The Gay Divorcee (1934) User Reviews

Fred and Ginger

[jotix100 · 8/10 · 1 February 2005]

After hearing Fred Astaire put his stamp in a song, it's hard to imagine anyone else attempting to improve in what seems to be the definite rendition of it. That is the case when Mr. Astaire sings Cole Porter's elegant "Night and Day". In pairing Ginger Rogers with Mr. Astaire, Hollywood hit the jackpot as it produced a winning combination that went from film to film with such ease and panache, it will never be imitated.

Mark Sandrich worked with Ms. Rogers and Mr. Astaire in several movies. Somehow, "The Gay Divorcée" is one of their best collaboration. This film is a lot of fun to watch, even after more than 70 years after it was made. It speaks volumes for all the people involved in the production of this movie.

The Great Depression was the right background when movies like this were made. In a way, it was an escape from the harsh realities of the times America was going through. The public went to the movies to see their favorite stars that were shown in such a glamorous roles. How could anyone not admire the great Fred Astaire, always impeccably dressed? Or how could not any woman in the theater envy Ms. Rogers's beauty and easy grace? That era made it right for Hollywood to show the world a sensitivity and sophistication that only few rich types were able to enjoy in real life, while the rest was trying to eke out a life of whatever work they could find.

The musical numbers are amazing. "The Continental" alone, must have blown the budget of the picture. Imagine how much it would cost today to have all those dancers in a sound stage! Not only that, but in that lengthy number, there are at least four changes of costumes for the women. Also, he is delightful singing "Looking for a Needle in a Haystack". A young and radiant Betty Grable makes an appearance singing "Let's K-knock K-knees" in which she shows a bit of her enormous charm and talent.

Ginger Rogers makes a gorgeous Mimmi Glassop. Alice Brady, is perfect as the dizzy Aunt Hortense. Edward Everett Horton plays an excellent Egbert Fitzgerald, the divorce lawyer. Erik Rhodes is one of the best things in the film; his Signor Tonetti injects a funny shot into the movie. Eric Blore, as the waiter, has great moments in the movie.

In setting the film in London and Brighton, a rich texture is added to this winning picture that will remain a favorite that will live forever because of the chemistry that Ginger Rogers and Fred Astaire produced in anything they did together.

Fred & Ginger's first starring role as a team

[blanche-2 · 7/10 · 5 April 2006]

After their hit dancing of the "Carioca" in "Flying Down the Rio," RKO gave the teaming of Fred Astaire and Ginger Rogers a star role in "The Gay Divorcée" in 1934. With few exceptions, the plots of the Fred-Ginger films were excuses to get to the important part - the dancing - but the story lines were always pleasant and the casting good. "The Gay Divorcée" was based on a Broadway musical (of which the only number retained is "Night and Day") and it appears that a few of its plot devices were adopted in later Astaire-Rogers films as well. One such plot device is that of mistaken identity. In this movie, Astaire (reprising his Broadway role) is mistaken for a professional correspondent hired to help Rogers get her divorce. Another device is that at first, Ginger is never interested in Fred - that goes here, too. And there's a stock cast in these films, namely, Edward Everett Horton and Eric Blore (and of course, he's always the butler and always very funny). Horton plays Rogers' attorney whose major problem is Rogers' aunt (Alice Brady).

What can be said about the dancing except that it's glorious? Fred and Ginger dance to "Night and Day" after Astaire sings it to her. For a supposed non-singer, Astaire could really put over a song - his voice is pleasant and he's so musical - no wonder composers wrote songs for him. Ginger is beautiful and spunky as Mimi, a young woman ducking Fred while she's trying to get a divorce. Betty Grable has a bit that showcases her in the number "Let's K-knock Kneez." There's also "I'm Looking for a Needle in a Haystack" delightfully sung and danced by Fred. Astaire's dancing is fantastic throughout.

It feels as if about half the picture is taken up with the elaborately staged production number, "The Continental." In later films, of course, the dancing would center more around Fred and Ginger, but it's a great part of the movie and certainly solidified these two as a top box office pairing.

For pure enjoyment, there's nothing like watching Astaire & Rogers in these movies.

A good warm up for "Top Hat"

[AlsExGal · 8/10 · 14 July 2019]

This was the first RKO film that Fred Astaire and Ginger Rogers did in which they are the central characters. In the first two they play wise cracking supporting roles, and if you don't know what is going on you might say "Hey, why don't Gene Raymond and Delores Del Rio get out of the way and let Fred and Ginger do their stuff?". It was because Fred and Ginger as a team were a bit of a surprise to RKO.

At any rate, like I said, this seems like a warm up for "Top Hat" a year later, but it is still a great film. But the two share a few pieces of the basic formula. Fred and Ginger meet in such a way that annoys Ginger and gets Fred interested, and once Ginger begins to return Fred's affection a complete misunderstanding that Fred knows nothing about causes Ginger to lose all interest in a now confused Fred. Edward Everett Horton plays Fred's loyal but befuddled friend, and Eric Blore, who at first seems like a minor character who is in the film mainly to flummox Horton's character plays a much bigger part in the plot than you would ever imagine. Erik Rhodes plays an Italian who never really has a chance as third vertex in a triangle in which the other two are Fred and Ginger, but he plays that part with great comic style.

A couple of mistakes fixed by "Top Hat" that this one has - First, Fred Astaire is given no solo dance numbers. Second, too much Alice Brady can get annoying. In "Top Hat" her part is taken by Helen Broderick who had a great dry comic wit.

