number in which Astaire — again bowler-hatted — appears in
516:'s original screen story was purchased by RKO and, in November 1935, Gelsey was hired to adapt the story. Although he did not receive any screen credit, he was under consideration for screenplay credit as late as July 1936.
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to show Astaire dancing with three of his shadows was invented by Hermes Pan(who also choreographed the opening chorus), after which Astaire dances a short opening solo that features poses mimicking and satirizing
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Kern and Fields also wrote an additional song, "It's Not in the Cards", as a full opening number, but it was cut, heard only momentarily at the conclusion of the first scene, and later as background music.
686:— a longtime Kern associate on Broadway — composed the number using some themes provided by Kern. The song's interlude, a ¾ treatment of "The Way You Look Tonight", was added by rehearsal pianist
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Mueller, p. 101: "the story is riddled with inconsistencies, implausibilities, contrivances, omissions, and irrationalities," Croce, p. 102: "discontinuities in the plot," also see Hyam, p. 46.
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to Fields's bittersweet lyrics, is sung alternately by Rogers and Astaire, with Rogers providing an object lesson in acting while a bowler-hatted Astaire at times appears to be impersonating
833:, the film holds an approval rating of 97%, based on 29 reviews, with an average rating of 8.58/10. The site's critical consensus reads: "Ginger Rogers and Fred Astaire are brilliant in
366:, and Astaire topped the U.S. pop chart with it in 1936. Jerome Kern's score, the first of two that he composed specially for Astaire films, contains three of his most memorable songs.
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1107:, which controls the rights to the RKO Astaire–Rogers pictures in the UK and Ireland. These releases feature an introduction by Astaire's daughter, Ava Astaire McKenzie.
941:, began performances on October 27, 2003, running for 44 previews and 84 performances. It opened on December 4, 2003, and closed on February 15, 2004. It was directed by
701:. In the midst of this complex routine, Astaire and Rogers find time to gently poke fun at notions of elegance, in a reminder of a similar episode in "Pick Yourself Up".
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According to RKO records, the film made $ 1,624,000 in the U.S. and Canada, and $ 994,000 elsewhere, resulting in a profit of $ 830,000.
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Lucky and Pop check into the hotel where Penny and Mabel live. Lucky fails to win a tuxedo for the audition by playing strip
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a pair of baggy pants. An infectious round of laughter causes Penny to call off the wedding, having been wooed by Lucky.
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times in one day before Astaire was satisfied, with Rogers's feet left bruised and bleeding by the time they finished.
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a net profit of $ 830,000. The partnership never regained the creative heights scaled in this and previous films.
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716:. Never a man to discard a favorite piece of fine clothing, Astaire wears the same coat in the opening scene of
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841:, the film has a weighted average score of 91 out of 100, based on 16 critics, indicating "universal acclaim".
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1434:"The Film Business in the United States and Britain during the 1930s" by John Sedgwick and Michael Pokorny,
1289:, Oxford University Press 2009. Oxford Reference Online, accessed September 25, 2016 (requires subscription)
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and Hannah Hyam. It features four dance routines that are each regarded as masterpieces. According to
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Movie Time: A Chronology of Hollywood and the Movie Industry from Its Beginnings to the Present
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Green, Stanley (1999) Hollywood Musicals Year by Year (2nd ed.), pub. Hal Leonard Corporation
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as one of the top 100 films, and in 2004, the film was included in the United States
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is "a strong candidate for the best of the Fred Astaire and Ginger Rogers musicals".
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The movie has also been released on Blu-ray in the UK by The Criterion Collection.
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for being "culturally, historically, or aesthetically significant". In 2007, the
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It was the 15th most popular film at the British box office in 1935–1936.
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Astaire spent almost eight weeks preparing for the film's dance numbers.
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featured in modern cinema and television. It is featured in the films
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as being "culturally, historically, or aesthetically significant". In
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was also considered as a title, as were 15 other possibilities.
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to be Astaire and Rogers's best dance musical, a view shared by
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548:, and the freight yard scene was shot in downtown Los Angeles.
