Where would a jealous cop try to forment a riot in a hotel to win his wife back from the leader of a swing band? In contemporary Liverpool, if this film is to be believed. Mind you, it also asks us to believe that the same band leader, who's a Catholic, vows to bring up his kids as protestants in return for the use of a band hall. _Swing_ can't seem to make up its mind whether it wants to be a zany comedy of a piece of naturalism in the British Social Realist tradition, and this schizophrenia often irritates. It's got some entertaining scenes , though, some great music and good acting, particularly from the sexy Lisa Stansfield.
21 Reviews
Lisa Stansfield rocks in this delightful homage to the swing revival!
The_Man_In_White20 December 2004
The reason I saw Swing at all is because I am a big Lisa Stansfield fan. When I discovered she was making her theatrical debut in a movie about a struggling swing band, I was excited not only to see Ms. Stansfield in her first acting role, but to hear her cover some great big-band standards with that signature voice of hers.
If you get nothing else out of this movie at all, the soundtrack is worth at least one viewing.
Overall, I thought this movie was rather entertaining and very charming, a characteristically cynical and quirky British comedy, with a few minor snags, mainly from plot holes and dialog. (Also, as an American viewer, it was difficult at first to get used to the heavy Liverpool accent.) The one-liners at times try too hard to be funny, but luckily those moments were often quickly followed by one of the movie's greatest strengths, its music.
It's not to say the film has nothing BUT its soundtrack to keep it entertaining. Hugo Speer gives a commendable performance as the frustrated protagonist Martin Luxfordan unlucky chap whose last get-rich-quick-scheme landed him a 2 year prison sentence. While serving time, he learns to play the saxophone from his inmate, and is inspired to change his ways during his parole by starting a swing band. Life is not easy for Martyhis parents live in the projects and his brother is a conniving thief who sells his unsuspecting targets the very security systems he breaks into. Things are so bleak you just beg for some light at the end of the tunnel. But Marty plucks right along persuading his friends to join in on his enterprise and holding out hope that he can live his dream. This set-up, while not thoroughly original, is played out well by Speer. When the movie is not rip-roarin' to the sounds of the jazz age, its up to Speer to make us root for Marty, which he succeeds in doing with devilish charm.
Enter Joan, the ex-girlfriend, played by Stansfield. Marty singles her out to be the lead singer of his developing band (surprise! surprise!) but there's one snagJoan is married to the police officer who put Marty away in the first place. This sets up all sorts of wonderful possibilities for a love triangle, but Danny McCall comes off as almost unbelievably psychotic as Joan's husband Andy. He seems more obsessed with his job (the man wears police uniform pajamas to bed)than with keeping Joan's affections, and instead of insecure about his marriage he comes off as unreasonable and inexplicably bent on making Marty's life a living hell. It also becomes increasingly difficult to understand why Joan married the man in the first place, since he displays not even one iota of a redeeming quality. But it is fun to see Joan square off against Andy later in the film, in moments where Stansfield shines in ferociousbut fabulousglory.
Despite some minor but persistent flaws, this movie is a pleasure to watch. Peppered with an odd array of supporting charactersincluding the intimidating Mighty Mac and his Orange Brigade brass section who look like they're armed for a hit(mob-style, not musical)the film occasionally takes a delightfully bizarre turn even in otherwise predictable moments.
I would definitely recommend this movieI have seen it several timesespecially if you are looking for an easy, unchallenging but delightful story about the spirit to overcome adversity, an homage to the swing revival movement at the end of the 90's, or a chance to see Lisa Stansfield take down the Liverpool police department.
If you get nothing else out of this movie at all, the soundtrack is worth at least one viewing.
Overall, I thought this movie was rather entertaining and very charming, a characteristically cynical and quirky British comedy, with a few minor snags, mainly from plot holes and dialog. (Also, as an American viewer, it was difficult at first to get used to the heavy Liverpool accent.) The one-liners at times try too hard to be funny, but luckily those moments were often quickly followed by one of the movie's greatest strengths, its music.
