The Gay Divorcee (1934)

The year before, in 1933, Fred Astaire and Ginger Rogers had grabbed America's attention in Flying Down to Rio, even though they were the second bananas in that film. The duo had a certain chemistry--Fred with his lighter-than-air elegance, Ginger with her moxie--and studio heads gambled that they could carry a starring vehicle of their own. Nobody guessed there would be another eight movies together after The Gay Divorcee, which turned into a huge success for RKO Pictures. The plot is the usual silliness, with Ginger a divorce-minded gal in England, Fred a dancer whose sincere interest in her is mistaken for something else. But plots never mattered much in these affairs, and this one achieves a kind of free-floating bliss. Astaire had starred in the stage version of the story, titled The Gay Divorce. The censors forced the extra e to be added to the title because surely no divorce could be portrayed as a happy one (this frothy movie's evidence notwithstanding). Only one song was carried over from the stage show, Cole Porter's smash hit "Night and Day," which forms the basis for a sublime pas de deux between Fred and Ginger. A tune, "The Continental," written for this film won the first Oscar ever awarded in the best-song category. --Robert Horton Amazon.com essential video

Excellent musical comedy - perfectly balanced

"The Gay Divorcee" is the second film in the Fred Astaire/Ginger Rogers canon and the first to star them together as the leads. Based on Astaire's Broadway success, the film is a superbly mounted showcase and the precursor of what was to come. Here are some of the highlights:

- Cole Porter's "Night and Day" was the only song retained from the stage musical. It is justly famous for Astaire's seduction of Rogers to dance, worth seeing also for the look on her face at the end. Also, Astaire's superb ability with a song, his interpretation of the lyrics was never more obvious
- A 17 year old Betty Grable drops in, delivers the novelty number "Let's Knock Knees" with Edward Everett Horton, then drops out again, leaving an indelible impression of youth and beauty. She is a better singer too than Rogers.
- The film could stand alone as an hilarious comedy. Astaire has a very light touch and Alice Brady and Erik Rhodes are hysterical.

The print of the film is excellent and there are some entertaining extras, including a short film in odd technicolour set at the Cocoanut Grove, a famous night club in Hollywood. The musical acts are variable. The cartoon celebrates a song "Shake your Powder Puff", a song introduced by Ginger Rogers in one of her early RKO films and the radio promotion highlights the songs from the film. All in all, this is a good DVD and very good value if purchased as part of one of the Astaire/Rogers sets. April 22, 2008

Makes you want to take dance lessons

This wasn't my favorite Astaire/Rogers movie, but it is entertaining and the choreography is never a disappointment. I enjoyed seeing the old character actors on screen once again. The storyline is typical of early Hollywood but seeing Fred and Ginger dance makes it worth a couple hours of your time. April 7, 2008

A celebration!

This wonderful movie is a celebration of American song and dance, though there isn't much mystery over why the guy got a divorce. December 14, 2007

The Film That Started It All, More or Less

"The Gay Divorcee," (1934) was the first RKO studio pairing of Fred Astaire and Ginger Rogers as stars, after they unexpectedly stole the previous year's "Flying Down to Rio." It received five Academy Award nominations: one for Best Picture, and won one, the first ever awarded in that category, for best original song,"The Continental." It set the look and sound of the Astaire-Rogers pictures for this studio, and brought together most of the onscreen, and offscreen, talent that would make them. And it was a great hit: nobody ever invented a better way for depression era audiences to forget their cares.

It was based on a stage play in which Astaire starred, "The Gay Divorce." Screenwriter Dwight Taylor, producer Pandro S. Berman, director Mark Sandrich, cinematographer David Abel, Oscar-nominated art directors Carroll Clark and Van Nest Polglase, and costumier Walter Plunkett gave us a magically elegant looking film, all creamy black and white art deco. The romantic comedy plot was silly, and forgettable,(all mistaken identities, something to do with divorce), just as all future Astaire/Rogers movie plots for this studio would be. The acting company established here would show up in future films, too: Edward Everett Horton as Astaire's befuddled best friend, lawyer Egbert (Pinky) Fitzgerald; Erik Rhodes as the ethnic Italian, (co-respondent Rodolo Tonetti); Eric Blore as the funny working class bloke, sometimes a valet, here a waiter. Only one member of the usual company is missing here, the priceless rubber faced Helen Broderick, always Marge, or Madge, Rogers' female sidekick. That part is here played by Alice Brady, as Rogers' ditsy Aunt Hortense. There are fewer dance numbers, and great songs by brand name composers, than future movies would boast. Horton's character gets to dance; Blore's seems to get more lines than usual; Rhodes' actually gets to sing, and play his concertina. A very young Betty Grable is given a novelty song and dance number. A repeated gag, "Chance is the fool's name for fate," is funny enough.