Still, highly recommended.

"Distinct Tendencies Towards Terpsichorean Excellence"

[stryker-5 · 14 March 1999]

Guy Holden, the celebrated stage dance star, is touring Europe on vacation. Mimi Glossop is a rich American living in London and is currently in the throes of a divorce. They meet, they dance, they fall in love.

Ginger Rogers was by far the bigger cinema star when RKO Radio teamed her with Fred. She had appeared in 34 films to his 3, and two in the previous year had been smash hits - "Golddiggers" and "42nd Street". This loose borrowing from Cole Porter's Broadway show contains only one of the master's songs, the immortal "Night And Day", and only four other songs in the entire movie - Conrad & Magidson's "Needle In A Haystack" and "The Continental", and Gordon & Revel's "Don't Let It Bother You" and "Let's K-nock K-nees" (featuring an 18-year-old Betty Grable, who had herself featured in no less than eight films in the previous year).

At the depth of the Depression, this sort of film was all the rage - a fantasy of carefree opulence and ease, set in a world of Parisian floorshows, ocean liners and tuxedos. The wit is sharp and the mood flirtatious. What if the film-makers hadn't the first clue about how an English barrister conducts his cases? This is about romance, not professional ethics. What if the terrain of Brighton isn't an igneous intrusion, but in fact a sedimentary accretion? This is about two people's sublime dancing, not geology.

Fred is as always the quintessence of style, a naturally elegant creature, and Ginger is gorgeous. The plot is very well constructed, containing all the misunderstandings associated with musical farce, but developing them with panache. The denouement is both neat and unexpected. There are plenty of girls dancing in the usual geometric patterns, but there is also abundant creativity in the choreography - the playful steps in "The Continental", for example, or Fred's reluctant dance for his supper. Mimi is trying to resist Guy, and has to be drawn into "Night And Day" against her will - an instance of character being expressed through dance. Max Steiner's arrangement of this number is glorious, with its 'tacit', and the swelling fortissimos, and a dainty countermelody in the strings. Ginger sings "The Continental" like an angel, nicely ragging the time.

Inconsequential? No doubt. Frothy? Certainly. A joy to watch? Definitely!

Sublime dancing, hilarious comedy, Art Deco time capsule

[jacksflicks · 10/10 · 5 June 1999]

It's astounding that this all-time classic doesn't get a better average score.

Nureyev said Astaire was the greatest dancer in the world, and Astaire is at his best here with his best partner, Ginger Rogers. No need to elaborate, just watch them in action.

Erik Rhodes should have got Best Supporting Oscar. He was also wonderful in Top Hat, but it's here he gets to say the immortal line, "Your wife is safe with Tonetti, he prefers spaghetti."

The clothes and the decor evoke an ideal of courtship as aesthetic rather than as rutting, as it is today. Elegance, grace and wit give even the silliest scenes more dignity than anything, fatuous "talents" can concoct today.

Some call the plot banal, but I think it's funny and inventive. Sure it's mistaken identity, which is indeed a cliché, but so what? It's what they do with it that matters. A professional co-respondent??? Of course it's silly but Hey, that's what farce is. And this musical farce is one of the very best.

Divorce-Continental Style

[lugonian · 10/10 · 20 September 2002]

"The Gay Divorcée" (RKO Radio, 1934), directed by Mark Sandrich, reunites the supporting young couple who supplied the "comedy relief" and very little dancing to the previous year's success of FLYING DOWN TO RIO (RKO, 1933). The couple in question are Fred Astaire and Ginger Rogers. With this being their first starring film musical as a team, in reality, they are virtually supporting players, this time supporting the supporting character actors who seem to be on more than the stars themselves. Even several production numbers are performed by others, but Astaire does manage to get at least one big solo spotlight to himself before doing his couple of twists and turns with Rogers. However, this doesn't take away from the chemistry they have, making this the one to set the pattern for their future films ahead.

The plot centers upon Guy Holden (Fred Astaire), a famous American dancer, traveling with his lawyer friend, Egbert Fitzgerald (Edward Everett Horton). After a brief stay in Paris they head for London where Egbert finds himself filling in for his attorney father who's away in Scotland. As for Guy, he encounters Mimi Glossop (Ginger Rogers), traveling with her matron aunt, Hortense Ditherwell (Alice Brady). A situation involving a dress caught in her aunt's luggage leads Guy to help only to accidentally rip it and loaning her his raincoat to cover up her embarrassment, leaving her his calling card where to return it. Later, Hortense has her unhappily married niece, Mimi, seek divorce proceedings through Egbert Fitzgerald (whom she almost married three ex-husbands prior). Egbert takes the case and hires a gigolo, Rodolfo Tonetti (Erik Rhodes), to act as Mimi's hired correspondent so to have her geologist husband, Cyril (William Austin) "catch them in the act" and agree to a divorce. Before Tonetti accepts the job, and not knowing who the client is, he is given a secret password, "Chance is the fool's name for fate," a line from one of Guy's shows. When Mimi meets up with Guy again, Guy uses that phrase in conversation, and stunned that the man she's been avoiding to be working for her attorney, she reluctantly invites Guy to her hotel room about the same time Tonetti arrives, further complicating matters to the situation.

