*Swing Time*, the 1936 American musical comedy film, stands as a significant entry in the careers of Fred Astaire and Ginger Rogers, marking their sixth collaboration. Directed by George Stevens for RKO, the film featured a notable cast including Helen Broderick, Victor Moore, Betty Furness, Eric Blore, and Georges Metaxa. Its music, composed by Jerome Kern with lyrics by Dorothy Fields, contributed to its enduring appeal. Set primarily in New York
City, the narrative follows a gambler and dancer named "Lucky" (Astaire) who, while trying to secure funds for his marriage, encounters dance instructor Penny (Rogers). Their professional partnership soon blossoms into romance, forcing them to confront their feelings amidst existing commitments. The film's journey from its initial production challenges to its eventual recognition as a culturally significant work highlights its impact on cinematic history.
Crafting the Narrative and Musical Numbers
Before settling on *Swing Time*, the film underwent several title changes, with working titles like *I Won't Dance* and *Never Gonna Dance* being considered. Studio executives, however, expressed concern that these titles might deter audiences from a musical, leading to the adoption of *Swing Time*. Other possibilities, including *Pick Yourself Up*, were also explored among 15 potential titles. The original screen story, *Portrait of John Garnett*, was acquired by RKO, and its author, Erwin Gelsey, was hired in November 1935 to adapt it. Although Gelsey was considered for screenplay credit as late as July 1936, he ultimately did not receive it. Howard Lindsay penned the initial draft of the screenplay, which Allan Scott substantially rewrote. Scott was even recalled from New York to write additional dialogue before filming commenced in April 1936.
Fred Astaire dedicated nearly eight weeks to preparing for the film's intricate dance numbers, a testament to the demanding choreography. One of the most iconic sequences, the "Bojangles of Harlem" number, served as a tribute to the renowned dancer Bill "Bojangles" Robinson. This particular segment was the last to be filmed due due to the complex special effects it required. To achieve the visual effect of Astaire dancing with three larger-than-life shadows of himself, a multi-step process was employed. Initially, Astaire was filmed dancing in front of a blank white screen, with a powerful light projecting his shadow. This footage was then tripled in the film laboratory. Subsequently, Astaire was filmed performing under normal lighting against another white screen, this time watching a projection of the dancing shadow. The four resulting shots were then optically combined. This entire sequence alone took three full days of shooting, contributing to the film's overall production time, which extended several weeks beyond the typical Astaire-Rogers film schedule.
Filming Locations and Lasting Recognition
The production utilized various locations to bring the film's setting to life. The New York street scenes were meticulously shot on Paramount's back lot, recreating the urban environment. Interiors and exteriors for the train station sequences were filmed at the Los Angeles Santa Fe Railroad Station, lending authenticity to those scenes. The freight yard scene was captured in downtown Los Angeles, further grounding the film in realistic settings. Even specific details like the car used during the "New Amsterdam Inn" number, a 1935 Auburn 851 Phaeton Sedan, were carefully chosen to enhance the period feel.
*Swing Time*'s artistic and cultural significance has been widely acknowledged over the years. In 1999, *Entertainment Weekly* included it among its top 100 films, recognizing its enduring quality. A major milestone occurred in 2004 when the film was selected for inclusion in the National Film Registry by the Library of Congress. This annual selection designates 25 motion pictures as "culturally, historically or aesthetically" significant, recommending them for preservation. Furthermore, in AFI's 100 Years...100 Movies (10th Anniversary Edition), *Swing Time* was ranked at No. 90, solidifying its place in American cinematic heritage. The film's legacy also extends to other works, lending its title to Zadie Smith's 2016 novel, where it functions as a recurring plot device. Its availability in digitally restored versions on home media, including separate releases and as part of collections like The Astaire & Rogers Collection, Vol.1 and The Fred and Ginger Collection, Vol. 1, ensures its continued accessibility for new generations of viewers, often accompanied by commentaries from film scholars or introductions by Astaire's daughter, Ava Astaire McKenzie.