It's not to say the film has nothing BUT its soundtrack to keep it entertaining. Hugo Speer gives a commendable performance as the frustrated protagonist Martin Luxfordan unlucky chap whose last get-rich-quick-scheme landed him a 2 year prison sentence. While serving time, he learns to play the saxophone from his inmate, and is inspired to change his ways during his parole by starting a swing band. Life is not easy for Martyhis parents live in the projects and his brother is a conniving thief who sells his unsuspecting targets the very security systems he breaks into. Things are so bleak you just beg for some light at the end of the tunnel. But Marty plucks right along persuading his friends to join in on his enterprise and holding out hope that he can live his dream. This set-up, while not thoroughly original, is played out well by Speer. When the movie is not rip-roarin' to the sounds of the jazz age, its up to Speer to make us root for Marty, which he succeeds in doing with devilish charm.
Enter Joan, the ex-girlfriend, played by Stansfield. Marty singles her out to be the lead singer of his developing band (surprise! surprise!) but there's one snagJoan is married to the police officer who put Marty away in the first place. This sets up all sorts of wonderful possibilities for a love triangle, but Danny McCall comes off as almost unbelievably psychotic as Joan's husband Andy. He seems more obsessed with his job (the man wears police uniform pajamas to bed)than with keeping Joan's affections, and instead of insecure about his marriage he comes off as unreasonable and inexplicably bent on making Marty's life a living hell. It also becomes increasingly difficult to understand why Joan married the man in the first place, since he displays not even one iota of a redeeming quality. But it is fun to see Joan square off against Andy later in the film, in moments where Stansfield shines in ferociousbut fabulousglory.
Despite some minor but persistent flaws, this movie is a pleasure to watch. Peppered with an odd array of supporting charactersincluding the intimidating Mighty Mac and his Orange Brigade brass section who look like they're armed for a hit(mob-style, not musical)the film occasionally takes a delightfully bizarre turn even in otherwise predictable moments.
I would definitely recommend this movieI have seen it several timesespecially if you are looking for an easy, unchallenging but delightful story about the spirit to overcome adversity, an homage to the swing revival movement at the end of the 90's, or a chance to see Lisa Stansfield take down the Liverpool police department.
Just fast-forward through the plot
Nozz14 January 2000
Just fast-forward through the plot. The writer did. The guy who wants to set up a band just happens to have a bartender uncle who can provide a brass section, a maitre d' friend who can provide a hall, and another friend who works for a crazy millionaire who decides to set up a record label. There are a few good inspirational lines spoken by Clarence Clemons (who also provides the dubbed sax for the protagonist), but the script doesn't take the time to put them in context so they take on the purplish tinge of a sore thumb. The most amusing lines in the film are printed in the closing credits. Oh, but the music is nice and Lisa S. is magnetic.
Thank goodness for feel good movies!
achan26 July 2000
This movie simply makes you smile. I can't understand why so many people need to dissect a movie into a trillion pieces and examine the underlying meanings and hidden agendas. Sometimes all one needs to do is sit back, relax and just enjoy a movie, like I did with this one. The music was great and there were some good laughs. Who cares if the plot is implausible? The whole point of watching a feel good movie like this is that it's detached from reality - I live in reality and sometimes I need to escape it!
Nice feel good film.
dano112 May 1999
I watched this film on it's first showing in Great Yarmouth .The film starts a little slowly but really gets going when Oi comes on the scene. James Hicks, as the skinhead, was one of the key roles. Lisa gave a great performance and should sing more jazz. I really enjoyed the "feel good" nature of the show.
awful
Rokuro26 May 1999
This is the third British film I walked out of in two months. Just another awful (and I mean really, really awful) would-be comedy about a loser who tries to get his girlfriend back and so on (you've seen it thousand times before and much much better than in this turkey). The movie is not funny at all and looks just cheap (ugly colours, bad cinematography). Lisa Stansfield is a better singer than actress. Don't say I didn't warn you!