A drawing room farce if ever there was one, sometimes amusing, often silly, with this being typical of 1930s musicals. While essentially a filmed staged play, "The Gay Dibvorcee" does break away from drawing room settings with a car chase and brief street scenery. Taken from the hit play, "The Gay Divorce" (1932), which also starred Astaire, with Erik Rhodes and Eric Blore reprising their roles, the film succeeds due to the presence of Astaire and Rogers. Of the songs from the stage production, only Cole Porter's "Night and Day" remains.

The musical program with new score by Mack Gordon and Harry Revel, Con Conrad and Herb Magidson, include: "Don't Let It Bother You" (sung by French chorus girls/ followed by a tap dance solo by Fred Astaire); "Looking for a Needle in a Haystack" (sung and danced by Astaire); "Let's Knock K-neez" (sung by Betty Grable and Edward Everett Horton); "Night and Day" (sung by Astaire/ danced by Astaire and Rogers); "The Continental" (sung by Ginger Rogers/ danced by Astaire and Rogers, and others); and "The Continental" (finale).

While some of the earlier songs are forgettable, with "Needle for a Haystack" inventing the Astaire character, "Night and Day" marks the first Astaire and Rogers dance on screen in its entirety. "The Continental," a lively song that would be the first Academy Award winning song, is lavishly produced, interestingly choreographed (resembling "The Carioca" from FLYING DOWN TO RIO), it focuses more on couples dressed in black and white attire dancing in montage sequences, with time out for singing by Erik Rhodes playing his Constantina, and another, Lillian Miles, who appears, sings and is never seen or heard from again, before Astaire and Rogers take center stage going into their dance of Spanish, Hungarian, Viennese and jazz steps before its conclusion.

Of the supporting players, Alice Brady comes off best with her amusing combination mixture of Margaret Dumont and Gracie Allen. She, like her counterpart, Edward Everett Horton, would become type-cast with such roles, but later proved her ability as a dramatic actress with her Academy Award winning role of IN OLD CHICAGO (20th-Fox, 1937). Other character actors in support include William Austin, briefly appearing as Mimi's husband, presenting himself close to the mannerisms of future character actor, Billy DeWolfe; Eric Blore as the waiter would have his share of comedic scenes with Astaire and Rogers in three additional musicals.

Of the ten Astaire and Rogers musicals, "The Gay Divorcée," "Top Hat" (1935) and "Shall We Dance?" (1937) , all with Edward Everett Horton, were the most commonly revived from local television through much of the 1960s to the 1980s, many substituting the Movietime or C&C Television logos over the original RKO Radio during its introduction and closing credits. Aired regularly on American Movie Classics during the stations beginning to 2000, it's also shown frequently on Turner Classic Movies. Availability on home video dating back to the 1980s from the now extinct Nostalgia Merchant to Turner Home Entertainment has paved the way for future generations to discover and enjoy the legend of Astaire and Rogers.

"The Gay Divorcée" being one of the twelve feature films to be nominated for Best Picture of 1934, is vintage fun. Even as the latter Astaire and Rogers musicals started to wear thin, namely CAREFREE (1938), they never ceased to amaze in what the team can do with their dancing feet. (****)

Chance Is the Fool's Name for Fate

[claudio_carvalho · 7/10 · 27 October 2011]

After staying in Paris on vacation, the American dancer Guy Holden (Fred Astaire) and his Londoner lawyer friend Egbert Fitzgerald (Edward Everett Horton) return to London by ship. Guy meets the wealthy American blonde Mimi Glossop (Ginger Rogers), who is traveling with her aunt Hortense Ditherwell (Alice Brady), in the harbor and Mimi asks him to call her aunt to open her luggage since her dress is trapped in the trunk. Guy tries to release her dress but he accidentally rips Mimi's dress. Guy lends his overcoat to her expecting to receive it back with a thank-you note with her name and address, but Mimi returns the coat without any card.

Meanwhile, Hortense seeks out Egbert, who is replacing his father in the office, expecting to get the divorce of Mimi and her husband, the geologist Cyril Glossop (William Austin). However, Cyril advises that it would be difficult to make Cyryl accepting the divorce and he suggest to Mimi to hire the "correspondent" Rodolfo Tonettito (Erik Rhodes) to stay with her in a hotel room. Meanwhile, Egbert would hire private eyes to arrive in Mimi's room and surprise the couple, forcing the divorce of Mimi and Cyril.

Egbert gives a password to Tonettito to identify Mimi and uses a sentence created by Guy – "Chance Is the Fool's Name for Fate". Mimi believes that Guy is her correspondent and stays with him in her room. When Tonettito arrives in her room, the disappointed Mimi learns the truth and feels better. But she is still married and can not marry Guy.

"The Gay Divorcée" is a great classic musical, with Ginger Rogers and Fred Astaire shining and dancing. The long song "The Continental" was awarded with the Oscar of Best Music in 1935 and it is delightful to see the choreography of the dance.

In IMDb Trivia, there are interesting information about this film that I will not repeat in my review. In addiction, Ginger Rogers drives the mighty Duesenberg Model J, one of the most popular luxury cars as well as a status symbol in the United States and Europe. This car that cost between US$ 20,000.00 to US$ 25,000.00 in 1935 was driven by Clark Gable and Gary Cooper (the rare model SSJ 125), Al Capone, Greta Garbo, Howard Hughes, Mae West, Tyrone Power among others personalities. My vote is seven.

