VALUTAZIONE IMDb
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LA TUA VALUTAZIONE
Aggiungi una trama nella tua linguaA woman thinks a flirting man is the co-respondent her lawyer has hired to expedite her divorce.A woman thinks a flirting man is the co-respondent her lawyer has hired to expedite her divorce.A woman thinks a flirting man is the co-respondent her lawyer has hired to expedite her divorce.
- Vincitore di 1 Oscar
- 1 vittoria e 5 candidature totali
Norman Ainsley
- Undetermined Role
- (non citato nei titoli originali)
Jimmy Aubrey
- Undetermined Role
- (non citato nei titoli originali)
Finis Barton
- Undetermined Role
- (non citato nei titoli originali)
Eleanor Bayley
- Dancer
- (non citato nei titoli originali)
De Don Blunier
- Chorus Girl
- (non citato nei titoli originali)
Pokey Champion
- Dancer
- (non citato nei titoli originali)
Jack Chefe
- Night Club Patron
- (non citato nei titoli originali)
- Regia
- Sceneggiatura
- Dwight Taylor(non citato nei titoli originali)
- Kenneth S. Webb
- Samuel Hoffenstein
- Tutti gli interpreti e le troupe
- Produzione, botteghino e altro su IMDbPro
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- QuizThe musical number "The Continental" lasts 17 1/2 minutes, the longest number ever in a musical until Gene Kelly's 18 1/2-minute ballet at the end of Un americano a Parigi (1951) 17 years later. It is also the longest musical number in all of Fred Astaire and Ginger Rogers' films together.
- BlooperCrew member coughs after the chase scene, picnic basket on running board and he's going through item list directly after she says, "After that."
- Citazioni
Tonetti: [unable to remember his passphrase "Chance is a fool's name for fate," Tonettie repeatedly muffs it] Chance is the foolish name for fate. / Give me a name for chance and I am a fool. / Fate is a foolish thing to take chances with. / I am a fate to take foolish chances with. / Chances are that fate is foolish. / Fate is the foolish thing. Take a chance.
- Versioni alternativeIn the version of the movie released in Brazil in the 1930s, the Brazilian actor Raul Roulien sang in the musical number "The Continental".
- ConnessioniEdited into L'ora del destino (1942)
- Colonne sonoreDon't Let It Bother You
(1934)
Music and Lyrics by Mack Gordon and Harry Revel
Dance performed by Fred Astaire
Recensione in evidenza
Fred & Ginger's first starring role as a team
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.
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.
D’aiuto•291
- blanche-2
- 5 apr 2006
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- How long is The Gay Divorcee?Powered by Alexa
Dettagli
Botteghino
- Budget
- 520.000 USD (previsto)
- Lordo in tutto il mondo
- 6.253 USD
- Tempo di esecuzione1 ora 47 minuti
- Colore
- Proporzioni
- 1.37 : 1
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By what name was Cerco il mio amore (1934) officially released in India in English?
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