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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:

Robert Z. Leonard (uncredited)

Writers:

Ursula Parrott (based on a novel by), Nick Grinde (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:
Norma Shearer ... Jerry
Chester Morris ... Ted
Conrad Nagel ... Paul
Robert Montgomery ... Don
Florence Eldridge ... Helen
Helene Millard ... Mary
Robert Elliott ... Bill Baldwin
Mary Doran ... Janice Meredith
Tyler Brooke Tyler Brooke ... Hank
Zelda Sears Zelda Sears ... Hannah
George Irving ... Dr. Bernard
Judith Wood ... 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:

Yesterday- a Blushing Bride; Today- a Bold EX-WIFE! (Print Ad-Philadelphia Inquirer, ((Philadelphia, Penna.)) 26 April 1930) See more »

Genres:

Romance | Drama

Certificate:

Passed | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English | French

Release Date:

19 April 1930 (USA) See more »

Also Known As:

Ex-Wife See more »

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Box Office

Budget:

$340,691 (estimated)
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

(copyright length) | (Turner library print)

Sound Mix:

Mono (Western Electric Sound System)

Aspect Ratio:

1.20 : 1
See full technical specs »
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Did You Know?

Trivia

In the early years of the Academy Awards, winners were leaked to the media before the actual ceremony. In 1931, Best Actress winner Norma Shearer and Best Actor winner George Arliss posed with their statuettes two days before the banquet. See more »

Goofs

1928 was Jerry's 3rd Wedding Anniversary, yet, the band in the nightclub/speakeasy is playing "Happy Days are Here Again" which was not composed for another year. See more »

Quotes

Helen Baldwin: Well, anyhow, I've been busting to tell you: What a girl!
See more »

Alternate Versions

Metro-Goldwyn-Mayer also released this film in a silent version. No details are available. See more »

Connections

Featured in MGM: When the Lion Roars: The Lion's Roar (1992) See more »

Soundtracks

Tiger Rag
(1918) (uncredited)
Music by Edwin B. Edwards, Henry Ragas, Larry Shields, Edwin B. Edwards and Tony Sbarbaro (collectively as The Original Dixieland Jazz Band)
Played in the jazz nightclub sequence
See more »

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User Reviews

 
"An overtone of sarcasm"
26 January 2012 | by Steffi_PSee 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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