Title (Brazil): "A Alegre Divorciada" ("The Gay Divorcée")

The word is co-respondent, not correspondent

[esmondj · 10/10 · 16 April 2015]

Most of these reviews don't appear to understand the plot. As the law in England then stood, the only reliable way to get a divorce was on the grounds of adultery, which required citing a co-respondent (not 'correspondent'), who was required to have been discovered in flagrante delicto with the marriage partner, i.e. having breakfast in the same room. This was usually delegated to a professional co-respondent such as depicted in this movie, who was certainly not a 'would-be Latin lover' at all but just a guy hired to do a job and be seen by a chambermaid at a legally appropriate time.

Stunning movie, perhaps my favourite of the series, with the unsurpassed 'Night and Day' number and an excellent large-scale production number for the Continental, using every inch of a vast RKO Big White Set, although it isn't quite as big as it appears in one shot: look for a bit of matte work.

Art Deco Bollywood!

[1930s_Time_Machine · 7/10 · 31 May 2022]

If you like Top Hat, you'll like this - it's almost as good.

This was the film which changed the musical genre forever. Down the road at Warner Brothers, musicals had been oasises of happiness but firmly set in the grinding reality of the depression. At RKO even the word 'depression' would not exist. The world of the RKO musical was an escapist alternate reality created by production head, Pandro Bergman. His revolutionary vision was totally opposite to Warner Brothers, there was no depression, there was no struggle, no poverty, no plucky amateurs trying to make the big time. Everything and everyone in this film are stylish and sophisticated and the world is one giant beautifully lit Art Deco fantasy.

Ginger Rogers, veteran of Warners (if you can be a veteran at 23) is transformed from the sassy sidekick of Joan Blondell to the epitome of innocent sexy sophistication. But she still has that sassy, fast-talking, street-wise glint in her eye making her the perfect partner for Fed Astaire - the man it's impossible to dislike.

Although not as good as Top Hat, this is just as uplifting and joyful. There's never a dull moment and the acting is perfect for this type of movie. Fred and Ginger are just so likeable you can't help but love this.

Upon realising that this type of musical was now what audiences wanted, Warners tried unsuccessfully to copy. Busby Berkeley's terrible Golddiggers of 1935 (except for the Lullaby of Broadway section) exemplifies that. This however gets it just right - we'll almost because their next movie was perfect.

Beautiful Music, Dangerous Rhythm

[bkoganbing · 8/10 · 14 December 2007]

The Gay Divorcée is the answer to the trivia question of which of Fred Astaire's and Ginger Rogers's is one that Fred Astaire had previously done on Broadway. When Astaire did it on Broadway, the Cole Porter musical had been entitled The Gay Divorce. But that extra 'e' was added on lest anyone get the idea that divorce itself was something frivolous. Imagine anticipating Britney Spears by about 70 years.

Actually Fred had also done Funny Face and The Bandwagon on stage as well. But on stage The Bandwagon was a revue and Funny Face had an entirely different plot than the musical made by Astaire in the Fifties. Only in The Gay Divorcée was he asked to repeat a stage role.

The basic plot is still the same, the usual Astaire-Rogers case of mistaken identity. Ginger is the budding divorcée going to London to get a divorce as Aunt Alice Brady hired a professional co-respondent. Ginger mistakes Fred for that co-respondent and it takes a while for Fred to warm her up.

Fred's an American musical comedy star visiting London with his manager Edward Everett Horton who also happens to know Brady. This gives the excuse for the musical numbers.

Cole Porter's score was cut completely from the screen other than the immortal Night and Day. In it's place came four songs, three written by Harry Revel&Mack Gordon and one written by Con Conrad&Herb Magdison. Fred and Ginger dance divinely to Night and Day.

Fred does a solo dance to A Needle in a Haystack and Don't Let It Bother You. Betty Grable got her first notice from the movie going public, singing and dancing in Let's Knock Knees all of which were contributed by Revel&Gordon.

But it was The Continental number by Con Conrad and Herbert Magdison that got the first Academy Award ever given out for Best Original Song in a motion picture. It's what The Gay Divorcée is remembered for today. It's a rather long, between ten and fifteen minutes of screen time, but as magical as ever

The Gay Divorce ran for 248 performances on Broadway during the 1932- 1933 season. Sacrificed for romance are Porter's witty lyrics in the rest of the score containing their usual commentary on the social scene. Of all the American musical giants of the era, I would say that Cole Porter wins hands down as the man that Hollywood butchered the most in bringing his work to the screen. Even before The Code was in place, it seemed that the powers that be deemed that his work was way too sophisticated and naughty to be seen and heard as is.

Still with the film being frothy romance instead of social commentary, The Gay Divorcée is still great entertainment. Also repeating their roles from Broadway are supercilious waiter Eric Blore and the real co-respondent Tonetti who prefers spaghetti, Erik Rhodes.

Wit for romance, you decide if it was a fair exchange.

"You know, you're beginning to fascinate me, and I resent that in any man"

[ackstasis · 7/10 · 7 March 2010]

I've got to say, it took me a while to work up the courage to borrow 'The Gay Divorcée (1934)' from the university library. Fortunately, I balanced things out by also renting the steamy neo-noir 'Body Heat (1981)!' Needless to say, my ill-ease was not necessary. The 1930s was a carefree and innocent time for American cinema, and here I can assure the reader that the divorcée indicated by the title is merely happy. The film (my ninth from Astaire and Rogers) was the pair's second collaboration, and the first in which they were the stars. The story, adapted from the musical play "Gay Divorce," pretty much forms the template for their next half-dozen outings, a throwaway love-story fraught with screwball misunderstandings and elaborate art deco hotel- rooms. Ginger Rogers requires a divorce from her neglectful husband, and so tries to fake a love-affair (as you do) with a pompous Italian called Tonetti (Erik Rhodes). Fred Astaire comes along, falls in love with Ginger, but she mistakes him for the guy with whom she's supposed to be faking a love-affair.