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Fred and Ginger – The Astaire-Rogers Partnership 1934–1938
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1936 musical film starring Fred Astaire and Ginger Rogers
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will swing 'em past the wickets in above-average tempo."
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The car used during the "New Amsterdam Inn" number is a
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AFI's 100 Years...100 Movies (10th Anniversary Edition)
358:'s most profound achievement in filmed dance, while "
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Richard Jewel (1994) 'RKO Film Grosses: 1931–1951',
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Films that won the Best Original Song Academy Award
886:, Jerome Kern and Dorothy Fields won the award for
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1219:Historical Journal of Film, Radio and Television
498:Initially, the working titles for the film were
695:segment of the "Currier and Ives" routine from
530:The "Bojangles of Harlem" number, a tribute to
489:Abe Reynolds as Schmidt the tailor (uncredited)
1438:New Series, Vol. 58, No. 1 (Feb., 2005), pp.97
1418:The Swing of Things: 'Swing Time' Step by Step
1373:. Lantham, Md.: Scarecrow Press. p. 211.
1099:) was released both separately and as part of
729:, and dressing in the style of the character,
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1511:. Connecticut: Greenwood Press. p. 93.
1321:Mueller, p. 103: "her finest in the series".
1287:The Oxford Companion to the American Musical
1049:was released, available both separately (in
915:at No. 90 on their 10th anniversary list of
343:The Oxford Companion to the American Musical
1076:released the movie in the United States on
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2199:United States National Film Registry films
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1055:The Astaire & Rogers Collection, Vol.1
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1091:In 2003, a digitally restored version of
1061:. These releases feature a commentary by
1045:In 2005, a digitally restored version of
1029:Learn how and when to remove this message
609:Learn how and when to remove this message
537:The New York street scenes were shot on
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1584:The Fred Astaire and Ginger Rogers Book
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1335:. London: Heinemann. pp. 218–228.
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278:comedy film, the sixth of ten starring
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1124: – 1942 film by William A. Seiter
1101:The Fred and Ginger Collection, Vol. 1
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1822:The Story of Vernon and Irene Castle
1298:Mueller, p. 101n: "In a 1936 letter
1261:. Brighton: Pen Press Publications.
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1192:. New York: Macmillan. p. 130.
1007:adding citations to reliable sources
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760:nomination for Best Dance Direction.
591:adding citations to reliable sources
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364:Academy Award for Best Original Song
1617:Astaire Dancing – The Musical Films
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1067:Astaire Dancing – The Musical Films
652:": Kern and Fields's Oscar-winning
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2174:Films produced by Pandro S. Berman
2164:Blackface minstrel shows and films
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1509:Fred Astaire – A Bio-bibliography
1394:https://www.imcdb.org/m28333.html
2169:Films directed by George Stevens
1890:The Cohens and Kellys in Trouble
1549:Charles, Ron (9 November 2016).
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2159:American musical comedy films
1699:Swing Time: Heaven Can’t Wait
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44:Theatrical release poster by
2209:1930s English-language films
2074:The Greatest Story Ever Told
1648:AFI Catalog of Feature Films
1371:The Jerome Kern Encyclopedia
1174:AFI Catalog of Feature Films
957:The film lends its title to
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1619:. London: Hamish Hamilton.
1436:The Economic History Review
1369:Hischak, Thomas S. (2013).
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450:as Penelope "Penny" Carroll
106:"Portrait of John Garnett"
10:
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2179:Films set in New York City
1538:Internet Broadway Database
672:Star Trek: Deep Space Nine
400:, it is ranked at No. 90.
23:. For the jazz style, see
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2144:1936 musical comedy films
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888:Best Music, Original Song
546:Santa Fe Railroad Station
532:Bill "Bojangles" Robinson
480:as Ricardo "Ricky" Romero
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2184:Films adapted into plays
1830:The Barkleys of Broadway
1074:The Criterion Collection
953:Allusions in other works
666:My Best Friend's Wedding
650:The Way You Look Tonight
360:The Way You Look Tonight
2066:The Diary of Anne Frank
1507:Billman, Larry (1997).