Unexpected Delight
Franklin-225 April 2000
I had barely heard of this film when I caught the trailer in front of another video. Since I love swing music, enjoyed Hugo Speer in "The Full Monty" and like Lisa Stansfield's singing, I gave it a try and was not dissappointed.
The story of an ex-con organizing a swing band is like "The Commitments" only not as crunchy. But while it's unravelling, particularly during the musical numbers, there's little time to complain. The whole thing is really a fairy tale, with a demented lottery winner as fairy godmother and Stansfield's possessive husband--the cop who had arrested Speers three years earlier--as wicked witch.
Stansfield's singing of some classic jazz and soul numbers is simply terrific. And Speers turns in a kinetic performance that could make him a star if anybody else sees this film.
The story of an ex-con organizing a swing band is like "The Commitments" only not as crunchy. But while it's unravelling, particularly during the musical numbers, there's little time to complain. The whole thing is really a fairy tale, with a demented lottery winner as fairy godmother and Stansfield's possessive husband--the cop who had arrested Speers three years earlier--as wicked witch.
Stansfield's singing of some classic jazz and soul numbers is simply terrific. And Speers turns in a kinetic performance that could make him a star if anybody else sees this film.
Mediocre
ChrisJones13 May 1999
Ignoring the fact that a collection or ordinary people from Liverpool seem to develop the musical qualities suited to playing Jazz in a VERY short time, the rest of the film is fairly tedious. It is mildly entertaining in points and dire in others. Even the breathtaking aerial shots of Liverpool aren't enough to save what should essentially have been a TV movie, or even a mini series.
Best Comedy I've seen all year
looker-831 August 1999
This director didn't miss a beat in developing these characters. The humour is dark and rich, with a really local flavour and a lot of geniune affection behind each turn. I was amazed at Lisa Stansfield whose performance was so natural you'd think she'd been treading the boards for years. While SWING shows Liverpool and the kind of poverty you can't shake off your boots, it begs you to be optimistic, let loose and come have a good time. Music, faith and hard work (with a bit of luck in the form of an hysterically funny "professional" lottery winner) transform Hugo Speer's world and I left the theatre with the lightest of hearts from experiencing his journey.
And forget about the soundtrack, everybody was tapping and grinning away throughout the film.
And forget about the soundtrack, everybody was tapping and grinning away throughout the film.
A Perfect Score
donlhumphries3 May 2002
I recently purchased this movie on video, sight unseen, and was pleasantly surprised. It's not often I consider a movie worth 10 out of 10, but "Swing" deserves a perfect score - because it has "a perfect score". This musical movie is a gem (in my view), because it's got a good story, fine acting, and all the other aspects which go to make a movie worthy (cinematography, editing, etc.) The only other recent movie which I consider in the "little gem" category, is the rather obscure USA "Mumford"(1999); "Swing" can be considered the British equivalent, in that regard. "Swing" is about a young chap, Martin Luxford (Hugo Speer), just released from prison, who, with saxophone, is determined to form his own 'swing' jazz band. The movie tells how he goes about this, the troubles he encounters, and his relationship with his "one true love", Joan (Lisa Stansfield), who aspires to be a singer. He offers her that opportunity, even though she has married - to a psychotic cop. But he needs other band members, and gradually acquires them: a double-bass player, and a drummer. Throughout the film, he remembers the advice of his mentor, a black musician, Jack (Clarence Clemons), who is still in prison. This movie is basically a comedy, but has dramatic moments. Music is the key factor, and popular tunes occur throughout, as the band grows and practices. Mighty Mac (Alexei Sayle) and his boys form the brass section - seconded from Orangemen marching bands. Indeed, Catholic-Protestant rivalry is a theme, but is trivialised, as all concerned devote themselves to the much higher ideal of - music, and dance. So, for a most enjoyable experience, I recommend watching "Swing". PS. For New Orleans' jazz, try the movie "Undercover Blues"! ========================================================
excellent
jez-923 February 1999
I saw this film on pre release before Christmas; Clarence Clemons is sax protagonist to Hugo Speer in prison, the beginning of a new career for Speer as leader of a swing band. This is a most entertaining funny movie with humour so black at times you wonder whether you should really be laughing. The Catholic / Protestant antagonism that underlies Speer's family, has a humour that could fail to amuse only the most staunch defenders of the divide. Lisa Stansfield plays her first acting role and does so with style, watch out for Nery's Hughes ( of 'Liverbird' fame ) playing Lisa's open minded Italian mother, who does little to disuade her from keeping her distance from her ex, Speer, and even less to persuade her to stay with her policeman husband ( the one who arrested Speer ).