'The Gay Divorcée' has an excellent cast. Fred Astaire, of course, exudes the same classiness and boyish charm that made him the stand-out in 'Flying Down to Rio (1933)' -- and just check out how gracefully he is able to dance and get dressed at the same time. Ginger Rogers, ever the gifted comedienne, shows wonderful composure, effortlessly making the conversion from apathy towards her male co-star to adoration. Edward Everett Horton, whose constant huffiness bounces amusingly off the carefree Astaire, is unfortunate enough to be given a dance number (opposite Betty Grable), through which he awkwardly and hilariously stumbles. Erik Rhodes, who was the highlight of 'Top Hat (1935),' again manages to steal the show, his pompous Italian "womaniser" a constant source of amusement. There's also Eric Blore, doing that butler thing he does best. Musical highlights include "Night and Day" and the Oscar- winning "Continental," which briefly abandons the long-takes you'd usually find in an Astaire film, instead lapsing into a rapid-fire Eisensteinian montage.

Forget the plot,enjoy the talent

[haustin-1 · 10/10 · 19 February 2006]

This is probably one of their best,equalling "Top Hat" in this Astaire-Rogers series. Perhaps the wit and dialog are old fashioned and wordy by modern standards,but after looking over this film again, I would say that there is now no modern talent or effort to match it. Just watch the detail and hard work put into the 15-20 sequence of "The Continental" and try to imagine anything these days that would compare. This is a song and (very good) dance musical appearing in the Depression years.It's an absolutely uplifting picture. It seems that after "Roberta","Top Hat" and "Swing Time" and a few others, the style seems to fade a bit until we get into the more serious, later films.These early films are unique. And when Astaire is partnered with other dancers,somehow the panache isn't there;and Rogers goes off to be a character actress.

"Tell of your love while you dance"

[Steffi_P · 7/10 · 22 February 2012]

The movie musical had been a Hollywood staple since the dawn of the talkies, but after a few years the novelty of the all-singing picture was wearing off and the studios had to refresh the genre with new tricks and, most crucially, popular stars. Old hand Al Jolson had reinvented his image, Bing Crosby was a fresh-faced newcomer, but most successful of all was the duo of Fred Astaire and Ginger Rogers. This was their second appearance together, and the first where they were the lead players and main attraction.

The two of them were rather different in background. Astaire had already been an established star on the stage and having worked with Ziegfeld was very much in touch with that passing generation of theatrical extravaganza, but he was a newcomer to cinema. Rogers on the other hand already had two-dozen movie credits to her name, and had gained a reputation in small roles, often as a catty, antagonistic chorine. But despite their differences they have in common an approach to dancing that, despite professional precision, brings out a lot of personality. And both can act. Ginger would later prove herself to be an excellent dramatic actress, and is steady enough here. Fred just has an easygoing charm that seems as effortless as his dancing. In a non-musical, these two would seem an odd pairing – it's when they dance we see them click. But these were early days yet, and in The Gay Divorcée they lack that sense of familiarity around each other that would make their later romances seem so right.

This was also the first time Astaire and Rogers were put before director Mark Sandrich, the man who helmed their most successful features together. Sandrich keeps a sort of gentle rhythm going throughout the picture with some delicate camera moves, such as the opening sweep through the restaurant onto Astaire's dancing fingers. His approach to the musical numbers was always oblique yet effective. For "Needle in a Haystack", the song is born out of a dialogue scene, with the camera still in its place, the sofa in the foreground separating us from Astaire, who (very unusually) is framed in profile. After one verse, the angle changes to place us in front of him. The camera then follows him as he gets up and selects a tie from a valet, and the dance just segues out of that movement. Sandrich's ability to make the songs flow seamlessly in and out of the non-music scenes was a key part in the ongoing revolution in how musicals were made.

One thing that makes a musical like The Gay Divorcée seem somewhat archaic is its plot. It's a comedy of errors that might have been quite good had it been fully developed as one, but the way the narrative twists to fit a song it becomes obviously artificial. It also suffers from an unpleasant quality of many romances of the era, in that the "romance" basically consists of the man stalking and harassing the woman until, against all probability, she falls for him (and not even the suave Mister Astaire can stop this from appearing creepy). The only thing that saves this from being a handful of noteworthy song-and-dance routines strung together with a limp story is the often witty dialogue and the way it is delivered by a wonderful supporting cast. Just as Fred and Ginger established their screen persona, so too did Edward Everett Horton become the fussy, mother-hen sidekick, Eric Blore the chirpy, intrusive butler and Erik Rhodes the bungling would-be Latin lover. These three are all excellent and, with the romantic interplay between Astaire and Rogers not quite as fizzing as it should be, dare I say they even overshadow the two leads? (Yes, I do dare say).

A Glimpse At What Was To Come

[ccthemovieman-1 · 5/10 · 6 November 2005]

This was a typical Fred Astaire-Ginger Rogers movie which means one really good thing and one really bad thing. You could count on both for the remaining films these two entertainment giants did together over the next decade.

THE GOOD - great dancing, as always, and a little humor thrown into the mix; THE BAD - a stupid story filled with people who are misunderstood and another slam at marriage, trivializing it once again.