1121:You Were Never Lovelier
909:American Film Institute
456:as Edwin "Pop" Cardetti
444:as John "Lucky" Garnett
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403:
1586:. London: W.H. Allen.
1331:Astaire, Fred (1959).
917:100 Years...100 Movies
905:National Film Registry
684:Robert Russell Bennett
633:I'll Be Hard to Handle
390:National Film Registry
2082:The Only Game in Town
2042:Something to Live For
1257:Hyam, Hannah (2007).
1221:, Vol. 14 No. 1, p.55
945:and choreographed by
698:The Belle of New York
677:What You Leave Behind
382:was listed as one of
75:Contributing writers
2214:1930s American films
2154:American dance films
2101:That Justice Be Done
2018:The More the Merrier
2010:The Talk of the Town
1962:A Damsel in Distress
1704:Criterion Collection
1476:"Swing Time Reviews"
1186:Brown, Gene (1995).
1003:improve this section
896:Entertainment Weekly
747:. The idea of using
587:improve this article
385:Entertainment Weekly
351:The Oxford Companion
19:For other uses, see
1555:The Washington Post
1449:"Swing Time (1936)"
1247:Mueller, pp.100-113
931:based on the film,
884:1937 Academy Awards
394:Library of Congress
329:Noted dance critic
274:is a 1936 American
2194:RKO Pictures films
2119:(2017 documentary)
2034:A Place in the Sun
1986:Vigil in the Night
1873:Films directed by
1758:Flying Down to Rio
1682:TCM Movie Database
1359:is an apotheosis."
1072:On June 11, 2019,
474:as Margaret Watson
197:RKO Radio Pictures
187:RKO Radio Pictures
2204:1930s dance films
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2002:Woman of the Year
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1533:Never Gonna Dance
1422:Warner Home Video
1380:978-0-8108-9167-8
1281:Hischak, Thomas.
1268:978-1-905621-96-5
1105:Universal Studios
1059:Warner Home Video
1053:) and as part of
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934:Never Gonna Dance
878:Awards and honors
827:review aggregator
821:Critical response
765:Never Gonna Dance
749:trick photography
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504:Never Gonna Dance
468:as Mabel Anderson
354:and collaborator
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2108:On Our Merry Way
1906:Kentucky Kernels
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500:I Won't Dance
488:
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479:
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472:Betty Furness
470:
467:
464:
462:as Mr. Gordon
461:
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448:Ginger Rogers
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324:New York City
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304:Betty Furness
301:
297:
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289:
285:
284:Ginger Rogers
281:
277:
273:
272:
263:$ 2.6 million
262:
258:
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239:United States
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203:Release dates
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132:Ginger Rogers
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2016:
2008:
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1992:
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1938:Annie Oakley
1936:
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1573:Bibliography
1572:
1571:
1558:. Retrieved
1554:
1544:
1532:
1527:
1508:
1485:. Retrieved
1479:
1470:
1460:December 12,
1458:. Retrieved
1452:
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1389:
1370:
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1283:"Swing Time"
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1120:
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1086:
1071:
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1065:, author of
1063:John Mueller
1054:
1046:
1041:
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1016:
1001:Please help
989:
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932:
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696:
692:Arlene Croce
670:
664:
658:
636:
605:
596:
585:Please help
580:verification
577:
550:
536:
529:
526:
514:Erwin Gelsey
512:
507:
503:
499:
497:
454:Victor Moore
442:Fred Astaire
430:
426:
419:
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383:
379:
377:
371:
368:
350:
346:
342:
339:John Mueller
334:
331:Arlene Croce
328:
300:Victor Moore
280:Fred Astaire
270:
269:
268:
227:Running time
171:
164:
152:Henry Berman
128:Fred Astaire
107:
83:Dorothy Yost
77:(uncredited)
76:
74:
46:William Rose
1930:Alice Adams
1922:The Nitwits
1608:pages 60–61
959:Zadie Smith
923:Adaptations
719:Holiday Inn
714:Stan Laurel
543:Los Angeles
522:Allan Scott
316:Jerome Kern
231:103 minutes
162:Jerome Kern
114:Produced by
71:Allan Scott
53:Directed by
2139:1936 films
2133:Categories
1946:Swing Time
1798:Swing Time
1688:Swing Time
1677:Swing Time
1666:Swing Time
1655:Swing Time
1642:Swing Time
1487:August 25,
1481:Metacritic
1357:Swing Time
1168:Swing Time
1129:References
1093:Swing Time
1047:Swing Time
1019:March 2024
971:Home media
964:Swing Time
913:Swing Time
901:Swing Time
871:Swing Time
858:Swing Time
839:Metacritic
835:Swing Time
810:Box office
599:March 2024
494:Production
460:Eric Blore
380:Swing Time
372:Swing Time
362:" won the
356:Hermes Pan
347:Swing Time
335:Swing Time
333:considers
308:Eric Blore
271:Swing Time
260:Box office
214:1936-08-27
179:Production
142:David Abel
95:Rian James
87:Ben Holmes
33:Swing Time
25:swing time
21:Swing Time
1978:Gunga Din
1084:formats.