Absolutely fabulous, fun film
motty-210 June 1999
This seems to be one of those films you will either love or hate...in my case, it is one of the most fun films this year...music is just excellent...cinematography is bright and clear (not one of those grungy looking films), and as for the acting...everyone is quite believable in their parts...you can tell these people like each other...
The movie is next scheduled to open in the Benelux...it will be making it's way around the world this fall...If you like to laugh, hear great music and feel good...this is a film for you...if not, go watch "A Simple Plan".
The movie is next scheduled to open in the Benelux...it will be making it's way around the world this fall...If you like to laugh, hear great music and feel good...this is a film for you...if not, go watch "A Simple Plan".
A swing film that doesn't focus on the dancers.
Peter_Fields9 September 1999
I had the opportunity of seeing a screening of "Swing" at Culver Studios, Los Angeles in August 1999 and was more than pleasantly surprised at the performance of Lisa Stansfield. She's a natural actress with incredible screen comfort and grace. The ensemble was incredible and thoroughly believable. Clarence Clemmons was a very nice added touch as the "voice of reality." I was particularly intrigued with the fact that this film dealt with the hero's (Hugo Speer of "The Full Monty") desire to form an orchestra and not on a bunch of Gap Commercial dancing tazmanian devils. This film never goes in the direction you expect it to. The hero's problems are rarely through any fault of his own nor is he portrayed as a bumbling "ex con who just can't make the right choices." His character is believable, likeable and you will find yourself rooting for him. Ms. Stansfield held more than her own in this film and gave some unique, sensual and breathy renditions of "Watch The Birdie" (originally performed by Miss Anita O'Day) and "Ain't Nobody Here But Us Chickens. Other outstanding characters are Peter Usher as Liam and Rita Tushingham as Mags. This is definitely a feel good movie and a guaranteed TOE TAPPER. Several people commented at the screening that they were very tempted to get up and dance in the aisle.
Swing is the Thing
dc3captain20024 February 2005
Just another "uplifting" flick in which the good guys win? Nope...not in my humble estimation. Sure the storyline is "feel good" and the likable characters ARE likable. But the real story is THE MUSIC! I mean, who listens to authentic "swing" music in this day and age? Really...certainly not many of the under sixteen group (too caught up in the pulse of Hip Hop); maybe the 20-30 crowd. NO-more likely some form of ROCK or HEAVY METAL! How about the 30-50 sort who still find themselves dipping into 70's disco...just because it was probably pretty good stuff back in the 70's. Even this writer has an appetite for that. But SWING? Wow, just as the movie suggests...this is real music meant to last.And it surely does in this well produced film. Even if I had not grown up with this music (1946-53) I wouldn't be remotely able to withstand its captivating beat and insightful lyrics. This is the music that got most of the civilized world past a devastating economic depression and a war that snuffed out the lives of millions. Somehow, this is the music which seems to have an irrepressible draw...even today. It won't ever die because it has no innate flaws. It's the perfect music for the downtrodden, the well-heeled, the sick of body and the sick of spirit and everyone in between. This movie was an homage to SWING! Long may it fill our anxious ears with its lively beat and heartfelt lyrics.