This was the first film in which this famous duo were paired in leading roles. Have you noticed Astaire always looked the same age for at least two decades? Rogers really looks young here. She exhibits a nice singing voice, too. Astaire sings more in this movie than in later films. The musical highlight is a very long song-and-dance number near the end, done to the tune "The Continental." That helps make up for the stupid story.

Alice Brady makes repeated attempts at humor but falls short most of the time. The same goes for Edward Everett Horton, who seems to play these annoying roles in many films. A very young Betty Grable is seen early on in the film in a Busby Berkeley-type number.

Sensational

[rick_7 · 29 January 2004]

Following an apparently accidental teaming in 1933's Flying Down to Rio (a fun Dolores Del Rio vehicle), Fred and Ginger got their first starring feature a year later. It was based on J. Hartley Manners' play 'The Gay Divorce'. The Hays Office insisted on shoving an 'e' on the end, for how could a divorce be so trifling as to be gay? Some UK prints still run with the original title. RKO assembled a sparkling ensemble cast of top-flight farceurs, bringing together (in ascending order of sublimity) Eric Blore, Edward Everett Horton and Erik Rhodes ("Are you a union man?"). Mark Sandrich directs the thing with a maximum of fuss and style. Hermes Pan helped Fred choreograph the numbers.

The plot is suitably - and delightfully - trivial. Musical star Guy Holden (Fred) happens upon a girl (Ginger), falls desperately in love with her, then spends the rest of the picture trying to free himself from marvellously silly plot threads and Everett Horton's exquisite quadruple-takes.

Keeping just one song from Cole Porter's original score, the timeless 'Night and Day', and adding only four others, The Gay Divorcée is more a comedy with songs than it is a musical comedy. But what comedy - and what songs! 'Looking For a Needle in a Haystack' is a masterpiece of economy: Fred a whirlwind of frustrated, lovestruck energy as he spins around his hotel room lamenting his missing love in peerless style. "Men don't pine," he memorably concludes, "Women pine. Men ... suffer." Everett Horton's rare excursion into song-and-dance territory is a breath of hysterical, liberating ludicrousness, as he knocks knees with a young Betty Grable. 'Don't Let It Bother You', performed by a chorus of dancing girls (and dolls), then spectacularly reprised by a tapping Astaire, is another treat. 'The Continental', the film's vast production number is peculiarly edited but sporadically fine and offers a fitting climax.

It's exceptional fluff, the sort of heady, heightened escapism that you don't come close to very often. An extravagantly mounted, joyous comedy played to perfection by two stars at their irresistible peak. Unmissable.

Some Thoughts On An Old Friend

[boblipton · 8/10 · 22 November 2020]

Looking at THE GAY DIVORCEE through the lens of 85 years, I can see flaws with it. The big dance number goes on too long, and the comedy writing isn't sharp enough. Still, this was the first star pairing of Fred Astaire and Ginger Rogers, and it's amazing how much they got right, right off the bat. There's the basic structure of Astaire courting Miss Rogers through a set of dances, while in between there are jokes and pulled faces and Edward Everett Horton doing several hundred double takes per minute as everyone's straight man.

It's based on Astaire's stage success The Gay Divorce. The name change was the result of the Breen office meddling. It's more a variation on the Princess Theater musical comedies of the 1920s, and the camerawork, although seemingly startling and original under the direction of David Abel, is more an outgrowth of German Expressionist camerawork, and bits and bobs from the best of contemporary British musicals. Add in Astaire's insistence on being seen full length while dancing -- which sounds obvious now, although not at the time -- and the formula required only a bit of refinement to produce a series of masterpieces.

You may notice Betty Grable at the bottom of the title card. She's the platinum blonde who makes love to Horton in the "Let's Knock Knees" number. She had been kicking around Hollywood since 1929, sometimes with a credit, sometimes, like her previous movie, without. She would never go uncredited again.

Fred and Ginger's first leading role screen pairing and one of their best

[TheLittleSongbird · 10/10 · 29 July 2013]

The plots have never come across as a strong suit in Fred and Ginger's films, however when everything else is so good it doesn't present much of a problem. That is the case with The Gay Divorcée and Fred and Ginger's other films too, if you want great escapism they provide that. In regard to Fred and Ginger's films, The Gay Divorcée is one of their best, personal ranking would be third place behind Top Hat and Swing Time(with Top Hat getting the edge, Follow the Fleet and Shall We Dance are extremely good too). The story here is thin, but one of the more cohesive and wittiest stories in their films as well. The Gay Divorcée, if not quite so much as Swing Time, is a beautiful-looking film, the sets are ingeniously delightful with the standout being the deco Brighton and the photography shows great technical skill and sensitivity. The score is lush and often romantic-sounding thanks to Max Steiner's very distinctive musicality and arranging. And the songs are just wonderful, Night and Day is timeless but as a whole scene, visually, choreographically and song-wise, while long The Continental was the highlight. The script has plenty of warmth, wit and heart, Erik Rhodes' line about Tornetti and spaghetti raises a big chuckle. The choreography merges so well with the music and looks so athletic and poised even now, and it's matched perfectly by Fred Astaire and Ginger Rogers', both giving endearing performances, dancing. The supporting cast are also spot on, Erik Rhodes like he did in Top Hat comes very close to stealing the show while Edward Everett Horton and Eric Blore don't disappoint. Young Betty Grable really shines too in the number Let's K-nock K-nees. In conclusion, one of Fred and Ginger's best, a really exciting start to an iconic pairing which gave way to films that are equally as good. 10/10 Bethany Cox

Astaire and Rogers get their own show.