990:does not
893:In 1999,
805:Reception
786:together.
754:Al Jolson
745:blackface
710:quickstep
688:Hal Borne
660:Chinatown
539:Paramount
378:In 1999,
255:$ 886,000
148:Edited by
2103:" (1946)
1814:Carefree
1671:AllMovie
1615:(1986).
1582:(1972).
1114:See also
1097:Region 2
1088:Region 2
1051:Region 1
1042:Region 1
829:website
775:Art Deco
735:Gershwin
244:Language
172:(lyrics)
158:Music by
124:Starring
101:Story by
2093:Related
1782:Top Hat
1774:Roberta
1741:Astaire
1680:at the
1645:at the
1536:on the
1424:. 2005.
1420:(DVD).
1171:at the
1078:Blu-ray
1011:removed
996:sources
911:ranked
882:At the
866:Variety
861:guess."
825:On the
654:foxtrot
638:Roberta
414:quarter
392:by the
276:musical
247:English
236:Country
212: (
181:company
165:(music)
2111:(1948)
2085:(1970)
2077:(1965)
2069:(1959)
2061:(1956)
2053:(1953)
2045:(1952)
2037:(1951)
2029:(1948)
2021:(1943)
2013:(1942)
2005:(1942)
1997:(1941)
1989:(1940)
1981:(1939)
1973:(1938)
1965:(1937)
1957:(1937)
1949:(1936)
1941:(1935)
1933:(1935)
1925:(1935)
1917:(1935)
1914:Laddie
1909:(1934)
1901:(1934)
1893:(1933)
1833:(1949)
1825:(1939)
1817:(1938)
1809:(1937)
1801:(1936)
1793:(1936)
1785:(1935)
1777:(1935)
1769:(1934)
1761:(1933)
1745:Rogers
1623:
1604:
1590:
1560:23 May
1515:
1377:
1339:
1265:
1196:
899:named
422:piquet
252:Budget
2058:Giant
2050:Shane
1882:Films
1103:from
1057:from
628:polka
1739:The
1660:IMDb
1621:ISBN
1602:ISBN
1588:ISBN
1562:2022
1513:ISBN
1489:2020
1462:2023
1375:ISBN
1337:ISBN
1263:ISBN
1194:ISBN
1095:(in
1080:and
994:any
992:cite
663:and
502:and
436:Cast
404:Plot
310:and
290:for
282:and
1691:at
1669:at
1658:at
1082:DVD
1005:by
737:'s
589:by
292:RKO
2135::
1553:.
1497:^
1478:.
1451:.
1409:^
1285:.
1238:^
1226:^
1208:^
1137:^
1069:.
949:.
927:A
919:.
679:".
555:.
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306:,
302:,
298:,
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1743:–
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1596:.
1564:.
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1491:.
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1021:)
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612:)
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601:)
597:(
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216:)
79::
27:.
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