A BUY Recommendation
lescrl1 May 2001
An astonishingly wise/sweet funny movie to find among the endless variations on ignorantly cool/cruel now dominantly littering both the commercial & critical marketplaces. Like tripping over a ripe melon while traversing a lunar (or polar) landscape? Vastly sager on mean cop mentality than the arrested punk norm. Reminds us that permitting character growth can succeed, that connecting with our own cultural history may yield more than trying too hard to invent something dazzlingly new, that love need not be misrepresented as an obvious death force, that blind stupid loyalty has its up/down aspects. Beyond that, Lisa Stansfield CAN sing, is an honest-to-goodness white soul/swing diva, even better than Dusty Springfield in Dusty's prime. She can also act, express exasperation/pleasure calmly, appears to find/release a voice as she goes, which is true, fair/accurate, how it happens.
The sensibility behind the effort is not completely different from the sensibility driving the cinema vogue, but everything, instead of little or nothing, is ventured/risked/revealed. Brit street lingo is employed as properly/liberally as in "Trainspotting", but leads elsewhere. Lisa plays a strictly decent, if shaggable, wench. Warmly erotic with her shirt on? It's hers, but Hugo Speer does just fine & every performance is at least adequate. All of the players had genuine fun playing? One feels so, smiles. The leader of the Irish Orange horn section earns a special mention for perfect ref/riff/bow to what was beautiful in "The Blues Brothers". BUY the video or DVD, & BUY a CD or three too. Earns its title. Has IT, whatever IT is. Plenty smart but also deeply generous/charming.
The sensibility behind the effort is not completely different from the sensibility driving the cinema vogue, but everything, instead of little or nothing, is ventured/risked/revealed. Brit street lingo is employed as properly/liberally as in "Trainspotting", but leads elsewhere. Lisa plays a strictly decent, if shaggable, wench. Warmly erotic with her shirt on? It's hers, but Hugo Speer does just fine & every performance is at least adequate. All of the players had genuine fun playing? One feels so, smiles. The leader of the Irish Orange horn section earns a special mention for perfect ref/riff/bow to what was beautiful in "The Blues Brothers". BUY the video or DVD, & BUY a CD or three too. Earns its title. Has IT, whatever IT is. Plenty smart but also deeply generous/charming.
LISA STANSFIELD Shines as well as SWINGS!
mslisastansfield25 March 2003
A delightful movie full of GREAT MUSIC and big laughs. Loved it from start to finish, but it really could have survived without the four-letter words. A PG or PG-13 rating would have resulted in an age group being able to get acquainted with Ms. Stansfield's great vocals. The diva is best know for her 1989 hit "All Around The World" and the 1996 remake of the Barry White song, "Never, Never Gonna Give You Up." She has the perfect voice for Jazz and Big Band music and "Swing" was the appropriate vehicle to showcase it. Hope this is the start of many more movies for Miss Lisa! A definite MUST-SEE, MUST-OWN movie for STANSFIELD FANS!
Sweet feelgood movie, yet clever and witty
jokany11 February 2000
This was a very sweet, "feel-good" movie that we enjoyed very much on the recommendation of three or four of our friends in England. We waited for the US opening but all we saw of the movie was the excellent soundtrack CD, so had to rent it on video. The script was clever and witty and the music was wonderful... and it would have been even better on the big screen! Lisa Stansfield was surprisingly good (even if the role was probably not a huge stretch for her!) Recommended!
Groove Shaker
Eiain13 May 1999
After seeing this rather fun loving film, I just wanted to take up my dancing career again. Lisa Stansfield plays a very convincing scouser, even though there are the odd times when Rochdale creeps in, this is also a slight problem with Hugo Speer, non the less a most enjoyable film with laughs a plenty. If you have never been to Liverpool, once you have watched "Swing" you'll feel you have lived there.
Just enjoy it!
saintleonardsonsea1 August 2021
Suspend your disbelief and just sit back and enjoy a feel good movie with a tremendous soundtrack, I love this film. Lisa Stansfield is amazing. She's a great actor, singer and comedienne. This film is FUNNY!