The movie kept only one song from the stage play on which it was based, Cole Porter's everlasting "Night and Day." When first written, it was considered unsingable, but, as Astaire does it, it's unforgettable, imbued with love and longing. The Astaire/Rogers dance to it wins many votes as most romantic and sexy movie dance ever: Rogers could actually act, while, to quote the feminist Gloria Steinem, dancing backwards and in heels. The duo concludes, wrung out; Astaire offers Rogers a cigarette, perhaps the second sexiest in cinema, after that shared by Bette Davis and Paul Henreid in "Now Voyager."

Then there's "The Continental," seventeen minutes( the movie's only 105!) of sheer black and white musical bliss. Lots of dancing up and down staircases, revolving doors, and chorus boys and girls. That cute bit with the cutout dancers on the revolving record player turntable. And a brief instrumental reprise a bit later, to wrap things up. What a way to go. October 6, 2007

fine early vehicle for Fred and Ginger

The Gay Divorcee has all the qualities of an American 1930s musical: dancing, singing and acting all by very good actors in a glamorous world free of the woes and sorrows of the Great Depression. The plot moves along at a fair pace even though it's razor thin; and the dancing by Fred Astaire and Ginger Rogers stuns me with its timing and beauty.

Guy Holden (Fred Astaire), an American professional dancer, happens by chance to meet Mimi Glossop (Ginger Rogers) when they bump into each other on a pier after their ship lands in England. Although Mimi is married she is seeking a divorce and she travels with her Aunt Hortense (Alice Brady) as a chaperone. Naturally, Guy falls immediately for Mimi and tries desperately to look for Mimi in London after Mimi rebuffs him. Also by pure chance, Guy's lawyer friend Egbert 'Pinky' Fitzgerald (Edward Everett Horton) has been hired to work for Mimi to get her that divorce she wants from her often absent husband.

The whole matter eventually leads them all down to the beautiful Hotel Bellavista on the seashore in England; and Egbert arranges for Mimi to "be caught" with another man so that her husband will finally divorce her. Trouble is, Mimi, still annoyed with Guy, falsely believes that Guy is the man she must be caught with and this forces Mimi to spend time with Guy. Conveniently, this being a 1930s Hollywood musical, Mimi finally sees that Guy is the right man for her after all.

Of course, you may think that I've given the whole plot away--but I didn't. Look for Fred to sing "Night And Day" by Cole Porter. Moreover, will Mimi's husband grant her a divorce or not? Will Mimi be able to tolerate things when the real actor hired to pretend to woo her shows up alongside her and Guy? Will she want to spend time alone with the actor instead of Guy? Just how she finally does get that divorce may surprise you. (Well, you KNEW she'd get free so that she could marry Guy.)

The choreography couldn't be better when you see great extensive numbers like The Continental; and when Fred and Ginger dance up onto a table and then back down the table your eyes will pop put! They couldn't have danced any better and it becomes clear that the plot truly is secondary; THIS movie serves to showcase Fred and Ginger's exquisite dancing. In addition, the cinematography exceeds my expectations for 1934 in the extensive Continental dance scene. Great!

The DVD comes with three or four short extras; too bad they don't complement the movie the way they could have done. Look for two shorts entitled "Show Kids" and "Star Night at the Cocoanut Grove;" and there is a "Hollywood On The Air" audio only radio promo.

In short, DON'T miss this movie. With Fred and Ginger dancing like angels it almost seems impossible to ask for anything more. But you DO get more--Alice Brady as Mimi's Aunt Hortense steals a few scenes with her campy behavior and Edward Everett Horton does a stilted dance scene with a young girl that will amuse you, too.

I highly recommend this movie for fans of Fred Astaire and Ginger Rogers; and people who enjoy classic musicals from the 1930s will be very pleased with The Gay Divorcee as well.

Enjoy!
August 17, 2007

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