Swing Fever

A lackluster plot surrounds some lukewarm musical entertainment in this mid-war production. The best parts of the film are the musical acts in the nightclub, but the producers do their best to sabotage them. As is typical, there are the obligatory salutes to the boys in uniform and a whole lot of hokum, everything from comic acts that are totally unfunny to juggling and faux magic tricks. The movie is called Swing Fever, so you might think the action is hot. It is for those few moments when the band or the swing dancers are allowed to go at it. but most of the "action" is like watching The Lawrence Welk Show, corn and all.

Cameos are jammed in, as was the custom, but they are random and flat. Kay Kyser is his usual cornball self. And of course they include the usual nods to the wartime mythology of soldiers and sailors getting the beautiful canteen girl, who might be a star.

Particularly painful are the "comic" stylings of the band member with bangs who recites "poetry" and otherwise annoys.

The word swing in the title also refers to the boxing plot. A number of real boxers are in the film. We know what great actors they are.

Plot-heavy MGM musical, not likely to turn up on studio highlights. I suppose war demands account for many shortcomings, like the unlikely Kyser in the lead, shoestring production values from a big-budget studio, and a roster of undistinguished supporting players. Then too, musicals need lightweight stories to coordinate with overall mood. This one can't make up its mind. Too bad that outside of Maxwell, the performances are spotty. Kyser tries manfully but the seams show, nor does the lumpy screenplay help.

Nonetheless, there are some highlights. The production number "I Planted A Rose" shows spunk, along with a classy Lena Horne, a lively Marilyn Maxwell, and hep-cat swingers doing their acrobatic thing. And for fans of 50's sci-fi, there's the lordly Morris Ankrum mugging it up, of all things. Still, the plot's too convoluted for a musical and overshadows many of the more lackluster numbers. All in all, the package remains little more than spotty wartime escape.

From the contrarian viewpoint, this is the only Kay Kyser film I've seen yet that I've found watchable. Kyser plays a character other than his usual "Kay Kyser, goofy band leader" -- not a complete change, but just different enough to make him tolerable. And, while it's Kyser's band, someone else has apparently arranged the music so it actually swings and has some oomph for a change.

The script is as thin as usual for this sort of musical, but passable. Marilyn Maxwell's part doesn't require much acting, but she's a treat when she's on screen. And her singing, which is excellent, is a hoot for the vintage musicals connoisseur to watch - one song she does Mae West, later she puts on a bit of Ginger Rogers.

Lena Horne's "You're So Indifferent" is a pleasure - in a minimalist bluesy mode, unlike so much of what she did at MGM.

For some reason, most of the commenters on IMDb are overly harsh and critical. Swing Fever isn't Gone With the Wind; it's not even the Marx Brothers. But for a light comedy with a fun plot, interesting characters, and a lot of great music, it's worth every penny of your video rental cost.

Kyser is as sympathetic and fun to watch as ever... and sure, I would have loved to see more of the band, more Ish, more dancing, more singing, more plot. But come on, we don't have five hours! It never drags, I wasn't looking at my watch, nothing to make me cringe, no bad performances. Even the bad guy isn't a total heel; he just doesn't know any other way.

I taped this off Turner, and it's definitely a keeper. I know I'm going to watch it several more times. You should see it at least once.

Kay Kyser is an aspiring composer with the gift of an "evil eye" that allows him to put people in a trance. He gets mixed up with gruff boxing manager William Gargan and his girlfriend Marilyn Maxwell. A rare outing where Kyser plays a character that isn't himself. It might be the only one come to think of it. The evil eye scenes are silly fun. The musical numbers are good. The best parts of the movie are Kyser's interactions with his regular bandmates, who in this play a swing band that is reluctantly saddled with Kyser's more classical oriented composer. Harry James and Tommy Dorsey also have a funny cameo with the film's biggest laugh. Despite a solid cast offering support, this one is little more than a passable time-killer.