The Gay Divorcee (1934)

An American woman travels to England to seek a divorce from her absentee husband, where she meets - and falls for - a dashing performer.

Director:

Mark Sandrich

Writers:

Dwight Taylor (from the book by), Kenneth S. Webb (musical adaptation) (as Kenneth Webb)

Stars:

Fred Astaire, Ginger Rogers, Alice Brady

Won 1 Oscar. Another 5 nominations.

Cast

Complete credited cast:
Fred Astaire	...	Guy Holden
Ginger Rogers	...	Mimi Glossop
Alice Brady	...	Aunt Hortense
Edward Everett Horton	...	Egbert 'Pinky' Fitzgerald
Erik Rhodes	...	Rodolfo Tonetti
Eric Blore	...	The Waiter
Lillian Miles	...	Singer - Continental Number
Charles Coleman	...	Guy's Valet
William Austin	...	Cyril Glossop
Betty Grable	...	Dance Specialty - Knock Knees

Storyline

Mimi Glossop wants a divorce so her Aunt Hortense hires a professional to play the correspondent in apparent infidelity. American dancer Guy Holden meets Mimi while visiting Brightbourne (Brighton) and she thinks he is the correspondent. The plot is really an excuse for song and dance. The movie won three Academy nominations and the first Oscar for Best Song: "The Continental", a twenty-two minute production number.

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Plot Keywords:

screwball comedy | divorce | dancer | woman | password | 

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Taglines:

Introducing the new dance sensation "The Continental"

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Genres:

Comedy | Musical | Romance

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Certificate:

Approved

Details

Country:

USA

Language:

English French Italian

Release Date:

12 October 1934 (USA)

Also Known As:

Continental

Filming Locations:

Santa Monica, California, USA

Box Office

Budget:

$520,000 (estimated)

Company Credits

Production Co:

RKO Radio Pictures

Technical Specs

Runtime:

107 min

Sound Mix:

Mono (RCA Victor System) (as R C A Victor System)

Color:

Black and White

Aspect Ratio:

1.37 : 1

Did You Know?

Trivia

Helen Broderick was asked to play the role of Hortense but was unavailable.

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Goofs

During the part of the film supposed to take place just outside of London, the car chase between Mimi and Guy occurs with them driving on the right side of the road. He passes her on the left at one point.

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Quotes

Mimi Glossop: Would you mind moving your car? Or don't you want it anymore?

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Connections

Referenced in Charade (1984)

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Soundtracks

The Continental
(1934)
Music and Lyrics by Con Conrad and Herb Magidson
Song performed by Fred Astaire, Ginger Rogers, Erik Rhodes, Lillian Miles
Dance performed by Fred Astaire, Ginger Rogers, chorus

User Reviews

"Distinct Tendencies Towards Terpsichorean Excellence"

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!