[Scaramouche2004 · 7/10 · 28 January 2007]

Following Fred Astaire and Ginger Rogers's screen partnership debut, in the previous years Flying Down to Rio, the studio and the public alike were more than aware that it was their rendition of The Carioca, (their only dance together in the picture), which became the decisive factor in putting bums on seats and alone attributed to the movies financial box office success.

Of course wanting to fully capitalise on this money spinning pairing, plans were soon underway to star Fred and Ginger, who in the previously named film were only 4th and 5th billing, in their own vehicle, with them as the undisputed leads and stars.

In a Hollywood still heavily relying on Broadway for a decent script, RKO bought the rights to The Gay Divorce, a Cole Porter stage musical, and pretty much changed everything about it. The script, The plot, and all the song and dance numbers were replaced by new Hollywood friendly alternatives, with only the big show stopper 'Night and Day' and the original title remaining.

Even then the title had to be eventually altered to appease the newly legally bolstered Hay's office, who did not want RKO suggesting to the world that a divorce was something big, clever or enjoyable, so they were forced to add an extra 'e' to 'divorce', which put the emphasis on the emotional state of the divorced character instead.

It strikes me as ludicrous that Hay's and his band of do-gooder numpties, could see and accept that a woman coming out of a miserable marriage could be happy, yet maintain that the divorce which brought about this accepted state of euphoria still had 'straight to hell' implications. Crazy man!

So with a story and title that bared little or no resemblance to the show originally purchased, production finally went underway on the first Astaire/Rogers starring vehicle, 'The Gay Divorcée'.

Astaire plays American stage/movie dancer Guy Holden in England on an extended Holiday accompanied by incompetent but good natured barrister Egbert Fitzgerald played wonderfully by Edward Everett Horton.

Here Holden meets fellow American Mimi Glossop (Ginger Rogers) and despite the embarrassing start to their relationship, they soon start the beginnings of a romance. In addition to this and unbeknown to Guy, Ms. Glossip is in England to secure a divorce from her estranged husband and has employed Guy's friend Egbert to handle the affair.

Egbert's plan is to hire a co-respondent with whom Mimi must act out an illicit affair in a seaside hotel bedroom for the benefit of some hired detectives, which will then give her husband reasons to file for divorce. However when Egbert arrives at the resort with friend Guy in tow, Mimi wrongly assumes Guy is the co-respondent and is disgusted by his suspected line of work.

When Guy is invited to Mimi's room for the entire night (the main crux of the divorce plan) there follows an uncomfortable atmosphere, of contempt an loathing from Mimi and confusion and desire from Guy.

What then happens when her Aunt, the real co-respondent and Mimi's husband arrive on the scene???

This film features some great numbers principally Night and Day and the grandiose 'The Continental' which attempted and in places succeeded to emulate the previous movies 'Carioca' We are also treated to a great Astaire solo, 'Needle in a Haystack' and novelty number 'Let's K-knock K-knees' performed by a very young and very attractive Betty Grable accompanied by a very tired and very unmusical Ed Everett Horton.

Add to this the great bedroom farce plot and wonderful comic performances by a film stealing Erik Rhodes as the greasy Italian co-respondent Tonetti, Eric Blore as the 'whumiscal' butler and Alice Brady as the confused and absent minded Aunt Hortense, it's clear that they started the Astaire/Rogers series proper on a high and entertaining note.

The Gay Divorce

[jboothmillard · 8/10 · 14 October 2011]

I was really lucky to catch this film when it was being shown, I only missed the first two minutes, had I of known it was the first film starring the famous dancing star couple together I wouldn't have ignored it, thank goodness I spotted it, from director Amrk Sandrich (Top Hat, Shall We Dance). Basically in Brightbourne, Brighton, England arrives Mimi Glossop (Ginger Rogers) from America who seeks a divorce from her geologist husband Cyril (William Austin) who she hasn't seen for several years. Her domineering Aunt Hortense (Alice Brady), who has been married numerous times herself, is there to give her guidance and get bumbling and slightly incompetent lawyer Egbert 'Pinky' Fitzgerald (Edward Everett Horton) to consult them, he also happens to a former fiancé. He tries to get an adulterous relationship started as they spend a night in the hotel he found them, and professional co-respondent Rodolfo Tonetti (Erik Rhodes) is who he has hired to try and make it happen. He forgets though to hire private detectives to "catch them in the act", leaving Mimi free to do whatever she wants, and coincidently she again meets American dancer Guy Holden (Fred Astaire), they met briefly on her arrival. Guy is a friend of Egbert's and is now besotted with Mimi staying in the same hotel, and he is also mistaken as the co-respondent she is meant to be caught with. They are eventually caught by Tonetti who "holds them prisoner" as they wait to clear up the mess, and Cyril also arrives to speak his mind about the situation, but in the end Guy and Mimi escape to dance the night away and live happily ever after. Also starring Eric Blore as The Waiter, Lillian Miles as Singer, Continental Number, Charles Coleman as Guy's Valet and Betty Grable as Dance Specialty. Astaire is lovable and charming, Rogers is beautiful and innocent, and together their scenes are filled with fantastic chemistry, the film is has of course wonderful songs, with the Oscar winning "The Continental", "Night and Day", "Let's K-nock K-nees" and "A Needle In A Haystack", the dialogue is witty and funny which creates most of the best jokes, overall a delightful musical comedy. It was nominated the Oscars for Best Art Direction, Best Music for Max Steiner, Best Sound and Best Picture. Fred Astaire was number 81 on The 100 Greatest Movie Stars, and he was number 5 on 100 Years, 100 Stars - Men, Ginger Rogers was number 14 on 100 Years, 100 Stars - Women. Very good!

