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Contents:
  1. Post navigation
  2. Waltz in Swing Time – The Hungry Novelist
  3. Swing Time: Ginger Rogers’ Day Dress

Kern asked Robert Russell Bennett to write these sections. Just before Never Gonna Dance , dialogue is sparse because Lucky and Penny are reluctant to say goodbye. Dorothy Fields was the only woman among the pantheon of American song writers of the period. Astaire asked that at least two numbers have a swing beat. Ginger Rogers audio interview from — Rogers discusses winning a Charleston contest in Texas, which led to auditioning for several Broadway shows and eventually a seven-year contract with Paramount Pictures.


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She tells anecdotes about the various films she and Astaire made, noting that Swing Time is her favorite. Clips from Swing Time and still black-and-white photos from other Astaire-Rogers films are shown. She never saw Stevens angry, and appreciated his facility for setting the mood of a scene.


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The inspiration for one of the effects in the Bojangles of Harlem number was that three different light sources illuminating Astaire cast three separate shadows. The special effects department incorporated the idea into the Bojangles number using rear projection. George Stevens, Jr.

Booklet — The accordion-style insert booklet features a critical essay by Imogen Sara Smith and five black-and-white photos from the film. Written on Wednesday, 10 July Written on Tuesday, 09 July Wednesday, 10 July Site History Meet the Staff. Criterion - Spine A Fine Romance. Bojangles of Harlem. Never Gonna Dance. A Fine Romance Alternate Take. I've Got Beginner's Luck.

Slap That Bass. They All Laughed. Let's Call the Whole Thing Off. Shall We Dance. I Can't Be Bothered Now. Things Are Looking Up. A Foggy Day. I Used to Be Color Blind. The Yam. Change Partners. Ginger Rogers. Popular Songs by Fred Astaire. Funny Face feat.

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Adele And Fred Astaire. More Fred Astaire Albums. Recommended Songs. Her boss, Mr. Gordon Eric Blore , overhears her comment and fires her. Lucky dances with Penny to "prove" how much she's taught him.

Waltz in Swing Time – The Hungry Novelist

Not only does Mr. Gordon give Penny her job back, he sets up an audition with the owner of a local venue. They check into the same hotel where Penny is staying. Lucky does not have a tuxedo to wear to the audition. He tries to get a tuxedo off a drunk man, but he ends up losing his own clothes instead. They miss the audition, and Penny gets mad at Lucky all over again. Lucky arranges another audition. He and Pop picket in front of Penny's door until she gives in and forgives him.

But they cannot audition because the club has lost their band leader, Ricardo Romero Georges Metaxa , to a casino. They go to Club Raymond where Lucky gambles to win enough to get Ricky back. Meanwhile, Ricky declares his feelings for Penny. Lucky is about to win enough to marry Margaret, but he takes his last bet off in time The club owner bets him double or nothing and they gamble for Ricky's contract.

Swing Time: Ginger Rogers’ Day Dress

Upon seeing that the club owner intends to cheat, Pop cheats as well, and Lucky wins the contract. Lucky and Penny dance at the club. They are dancing together all the time, but Lucky does not trust himself around Penny because he feels guilty about not telling her about Margaret. He's avoiding her, which Penny notices, so she and her friend Mabel Anderson Helen Broderick conspire to get Lucky and Pop out to the country.

Pop lets slip the information about Lucky and Margaret. Despite her best efforts, the two begin a romance, even as Ricky continues to woo Penny. When Margaret shows up, Lucky tries to avoid her; but, too late, Penny finds out. She agrees to marry Ricky.

Margaret calls off her engagement to Lucky before he can. Lucky successfully stops Penny's wedding. And the two end up together, much to everyone's delight. Initially, the working titles for the film were I Won't Dance and Never Gonna Dance , but studio executives worried that no one would come see a musical where no one danced, and the title was changed. Although he did not receive any screen credit, he was under consideration for screenplay credit as late as July Howard LIndsay wrote the first draft of the screenplay, which was then considerably re-written by Allan Scott.

Just before shooting started, in April , Scott was called back from New York to write additional dialogue.