![]() ![]() They are hazed by the plant's macho veterans, led by Charles Napier. They also learn to support themselves, to think for themselves, and to see themselves differently. Kay and Hazel are riveters on a bomber assembly line. Instead, it's about women in a man's world. Even the scene where Kay's husband finds out about Lucky is handled with such restrained emotion that it's obvious the filmmakers didn't intend this as a movie about passion. ![]() The movie covers more than four years, and is more interested in giving us a memory of how it felt on the home front than in creating some kind of false drama. The movie's last shot isn't the usual freeze frame of the boy and the girl, but of Kay and Hazel, hugging each other because everything - even Hazel's one-night stand with Lucky - has been forgiven. There's a real sense of palship and camaraderie in their friendship. That position is reserved for the friendship between Kay and Hazel Zanussi ( Christine Lahti), a leggy brunette who lives off the same courtyard and is having her own unhappy affair with a nightclub owner ( Fred Ward). What's unexpected about "Swing Shift," and what keeps it from being predictable and makes it special, is that the relationship between Kay and Lucky isn't really at the heart of the movie. ![]() She finally accepts, and then, like so many wartime spouses, she has a lot of explaining to do when her sailor returns. For six months, he asks Kay out for a date. Her husband is off to sea, and the safety-control inspector is an awfully nice guy named Lucky ( Kurt Russell). ![]()
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