Fred and Ginger and all the usual ingredients...including Eric Blore...

[Doylenf · 6/10 · 31 December 2007]

The first time Astaire and Rogers really shared top billing was in this RKO movie, THE GAY Divorcée (based on a Broadway musical Astaire starred in called "The Gay Divorce").

This one is notable for NIGHT AND DAY and THE CONTINENTAL, as well as a show-stopping number performed by a very young BETTY GRABLE and EDWARD EVERETT HORTON called "Let's Knock Knees". Under Max Steiner's direction, the musical numbers are what give the picture its real lift with, of course, a little help from Ginger and Fred. They, in turn, get additional help from ERIK RHODES, ERIC BLORE and ALICE BRADY.

"Chance is the fool's name for fate," is the codeword that sets in force the mix-ups that occur when Ginger mistakes Astaire for a man who is the co-respondent her lawyer has hired to expedite her divorce.

The big deluxe dance number is, of course, "The Continental", which gets lavish art deco treatment and intricate dance routines by Astaire, Rogers and a whole bevy of exuberant dancers attired in striking B&W costuming. It should have been saved for the finale, but there's still a little more plotting devices to straighten out in which ERIK RHODES shines as the real co-respondent and ERIC BLORE does his waiter routine for maximum chuckles.

Summing up: Good fun all the way through, one of the best thanks to a marvelous cast.

Gay Divorcée- We All Need Other Correspondents Like This ***1/2

[edwagreen · 8/10 · 1 January 2008]

"The Gay Divorce" produced the first song ever to be honored with an Academy award in 1934. That catchy tune was the continental. That elaborate, lengthy dance sequence was just truly memorable. Everyone would want to kick up their heels and start dancing to beautiful music, dangerous rhythm, etc.

The thin plot evolves around Mimi(Ginger) going with her eccentric aunt (played with memorable timing by Alice Brady) to lawyer Eggbert. (Edward Everett Horton) Seems that Mimi wants to divorce her husband and Horton hires a correspondent, an Italian gigolo, who does this for a living to provoke her husband. Of course, Eggbert has a nephew, Guy Holden (Fred Astaire) who falls for Mimi as the fun truly begins. Imagine, Mimi soon has two correspondents. Naturally, she dances up quite a storm with partner Astaire.

The ending is absolutely hilarious, but it's the great dance sequence and chemistry between Astaire and Rogers that makes this film.

Perfectly Watchable, But Astaire and Rogers Would Make Better

[evanston_dad · 7/10 · 25 November 2007]

I don't know that I've ever seen a film that has less plot than "The Gay Divorcée." It's like one of those "Three's Company" episodes where everything revolves around a misunderstanding, except with even less substance.

I don't know why I'm surprised though, given the other Astaire/Rogers films I've seen. This one set the mold for a formula that needed no revision, since audiences ate it up again and again. If anything, this one feels more like a trial run -- the dancing duo would make better films later in the decade. But they have their usual kinetic chemistry; Rogers especially looks adorable in this. Character actress Alice Brady plays the dotty matron role that Helen Broderick would assume in "Top Hat" and "Swing Time." Astaire/Rogers regulars Edward Everett Horton and (my favorite) Eric Blore are also on-hand and do what they're asked to do. Every one of these films has a big production number that serves as the film's centerpiece. Here it's "The Continental," and it seems to go on forever.

Also with Erik Rhodes, who plays a silly and outrageous Latin lover.

Grade: B+

Fred and Ginger in their second musical delight

[Petey-10 · 9/10 · 17 February 2011]

Mimi Glossop wants a divorce.Dancer Guy Holden's lawyer friend assists her in that.The dancer falls for Mimi.The Gay Divorcée (1934)Mark Sandrich and produced by Pandro S. Berman.The music is by Max Steiner. is directed by Fred Astaire and Ginger Rogers really hit it off.This is the second of their musicals, and the first one to feature the duo as the main attraction.The rest of the cast is great, too.Alice Brady is Aunt Hortense, who has been married to Egbert Fitzgerald, played by Edward Everett Horton.Erik Rhodes is Rodolfo Tonetti.Eric Blore is The Waiter.Betty Grable portrays Guest.Lillian Miles is Singer, Continental Number.William Austin plays Cyril Glossop.I really enjoyed the "Knock Your Feet" bit.Also "The Continental" was most amusing.That song won an Oscar.A really enjoyable musical delight.

"You can't have a clandestine affair between three people."

[richardchatten · 7/10 · 15 December 2021]

Fred & Ginger first went above the title on this fairly modest film version of the former's West End hit. The female lead was originally supposed to be Diana Wynyard and Astaire was privately appalled when he instead got that brassy blonde Rogers again; but it was one of the year's biggest hits, and the rest is history.

It's more simply staged than their later teamings, but Edward Edward Horton and Eric Blore are already present and correct (the latter briefly showing himself quite nimble on his feet during 'The Continental'); and it's not every day you see Horton dancing with Betty Grable!

The never ending Continental

[juneaujim-1 · 4/10 · 16 November 2021]

This was my first time watching it and was enjoying it until the musical number "The Continental" went on and on and on. I thought it would never end.