We could do with more like this.
We could do with more like this.
Warmhearted, high-spirited, wonderfully entertaining.
nitelite-219 August 1999
What a great date movie! I saw "Swing" at the Wine Country Film Festival. I arrived vaguely downhearted and left feeling alright with the world; in my book, any film that accomplishes that is worth seeing. Within a minute of the credits I knew I was in for a good time, and by the film's exuberant end I hadn't been the slightest let down.
"Swing" doesn't take itself too seriously, and as a result it avoids the cloying sweetnes that has started to creep into the Full Monty's (which film I loved) progeny. It reminded me of some of my favorite Australian comedies --" Strictly Ballroom," "Priscilla, Queen of the Dessert" and "Muriel's Wedding" come to mind -- as well as, oddly enough, the sitcom "Seinfeld."
Why? Probably because I was as charmed and entertained by the characters, their foibles and imperfections, as I was by the circumstances in which they found themselves. The humor was dark here and there, and often skewer-sharp, but it wasn't mean-spirited, which I especially appreciated; too often nowadays lazy writers reach for laughs through the cheapest shot. "Swing" left me with the kind of warm glow I get at the best family reunions or holiday meals.
"Swing" also provides an energizing soundtrack, really smooth, accessible cinematography and one of the funnier Liverpool jokes I've heard in years.
"Swing" doesn't take itself too seriously, and as a result it avoids the cloying sweetnes that has started to creep into the Full Monty's (which film I loved) progeny. It reminded me of some of my favorite Australian comedies --" Strictly Ballroom," "Priscilla, Queen of the Dessert" and "Muriel's Wedding" come to mind -- as well as, oddly enough, the sitcom "Seinfeld."
Why? Probably because I was as charmed and entertained by the characters, their foibles and imperfections, as I was by the circumstances in which they found themselves. The humor was dark here and there, and often skewer-sharp, but it wasn't mean-spirited, which I especially appreciated; too often nowadays lazy writers reach for laughs through the cheapest shot. "Swing" left me with the kind of warm glow I get at the best family reunions or holiday meals.
"Swing" also provides an energizing soundtrack, really smooth, accessible cinematography and one of the funnier Liverpool jokes I've heard in years.
Dreadful. Zombie-like, retarded, pointless, aimless and dull.
ukcritic10 May 1999
If movies could take IQ tests, Nick Mead's "Swing" would get minus-points. Incompetent, overlong and pointless, it's the only film I've seen that thinks a keyboard is a brass instrument. I'm sickened by the knowledge that it was filmed right here, in our great city of Liverpool, and some wonderful 70s furniture was wasted in creating its sets.
Of course, there isn't much reason for the movie to be set in Liverpool, and it isn't even set in the 70s. The latter factor doesn't bother me much, since the bits of dated decor were nice to look at, and the double-decade regression in fashions mirrors the arrested development of the characters. They're morons, plainly and simply, speaking their nonsensical dialogue like forced zombies, except for the odd cliché, like "I want you to have this..." or "You didn't think I'd wait for you forever, did you?"
The film exists in no genre known to man, with not enough jokes to be a comedy, plot to be a drama or romance to be a love story. Its situation involves Martin Luxton (Hugo Speer), who's getting out of jail as the film opens, and being given a saxophone by cellmate Jack (Clarence Clemons). Martin decides to form a swing band, and as he informs the neighbourhood, we meet his circle of family and friends. His mother and father, the ones with the 70s furniture, are unfathomable; his brother Liam, who develops a mean streak in the last act, had an accidental hand in getting Martin locked up; the love of his life, Joan (Lisa Stansfield), has married his odd arresting officer; and a lively neighbourhood kid, Buddy (Scott Williams), has developed the despicable dream of wanting to play for Manchester United.
