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The Divorcee (1930)

Passed | | Romance, Drama | 19 April 1930 (USA)
When a woman discovers that her husband has been unfaithful to her, she decides to respond to his infidelities in kind.

Director:

(uncredited)

Writers:

(based on a novel by), (treatment) (as Nick Grindé) | 2 more credits »
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Won 1 Oscar. Another 3 nominations. See more awards »
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Cast

Complete credited cast:
...
...
Ted
...
Paul
...
Don
Florence Eldridge ...
Helen
Helene Millard ...
Mary
Robert Elliott ...
Bill
...
Janice
Tyler Brooke ...
Hank
Zelda Sears ...
Hannah
...
Dr. Bernard
...
Dorothy (as Helen Johnson)
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Storyline

Jerry and Ted are young, in love, and part of the New York 'in-crowd'. Jerry's decision to marry Ted crushes a yearning Paul. Distraught Paul gets drunk and wrecks his car, disfiguring young Dorothy's face in the process. Out of pity, Paul marries Dorothy. Years later, the apparent perfect marriage of Ted and Jerry falls apart from infidelity on both sides. Inwardly unhappy, popular Jerry lives a party life while Ted sinks into a life of alcoholism. Jerry then runs into Paul, who still loves her. After spending time together with Jerry, Paul plans to divorce Dorothy. When Jerry sees Dorothy again, she has second thoughts about where her life is heading. Written by Gary Jackson <garyjack5@cogeco.ca>

Plot Summary | Add Synopsis

Taglines:

A Metro-Goldwyn-Mayer All Talking Picture!

Genres:

Romance | Drama

Certificate:

Passed | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

|

Release Date:

19 April 1930 (USA)  »

Also Known As:

La divorciada  »

Box Office

Budget:

$340,691 (estimated)
 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

(copyright length) | (Turner library print)

Sound Mix:

(Western Electric Sound System)

Aspect Ratio:

1.20 : 1
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Did You Know?

Trivia

Prior to this film, Norma Shearer had primarily played very "proper," ladylike roles. She was eager to change her image and do parts that were more sensuous, so she launched a campaign to get the part of Jerry. MGM producers were skeptical - none more so than Irving Thalberg, who was also Shearer's husband. To convince him that she could handle a more "sexy" role, Shearer did a photo shoot with her posing provocatively in lingerie, and after seeing the pictures, Thalberg agreed to cast her. The decision paid off, as Shearer won Best Actress at the Academy Awards that year. See more »

Goofs

Jerry types an address on an envelope, but when she seals a letter inside it, the envelope is still blank. See more »

Quotes

Jerry Bernard Martin: [Referring to a new ring] Oh, you dear, it's lovely.
Theodore 'Ted' Martin: Will you think of me every time you look at it?
Jerry Bernard Martin: As though I didn't think of you every second of every minute of every hour of every day.
[Kiss]
Jerry Bernard Martin: Oh, darling.
[Looking at the ring]
Jerry Bernard Martin: Gee, that's slick.
See more »

Connections

Featured in Complicated Women (2003) See more »

Soundtracks

Singin' in the Rain
(1929) (uncredited)
Music by Nacio Herb Brown
Lyrics by Arthur Freed
Played on the radio
Tyler Brooke also dances and strums an instrument to the music
See more »

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User Reviews

 
"An overtone of sarcasm"
26 January 2012 | by (Ruritania) – See all my reviews

The dramas of the early sound era were often awkward, phoney-looking things. A lot of this has to do with the acting. Most actors were of course experienced in silent cinema, but a lot of players with stage experience had also been brought in as was deemed appropriate for "talkies". Silent screen acting tended to be over-the-top so that meaning could be expressed without words, and stage acting also tended to be over-the-top so that meaning could be expressed to people sitting in the back row. But this excessive style didn't really work in the more authentic setting of sound cinema. Of course, movie people weren't stupid; they were aware of what did and didn't work and the industry adapted quicker than is sometimes thought.

And of course, there were some actors and actresses who simply seemed to get the hang of it straight away. Norma Shearer was among a small number who survived the transition from silents to talkies with her career completely intact. One thing Shearer had was a remarkable presence – she's able to project herself with just a simple gesture or pose, and in The Divorcée she's often standing with her shoulders slightly forward in understated aggression. And within this context she is able to give a restrained performance, conveying a great deal but with a degree of credibility that makes the drama seem more believable. Shearer deservedly won the Academy Award for her work here. Compare her to previous year's winner Mary Pickford in Coquette, a slice of ham from a bygone era, and you can see how much things have changed.

Let's also take a look at the director Robert Z. Leonard. He's not too well remembered these days because he isn't deemed an auteur, but at the time he was among the forefront of Hollywood professionals. Two things in particular are worth noting about his style in The Divorcée. First is that he uses a lot of camera movement to really engage us in a scene (who says early sound films were static?), often using a noteworthy pan as a character appears. Secondly, he gives us an awful lot of the interplay between characters in simple wordless glances between them, for example the jealous look of Conrad Nagel when Shearer and Chester Morris announce their betrothal, or later a silent, spiteful exchange between Shearer and Mary Doran. There was a temptation for talkie directors to shoot things before the assembled actors as if for a stage play, but here Leonard is making subtle close-ups that cut across the action, and in so doing giving depth to the story outside of the dialogue.

This picture is now often classified as a "pre-code" movie for its depiction of Shearer's promiscuity after she becomes the titular divorcée, although even by the standards of the day it's pretty tame. However, thanks to its fluid direction and naturalistic acting, it is nevertheless a movie that seems a few steps ahead of its time, and points towards the increasingly sophisticated sound cinema of the 1930s.


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