You'd think Martin would despair around this bunch of losers, like I did, but he keeps his dream alive, sporting a simpleton's smarmy grin and the kind of confidence that nobody as stupid as him should have. In its assortment of cretinous oafs, "Swing" contains an impotent sadist cop, a twitchy British Nationalist, fat Orangemen thugs -- but bewilderingly glosses over them, insisting to exist as silly fluff. I don't know why the filmmakers think sexual inadequacy, racism or any of the other issues beneath their characters' surfaces can be ignored, but they can't, and their inclusion is distracting when not dealt with.
The interesting Clarence Clemons is criminally underused, appearing mostly in odd cutaways, to recite some "how to" formulas. Hugo Speer, overused, doesn't bring the presence to Martin that a lead role requires, and made more of an impression with his less substantial turn in "The Full Monty". Lisa Stansfield, a successful singer early in this decade, carries herself appropriately, but her performance is marred by a sound mixer who hates her, and synchs her speaking voice in a strange manner. Most of the exterior scenes, in fact, see all the actors' voices lip-synched worse than in Z-grade monster movies, although the supporting performance of arrogant comedian Alexei Sayle gives all flaws a run for their money in the ridiculousness department.
There are, inevitably, some nice musical numbers, but "Swing" has virtually nothing else going for it. I'm tempted to give it my lowest rating of half a star, but it gets a whole one, since the feeling it left me with was not one of passionate hatred. I simply didn't care.
Of course, there isn't much reason for the movie to be set in Liverpool, and it isn't even set in the 70s. The latter factor doesn't bother me much, since the bits of dated decor were nice to look at, and the double-decade regression in fashions mirrors the arrested development of the characters. They're morons, plainly and simply, speaking their nonsensical dialogue like forced zombies, except for the odd cliché, like "I want you to have this..." or "You didn't think I'd wait for you forever, did you?"
The film exists in no genre known to man, with not enough jokes to be a comedy, plot to be a drama or romance to be a love story. Its situation involves Martin Luxton (Hugo Speer), who's getting out of jail as the film opens, and being given a saxophone by cellmate Jack (Clarence Clemons). Martin decides to form a swing band, and as he informs the neighbourhood, we meet his circle of family and friends. His mother and father, the ones with the 70s furniture, are unfathomable; his brother Liam, who develops a mean streak in the last act, had an accidental hand in getting Martin locked up; the love of his life, Joan (Lisa Stansfield), has married his odd arresting officer; and a lively neighbourhood kid, Buddy (Scott Williams), has developed the despicable dream of wanting to play for Manchester United.
You'd think Martin would despair around this bunch of losers, like I did, but he keeps his dream alive, sporting a simpleton's smarmy grin and the kind of confidence that nobody as stupid as him should have. In its assortment of cretinous oafs, "Swing" contains an impotent sadist cop, a twitchy British Nationalist, fat Orangemen thugs -- but bewilderingly glosses over them, insisting to exist as silly fluff. I don't know why the filmmakers think sexual inadequacy, racism or any of the other issues beneath their characters' surfaces can be ignored, but they can't, and their inclusion is distracting when not dealt with.
The interesting Clarence Clemons is criminally underused, appearing mostly in odd cutaways, to recite some "how to" formulas. Hugo Speer, overused, doesn't bring the presence to Martin that a lead role requires, and made more of an impression with his less substantial turn in "The Full Monty". Lisa Stansfield, a successful singer early in this decade, carries herself appropriately, but her performance is marred by a sound mixer who hates her, and synchs her speaking voice in a strange manner. Most of the exterior scenes, in fact, see all the actors' voices lip-synched worse than in Z-grade monster movies, although the supporting performance of arrogant comedian Alexei Sayle gives all flaws a run for their money in the ridiculousness department.
There are, inevitably, some nice musical numbers, but "Swing" has virtually nothing else going for it. I'm tempted to give it my lowest rating of half a star, but it gets a whole one, since the feeling it left me with was not one of passionate hatred. I simply didn't care.
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